scholarly journals “All of Us” before God: Phenomenological Contours of the Liturgical Assembly according to Franz Rosenzweig and Jean-Yves Lacoste

Religions ◽  
2021 ◽  
Vol 12 (9) ◽  
pp. 783
Author(s):  
Marie-Aimée Manchon
Keyword(s):  
Twentieth Century ◽  
Contemporary Philosophy ◽  
Franz Rosenzweig ◽  
Human Community ◽  
Concrete Experience ◽  
Concrete Body ◽  
To Come ◽  
Choral Response

This article treats the notion of liturgical experience that was introduced into contemporary philosophy by Franz Rosenzweig at the start of the twentieth century. His original and deep thinking in the Star of Redemption describes, among other things, the liturgical feasts of Judaism and Christianity as ramparts against finitude and as openings onto the ultimate. The article will bring together his descriptions of the liturgical assembly as a dialogical and choral “we” or “all of us” with the work of Jean-Yves Lacoste who has made liturgy the very heart of his magisterial phenomenological work. Putting these two authors into conversation allows us to uncover some salient traits of what makes for a liturgical community, such as the link between the liturgical assembly and the notion of communion. Drawing on both Rosenzweig and Lacoste, we can see, first, that this community is not simply cultural or ideological, but that its core lies in the concrete experience of exposing oneself before God. Next, I take up the idea of eschatological presentiment in Lacoste and the choral response-structure in Rosenzweig and suggest that this eschatological anticipation is manifested in the flesh of the assembly, endowing it with a dimension of responsibility. Finally, the liturgical assembly becomes a concrete body in which the kingdom is able to come near in the density of presence as fraternity within an aura of love. By doing so, a “thinking otherwise” may prove capable of illuminating philosophical understandings of human community more broadly.

Christianity, Plurality and Vernacular Religion in early Twentieth-Century Glastonbury: A Sign of Things to Come?

2015 ◽  
Vol 51 ◽  
pp. 302-321
Author(s):  
Marion Bowman
Keyword(s):  
Twentieth Century ◽  
Considerable Heterogeneity ◽  
Individual Level ◽  
The Past ◽  
Early Twentieth Century ◽  
Vernacular Religion ◽  
Important Time ◽  
To Come ◽  
Shed Light

This essay focuses upon a significant place, Glastonbury, at an important time during the early twentieth century, in order to shed light on a particular aspect of Christianity which is frequently overlooked: its internal plurality. This is not simply denominational diversity, but the considerable heterogeneity which exists at both institutional and individual level within denominations, and which often escapes articulation, awareness or comment. This is significant because failure to apprehend a more detailed, granular picture of religion can lead to an incomplete view of events in the past and, by extension, a partial understanding of later phenomena. This essay argues that by using the concept of vernacular religion a more nuanced picture of religion as it is – or has been – lived can be achieved.

scholarly journals Now: A Post-Romantic Countertextuality of the Contemporary

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 186-206 ◽  
Author(s):  
James Corby
Keyword(s):  
Twentieth Century ◽  
Jacques Derrida ◽  
Final Part ◽  
Ethical Position ◽  
Conceptual Apparatus ◽  
The Arts ◽  
The Future ◽  
Contemporary Situation ◽  
To Come ◽  
Ethical Stance

In this essay James Corby questions the dominant future-oriented nature of the ethical turn of theory and philosophy in the final decades of the twentieth century and its aesthetic influence. Focusing in particular upon the ethical position of Jacques Derrida, Corby argues that the desire to avoid the closure of the contemporary and to preserve the possibility of difference by cultivating a radical attentiveness to that which is ‘to come’ often risks a too complete disengagement from the present, leading to an empty and ineffectual ethical stance that actually preserves the contemporary situation that it seeks to open up. Corby makes a case for this theoretical investment in the possibility of a non-contemporary (typically futural) rupture as being understood as forming part of a far-reaching romantic tradition. In opposition to this tradition he sketches a post-romantic alternative that would understand difference as an immanent, rather than imminent, matter. He argues that this should be considered congruent with a countertextual impulse oriented not towards a revelatory futurity, but, rather, towards the possible displacements, dislocations, and transformations already inherent in the contemporary. The final part of the essay develops this idea, positioning countertextuality as the articulation of alternative contemporaries. In this regard, the literature of the future is not ‘to come’, it is already here. The challenge is to recognise it as such, and this means being prepared to modify and change the conceptual apparatus that guides us in our thinking of literature and the arts.

Conclusion

2004 ◽  
Author(s):  
Vernon Bogdanor
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Self Confidence ◽  
History Of ◽  
To Come ◽  
The 1960S ◽  
Intellectual Elites

This concluding chapter sums up the key findings of this study on the history of the British constitution in the twentieth century. The findings reveal that while there was widespread confidence in the virtues of the constitution at the beginning of the twentieth century, that confidence seemed to have evaporated. This loss of confidence coincided with a collapse of national self-confidence that had begun in the 1960s when British political and intellectual elites began to come to terms with the fact that Great Britain was falling economically behind her continental competitors.

Naive Experience, Religious Root Unity, and Human Identity

2021 ◽  
pp. 1-26
Author(s):  
James W. Skillen
Keyword(s):  
Cosmic Time ◽  
Image Of God ◽  
The Other ◽  
Common Denominator ◽  
Human Identity ◽  
Human Community ◽  
To Come ◽  
The Image Of God ◽  
The Way

Abstract Resolving Dooyeweerd’s temporal/supratemporal dialectic opens the way to a deeper appreciation of naive experience and human identity as the image of God. This essay makes a case for that proposition, building on my critique of Dooyeweerd’s idea of cosmic time published previously in this journal. There I hypothesized that time—temporality—should be recognized as the first modal aspect rather than as a transaspectual common denominator of the other aspects. The religious root unity of the human community is not a supratemporal, spiritual concentration point but rather humans themselves in their generations answering to God in all that they are and do. Humans are not temporal bodies directed by imperishable souls but whole persons-in-community, subject to all the modal laws and norms (including the temporal), living by faith in the true God or in false gods throughout this age, which opens to creation’s fulfillment in the age to come.

Comparative Creoles: Race, Identity, and Difference Between Louisiana and its Caribbean Counterparts

2021 ◽  
Vol 71 (1) ◽  
pp. 61-82
Author(s):  
Angel Adams Parham
Keyword(s):  
Twentieth Century ◽  
French Language ◽  
Comparative Approach ◽  
African Culture ◽  
Language And Culture ◽  
Race Identity ◽  
Creole Identity ◽  
To Come ◽  
Identity And Difference ◽  
Similar Kind

This essay places Louisiana Creole culture and identity into comparative perspective with the evolution of Creole identity and créolité in Haiti and the French Antilles. While Haitian and Antillean intellectuals wrestled at the crossroads of French and African culture over the course of the twentieth century, the leading intellectuals of Louisiana’s Creole society were more likely to embrace French language and culture than to work self-consciously to integrate African influences into their understanding of themselves. A similar kind of cultural reckoning did not occur among Louisiana Creole writers and intellectuals until late in the twentieth century. The essay uses a comparative approach to examine the factors that have led to Louisiana taking such a different approach to Creole identity and cultural expression and considers how the community may evolve in the years to come. Cet essai situe la culture et l’identité créoles louisianaises dans une perspective comparée avec l’évolution de l’identité créole et de la créolité en Haïti et aux Antilles françaises. Lorsque des intellectuels haïtiens et antillais travaillaient au carrefour des cultures française et africaine au parcours du vingtième siècle, les intellectuels du chef de file de la société créole de la Louisiane tendaient plus à engager la langue et la culture françaises que de chercher à intégrer consciemment les influences africaines dans leur conception identitaire. Ce n’est que plus tard dans le vingtième siècle que nous témoignons d’une reconnaissance culturelle similaire chez les écrivains et les intellectuels de la Louisiane créole. Cet essai aborde de manière comparée les éléments qui contribuaient à une approche si différente à l’identité et l’expression culturelle créoles en Louisiane et considère comment la communauté pourraient évoluer à l’avenir.

Angelopoulos and the Lingua Franca of Modernism

2015 ◽  
Author(s):  
Angelos Koutsourakis ◽  
Mark Steven
Keyword(s):  
Twentieth Century ◽  
World History ◽  
Historical Overview ◽  
The Past ◽  
Crisis Of Representation ◽  
Economic Migration ◽  
Firm Commitment ◽  
To Come ◽  
The Individual ◽  
Representing History

This book examines the oeuvre of Theo Angelopoulos, whose films are deeply immersed in the historical experiences of his homeland, Greece, while the international appeal of his work can be attributed to his firm commitment to modernism as a formal response to the crises and failures of world history in the twentieth and twenty-first centuries. It considers some of the main themes in Angelopoulos' filmography, including the crisis of representation and the force of mediation; the question of representing history and how to come to terms with the past; the failures of the utopian aspirations of the twentieth century; issues of forced political or economic migration and exile; and the persistence of history in a supposedly post-historical present. This introduction discusses the lack of critical attention that Angelopoulos' cinema has received in the Anglophone scholarship and provides a historical overview of Angelopoulos' modernist cinema. It also summarises the individual chapters that follow.

Origins

Artful Noise ◽  
2020 ◽  
pp. 5-25
Author(s):  
Thomas Siwe
Keyword(s):  
Twentieth Century ◽  
Igor Stravinsky ◽  
Artistic Expression ◽  
Bela Bartok ◽  
Darius Milhaud ◽  
Early Twentieth Century ◽  
Cultural Movements ◽  
Unique Manner ◽  
To Come

This opening chapter contains a discussion of two early twentieth-century European art and cultural movements, Dadaism and Futurism, whose adherents rejected established modes of artistic expression and often staged provocative events to gain the public’s attention. In addition, there is a detailed look at the seminal works of three major composers, Igor Stravinsky, Darius Milhaud, and Béla Bartók, whose innovative use of percussion in their compositions gave license to those who followed. Each of the three composers exploited percussion in a unique manner, contributing to the standard literature and presaging what was to come.

What is Legal Logic?

1968 ◽  
Vol 3 (1) ◽  
pp. 1-6 ◽  
Author(s):  
Ch. Perelman
Keyword(s):  
Twentieth Century ◽  
Legal Reasoning ◽  
Formal Logic ◽  
The Other ◽  
Contemporary Philosophy ◽  
Specific Nature ◽  
Legal Thought ◽  
General Logic ◽  
The Subject ◽  
Practical Logic

That the question what is legal logic should still arise today appears paradoxical, for law is after all one of the oldest of human disciplines and logic has in the twentieth century become one of the most developed of the disciplines of contemporary philosophy. Yet comparison of a number of recent works dealing with the subject, all of which, not being without merit, have enjoyed a measure of success, is enough to show that the problem exists and is even strongly disputed.Of four such works, two—those by E. Levi and K. Engisch—do not use the word “logic” in their titles, though they deal with legal reasoning and legal thought. The other two, on the contrary, expressly purport to deal with legal logic. Strangely enough, however, their authors explicitly deny the specific existence of such a discipline, whereas Levi and Engisch underscore, without any hesitation, the specific nature of legal reasoning and the existence of a particular logic, legal logic.Thus in the first paragraph of his work, where Klug attempts to define the concept of legal logic, he states that it comprises the study of the rules of formal logic as used in the judicial application of rules of law (p. 6); that legal logic is therefore practical logic, consisting of the application to law of the rules of pure or theoretical logic which is general logic (p. 7).

Idiocy and Forlorn Features in Samuel Beckett’s Play “Waiting for Godot”

2019 ◽  
Vol 11 (1) ◽  
pp. 151
Author(s):  
Mohammad Owais Khan ◽  
Saudi Arabia
Keyword(s):  
Twentieth Century ◽  
The World ◽  
Waiting For Godot ◽  
Long Time ◽  
To Come ◽  
Special Language

The aim of this paper is to express the idiocy and forlorn elements in Samuel Beckett’s play ‘Waiting for Godot’. To achieve the goals of the research, it is necessary to investigate deeply a blend of comic and pathos involved in the play. These elements are: first, the idiocy which basically depends on the special language of the play, the pitiful and deplorable elements and the use of irony and satire. The play was written in 1949, translated into many languages and it is still performed in many countries all around the world. Waiting for Godot is hailed as one of the masterpieces of the theatre of absurd. With the manifestation of this play on the horizon there came a revolution in the theatre of the twentieth century that was to continue for a long time to come and influence many writers thereafter. Beckett shades light on the sociological and moralistic perspective with the tinge of humour and pathos. His excellent imagination and literary skill create an unforgettable imprint in the minds of his readers. 

Debussy's Legacy and the Construction of Reputation

2018 ◽  
Author(s):  
Marianne Wheeldon
Keyword(s):  
Twentieth Century ◽  
Cultural Politics ◽  
Interwar Period ◽  
Concert Music ◽  
Central Figure ◽  
To Come ◽  
State Of Affairs ◽  
Reputation Building

This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.

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