Theology, Music, and Modernity

This book addresses the question: how can the study of music contribute to the theological reading of modernity? It seeks to demonstrate that the making and hearing of music, and the discourses surrounding music, can bear their own particular kind of witness to the theological dynamics that have characterized and shaped modernity, and especially with respect to modernity’s ambivalent relation to the God of the Christian faith. Music can provide a distinctive ‘theological performance’ of some of modernity’s most characteristic impulses and orientations. The guiding theme of the book is freedom: one of the most critical issues of the modern era. And the overall theological perspective is provided by the theme of New Creation, a central and pervasive current in Christian Scripture. Concentrating on the period 1740–1850, the book is arranged into four parts (each section taking a particular musical work or corpus of music as its major reference point): (1) ‘Revolutionary Freedom’, (2) ‘From Church to Concert Hall’, (3) ‘Singing Justice’, (4) ‘Music and Language’.

2020 ◽  
pp. 13-24
Author(s):  
Bogdan Szlachta

In the modern era, the only indicator of the validity of law is that it is passed by the authorities in accordance with procedures. Has the classical theory of natural law ceased to matter? The author, referring to contemporary statements of popes and documents of the Catholic Church, analyses what significance natural law has today from a normative point of view and why it is particularly important in the present-day world, as well as in a multicultural world.


Author(s):  
Randall C. Zachman

Friedrich Schleiermacher reformulated the doctrines he inherited from the Reformed and Lutheran dogmatic traditions, in order to demonstrate that the certainty of faith in God, as well as faith in the redeeming power of Christ, could be maintained in an age of scientific and historical criticism of the Christian faith. He located faith in God in the immediate consciousness of being absolutely dependent, which he claimed emerged in the development of every human consciousness. And he located faith in Christ in the way the influence of the sinless perfection of Christ, mediated through the testimony of the Christian community and supported by the picture of Christ, strengthened the consciousness of God so that the inhibition of the God-consciousness by sin could be overcome. His hope was that such a reformulation of doctrine would not only clarify the meaning of faith in the modern world, but would also reunify the Christian traditions that had been divided since the Reformation.


2016 ◽  
Vol 50 (1) ◽  
Author(s):  
Noah K. Tenai

As an emergent and rapidly growing international field of study, public theology has its focus on how Christian faith and practice impact on ordinary life. Its principle concern is thewell-being of society. In Africa, and in Kenya in particular, where poverty levels are still high, there is a need to enquire into the value and efficacy of the poverty discourses in publictheology, for the calling of the church to respond to poverty. One of the main and fast growingchurches in Kenya, the Africa Inland Church (AIC), has vast resources used for, amongst otherthings, various on-going work amidst the poor and the vulnerable in remote and poor areas. Due to the unrelenting nature of poverty in Kenya, the AIC needs a theological perspective, which is sufficiently sensitive to poverty and can enable it to respond to poverty moreeffectively. Public theology’s emphasis on gaining an entrée into the public square andadopting the agenda of communities, including public theology’s calling on churches toactively participate in rational and plausible public discourses, can assist the AIC to respondeffectively to the challenge of poverty in Kenya.


2000 ◽  
Vol 4 (2) ◽  
pp. 213-225 ◽  
Author(s):  
Célestin Deliège

For a musician, to talk of music as discourse and as text is essentially to talk of his art in terms of process and writing. Might there not, however, be a certain uneasiness in the employment of this notion of language? This question, whilst often mooted, has never received an unanimous response. For the musician, the text is above all a given, which he knows intimately and into which he pours his thoughts; it is the reference point for his craft. He conceives of it as the field in which his art operates and through which it is mediated. Historically, it is the text that reflects the slow tension of invention aimed at attaining coherence, the source of which has been the generation of an invariant. This manifests itself in the form of a thematic nucleus or Crundgestalt, the term used by Schoenberg to refer to the totality of the form's potential. The story of this invariant and its deployment in spawning variation is present throughout the history of polyphony. Having reached its zenith, however, the curve of thematic function plummeted in an instant. As a result, the relation of text to discourse, of writing to process, was hurled into profound disarray.


2019 ◽  
Vol 62 (4 (463)) ◽  
pp. 23-30
Author(s):  
Rachel Feldhay Brenner

Rembek’s conviction of Polish “chosenness” is expressed in the characterizations of the Jewish protagonists in his fiction. While Rembek’s diaristic writing reveals his antiSemitic prejudices, in his novella Dojrzałe kłosy [Ripe spikes], and novel Nagan [Revolver] he portrays the Jews as patriotic officers fighting for Poland. These characterizations of the Jews highlighted Poland’s democratic open-mindedness toward its Jewish citizens. Nonetheless, as Jews they were excluded from the nation’s Christian destiny. Time and again, the Jewish officers in Rembek’s fiction articulate their despondency over their failure to accept Christ despite their irresistible attraction to the Christian faith. The failure points to their inability to achieve grace. Their sense of religious inadequacy elucidates a theological perspective which posits that a Jewish presence was indispensable to Poland’s redemptive destiny; the Jew as an affirming witness sanctioned the Polish claim to a messianic calling. To achieve legitimacy, the Polish national messianic mission needed to be acknowledged by Jews. The perspective in Rembek’s fiction illuminates an important facet in the complexity of the Polish-Jewish relationships in reborn Poland.


2017 ◽  
Vol 13 (2) ◽  
pp. 79
Author(s):  
Abednego Tri Gumono

<p>Language in a literary work facilitates authors conveying motives in their works. Through language, the authors send messages to the readers. Therefore, a literary discourse analysis with limitless meanings could reveal the author’s motives. This analysis used a semiotic approach which focuses on literacy analysis through language as a symbol. A short story called <em>Godlob</em> by Danarto has a dimension of a communal language that is immediately digestible. But it does not mean that the author’s motives can be easily grasped by the readers. This might happen because the implicit purposes lie within the uncommon language used in this short story. With that, the story contains a logical path that needs to be analyzed which prioritizes language as a symbol with certain meanings. Based on a semiotics approach, <em>Goldlob</em> addresses critical issues relating to a Christian faith -- how Jesus was killed and nailed on the cross was God’s way to cleanse the sin of man. This issue is a way to explain and share the history of Jesus’ death to save the world and becomes the truth and a Christian doctrine. A Christian literacy teaching sustains a Christian faith. </p><p>BAHASA INDONESIA ABSTRAK: Bahasa dalam karya sastra merupakan sarana pengarang untuk menyampaikan motif dalam karya-karyanya. Melalui bahasa, pengarang menyampaikan pesan yang ingin disampaikan kepada pembaca. Dengan itu, pengkajian sastra sebagai tanda (sign) yang memiliki kekayaan makna tersebut menjadi penting dilakukan untuk menyingkap maksud pengarang. Analisis ini menggunakan pendekatan semiotika yaitu pendekatan yang memfokuskan analisis sastra melalui bahasa sebagai tanda. Cerita pendek berjudul  Godlob karya Danarto memiliki dimensi bahasa komunal yang dapat dicerna sesekemudian mungkin. Namun bukan berarti bahwa maksud pengarang juga sedemikian cepat ditangkap oleh pembaca. Hal itu dimungkinkan karena cerita ini memiliki maksud yang tersirat dengan penggunaan bahasa tak lazim seperti yang tertuang dalam judul cerita pendek ini. Dengan itu, jalinan kisah cerita ini juga mengandung logika yang harus dikaji secara semiotika dengan mengutamakan bahasa sebagai tanda yang memiliki maksud-maksud tertentu. Berdasarkan pendekatan semiotika isi cerpen Godlob mengarahkan kepada pertanyaan kritis pokok iman Kristen yaitu apakah Yesus yang dibunuh dan  disalibkan adalah cara Tuhan menebus dosa manusia. Pertanyaan ini menjadi sarana untuk menjelaskan dan mewartakan sebuah sejarah kematian Yesus untuk menyelamatkan dosa manusia yang telah menjadi kebenaran dan dogma Kristen. Pengajaran sastra secara Kristen dapat memperkokoh iman kristiani.</p>


Author(s):  
Ilan Fuchs

The term Orthodox comes from the Greek, meaning “the right idea.” In Jewish communities, Orthodoxy is used to identify a theological and sociological stream in the modern period. From a theological perspective, the term is used to signify the belief that canonical Jewish texts are divine, and that the Halakha (or Halacha), the Jewish legal system, is binding. The Jewish historian Jacob Katz (b. 1904–d. 1998) saw Orthodoxy as a phenomenon that developed in the modern era as a response to secularization. This response created a critical dialogue with modernity that leads Orthodox communities to selectively choose and legitimize parts of the modern experience, creating a spectrum of Orthodoxies with many different sociological variables determined by the extent of integration with modernity (e.g., in Israel, Orthodoxy spans a spectrum from religious Zionism to Haredi [or Charedi] Judaism). The sociologist Menachem Friedman points to several common attributes to Orthodoxy, mainly its rejection of secular society and the emphasis that Orthodox discourse puts on the past as a lost idyllic reality that should be resurrected. Geographically and chronologically, Orthodoxy spans many spaces. It morphs in many ways, and its manifestation in 19th-century Russia is very different from its evolution in interwar Poland or post-Holocaust Israel. But in these different situations and historical contexts, Orthodoxy developed very clear theological and political agendas, all based on a shared textual traditions that allows for transitions between different Orthodox communities, such as modern Orthodoxy in the United States. The Orthodox ethos stems from the positions of Rabbi Moshe Sofer (b. 1762–d. 1839), known as the Chatam Sofer, who had to craft a policy reacting to acculturation, secularization, and assimilation in Germany and Hungary. He promoted a policy of creating fences around the observant Jewish community, preventing the influence of secularism by celebrating particularism and emphasizing the need to maintain a separate Jewish sphere with the most minimal connections to the non-Jewish world.


1999 ◽  
Vol 52 (3) ◽  
pp. 306-327
Author(s):  
D. Stephen Long

The relationship between theology and ethics has been largely determined in the modern era by the questions Immanuel Kant posed and the answers he gave. This contains a certain irony because in 1786 at Marburg Kant's philosophy was banned on the assumption that it threatened faith and morals. His demolition of the scholastic arguments for the existence of God were thought to be a threat to Christian faith. Many neo-kantians relished this challenge to theology and moved Kantianism in the very direction the orthodox authorities feared. By 1835 Heinrich Heine wrote an essay for French publication entitled, ‘On the history of religion in Germany'. He argued that Robespierre himself was unworthy of comparison with the revolutionary Kant. Robespierre may have lopped off a few royal heads but ‘Kant has stormed heaven, he has put the whole crew to the sword, the Supreme Lord of the world swims unproven in his own blood’. Perhaps Kant's ethics did not go as far as Heine asserted, but it did result in the marginalization of theology from ethics. Ethics was grounded in freedom alone. Theology could be consistent with ethics, but not determinative for it.


2016 ◽  
Vol 18 (1) ◽  
pp. 3-18
Author(s):  
Anikó Imre

The article argues for creating a mutually beneficial connection between postcolonial and television studies in order to understand how imperial legacies have shaped contemporary television regions. What it contributes to this work, more specifically, is the beginnings of a postcolonial account of intra-European broadcast regions. As both the original center of colonialism and the site of recent global economic, social and cultural crises, Europe is a major reference point in such attempts to re-historicize “empire” in order to understand industrial and ideological configurations within present-day media regions. I zoom in on three examples to highlight the imperial layers that have informed television in Europe: industrial collaborations between East and West, the imperial vestiges of 1960s to 1970s historical adventure series, and the imperial connections that tie together forms of TV comedy across Europe. The three examples demonstrate an opportunity to bypass the obligatory nation-state framework and begin to write the region’s history of television in a postcolonial, regional, and European perspective, outlining the imperial legacies of aesthetic, infrastructural and economic factors that underscore all cultural industries in the region.


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