Prayer Book for Vanishing, and: Omen, and: One Hundred Amazing Facts about the Negro, with Complete Proof, I, and: White Apocrypha

2015 ◽  
Vol 89 (2) ◽  
pp. 13-20
Author(s):  
Safiya Sinclair
Keyword(s):  
Moreana ◽  
2005 ◽  
Vol 42 (Number 164) (4) ◽  
pp. 187-206
Author(s):  
Clare M. Murphy

The Thomas More Society of Buenos Aires begins or ends almost all its events by reciting in both English and Spanish a prayer written by More in the margins of his Book of Hours probably while he was a prisoner in the Tower of London. After a short history of what is called Thomas More’s Prayer Book, the author studies the prayer as a poem written in the form of a psalm according to the structure of Hebrew poetry, and looks at the poem’s content as a psalm of lament.


Author(s):  
Charles Hefling

This book surveys the contents and the history of the Book of Common Prayer, a sacred text which has been a foundational document of the Church of England and the other churches in the worldwide community of Anglican Christianity. The Prayer Book is primarily a liturgical text—a set of scripts for enacting events of corporate worship. As such it is at once a standard of theological doctrine and an expression of spirituality. The first part of this survey begins with an examination of one Prayer Book liturgy, known as Divine Service, in some detail. Also discussed are the rites for weddings, ordinations, and funerals and for the sacraments of Baptism and Communion. The second part considers the original version of the Book of Common Prayer in the context of the sixteenth-century Reformation, then as revised and built into the Elizabethan settlement of religion in England. Later chapters discuss the reception, revision, rejection, and restoration of the Prayer Book during its first hundred years. The establishment of the text in its classical form in 1662 was followed by a “golden age” in the eighteenth century, which included the emergence of a modified version in the United States. The narrative concludes with a chapter on the displacement of the Book of Common Prayer as a norm of Anglican identity. Two specialized chapters concentrate on the Prayer Book as a visible artifact and as a text set to music.


2021 ◽  
Vol 103 (1) ◽  
pp. 6-26
Author(s):  
Ruth A. Meyers ◽  
Katherine Sonderegger

These essays were presented at the Jubilate conference at Christ Church Cathedral in the Diocese of Southern Ohio on 2 November 2019. Meyers urges the expansion of images and metaphors used to speak of the mystery of God in liturgy while not abandoning classical masculine language for God. Expanding our language is essential, she argues, both to speak the truth about God and to uphold the dignity of every human being. Sonderegger contends that masculine language for God is a settled matter in the church and in liturgy, and that this is compatible with a particular vision of Christian feminism, one centered on the material conditions of living women.


1986 ◽  
Vol 9 (4) ◽  
pp. 401-419
Author(s):  
Glynn Winskel
Keyword(s):  

2020 ◽  
pp. 1-20
Author(s):  
Andrew McGowan

Abstract While Percy Dearmer’s influence on Anglican liturgy through The Parson’s Handbook and The English Hymnal are well known, his lectures on The Art of Public Worship, given in 1919 when he was visiting professor at Berkeley Divinity School in Connecticut, USA, introduce a different phase of his liturgical thought. A new emphasis on modernizing language, brevity of form, and alternative forms of worship would later have expression in England via his association with the Guildhouse in London, and in the hymnal Songs of Praise. Comparing The Art of Public Worship with the later Prayer Book Interleaves by Berkeley Divinity School’s Dean William Palmer Ladd leads to the suggestion that this ‘second Dearmer’ also had an afterlife in the American liturgical movement.


1994 ◽  
Vol VII (3) ◽  
pp. 220-226
Author(s):  
Stavros S. Cosmadakis
Keyword(s):  

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