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Washed to the Edges: Renewing the Practice of Footwashing 洗到边缘:更新洗脚的做法
Pub Date : 2022-07-21 DOI: 10.1177/00393207221111619
Joshua Zentner-Barrett
The footwashing ritual on Maundy Thursday is often greeted with a mixture of emotions by congregations of all kinds. Neither ordinance nor sacrament, it is one of the more puzzling practices of the church. Its unique appearance in the Gospel of John sets up Jesus’ glorification on the cross—and calls Christians to the same. This paper—in four sections—examines the footwashing as a rite of passage, drawing on the ritual theory of Arnold van Gennep and Victor Turner. The first section offers a study of the theological implications of John 13:1–20. In the second section, these implications are examined in the context of the ritual's liturgical history. The third section introduces certain ritual theories and uses the Johannine passage to exemplify them. Finally, the fourth section discusses this analysis in relation to the church's liturgical practice, specifically its connection to baptism. The relationship between baptism and footwashing offers insights into ways of making the ritual into a transformative, liminal encounter with God, rather than just a performance.
圣周四的洗脚仪式通常会受到各种各样的会众的复杂情绪的欢迎。既不是法令也不是圣礼,这是教会最令人费解的做法之一。它在约翰福音中独特的出现建立了耶稣在十字架上的荣耀,并呼吁基督徒也这样做。本文利用阿诺德·范·格内普和维克多·特纳的仪式理论,分四个部分考察了洗脚作为一种成人仪式。第一部分研究约翰福音13:1-20的神学含义。在第二部分,这些含义是在仪式的礼仪历史的背景下进行检查。第三部分介绍了一些仪式理论,并用约翰的段落来举例说明。最后,第四部分讨论了这一分析与教会礼仪实践的关系,特别是它与洗礼的关系。洗礼和洗脚之间的关系提供了一种见解,使仪式成为一种与上帝的转变,而不仅仅是一种表演。
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引用次数: 0
The Deesis on Van Eyck's Ghent Altarpiece: Its Potential for a Liturgical Theology Today 论范艾克的根特祭坛画:它对今天的礼仪神学的潜力
Pub Date : 2022-07-19 DOI: 10.1177/00393207221111562
J. Geldhof
The core argument in this article is that it is meaningful and revealing to look at a world-famous medieval piece of art, in this case, the Ghent Altarpiece, to raise questions relevant for contemporary liturgical theology. The article starts with an evocation of where and how the Altarpiece is today exhibited for the public, and continues by elucidating the historical context for which it was created. This is followed by a brief interpretation of the Altarpiece's complex iconographic program showing how a focus on the Eucharist sheds light on the whole. The assertion is then made to argue that the central figure on the upper level of the opened polyptych is not God the Father, as is often held, but the Son of God. The major argument for this relies on the fact that the three central figures on the upper level together constitute a deesis, as often found in the Byzantine tradition of icons. Mary, the Mother of God, and Saint John the Baptist pray for humankind to Jesus Christ in his eschatological capacity of king, ruler, and judge. If and inasmuch as this is the case, this observation gives rise to intriguing questions for liturgical theologians, in particular questions related to the ways in which the connections between the earthly and the heavenly liturgy are to be understood.
本文的核心论点是,审视一件举世闻名的中世纪艺术品,在这种情况下,根特祭坛,提出与当代礼仪神学相关的问题,是有意义的和有启发性的。这篇文章首先唤起了人们对祭坛在哪里以及如何向公众展出的回忆,并继续阐明了它被创造出来的历史背景。接下来是对祭坛画复杂的图像程序的简要解释,展示了对圣餐的关注如何揭示了整体。然后,这个断言是为了争辩说,在打开的多形画的上层的中心人物不是父亲上帝,因为通常认为,而是上帝的儿子。对此的主要论点依赖于这样一个事实,即上层的三个中心人物一起构成了一个神,就像在拜占庭传统的图标中经常发现的那样。圣母玛利亚和施洗者圣约翰为人类向耶稣基督祈祷,耶稣基督是末世的君王、统治者和审判者。如果情况确实如此,那么这种观察就会给礼仪神学家带来一些有趣的问题,特别是有关如何理解地上和天上礼仪之间的联系的问题。
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引用次数: 0
Body as the Offering Gift in the Performance of the Liturgy of the Hours in the Malankara Syrian Liturgical Rite 在马兰卡拉叙利亚礼仪礼仪中,身体作为献祭的礼物
Pub Date : 2022-07-18 DOI: 10.1177/00393207221111582
Reni Mathew
A worshiper as both corporeal and spiritual being cannot confine their prayers only to minds and hearts. However, on the other hand, it is also to be expressed through the worshiper's physical body. The integrity of the liturgical act and prayer is not only by one's vocal pronouncement but also “by” and “with” one's body. The human body and mind are fitted with a diversity of intellectual and sensual capacities. Thus, Liturgy is expressed orally and takes shape in bodily postures and gestures. This paper explores the traditional components of liturgical gestures and poses in the performance of the Liturgy of the Hours in the Malankara Syrian/West Syrian liturgical tradition. Further, it investigates the use of non-verbal language and its symbolic meaning in the Liturgy of the Hours. Finally, this paper seeks answers to the following questions: based on the performance of the Liturgy of the Hours, can we say that liturgical anthropology is rooted in Kinaesthetic? How does the book of the common prayer contribute and explain the human body as a gift of God and an offering back to God? This study explores the given topic from a liturgical-theological perspective. This approach guarantees and inspires the necessity to preserve and promote the artistic movement and gestures in the Liturgy of the Hours.
敬拜者既是肉体的也是属灵的,不能把他们的祷告只局限于思想和心灵。然而,另一方面,它也要通过敬拜者的身体来表达。礼仪行为和祈祷的完整性不仅是通过一个人的声音宣告,而且是“通过”和“与”一个人的身体。人的身体和心灵具有各种各样的智力和感官能力。因此,礼仪是口头表达的,并以身体的姿势和手势来表现。本文探讨了马兰卡拉叙利亚/西叙利亚礼仪传统中礼仪姿态和姿势的传统组成部分。此外,它调查使用非言语的语言和它的象征意义,在礼仪的时间。最后,本文寻求以下问题的答案:基于《时时礼仪》的表现,我们是否可以说礼仪人类学根植于动觉学?公共祈祷书是如何贡献和解释人体作为上帝的礼物和献给上帝的祭品的?本研究从礼仪神学的角度探讨给定的主题。这种方法保证并激发了保存和促进艺术运动和姿态的必要性。
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引用次数: 0
‘In Procession Before the World’: Spectacles of Faith Outside the Walls of the Church “在世界面前的游行”:教堂墙外的信仰奇观
Pub Date : 2022-07-18 DOI: 10.1177/00393207221111561
Lizette Larson-Miller
The phrase “ in procession before the world ” is undoubtedly familiar to many. It is drawn from Origen ’ s Exhortation to Martyrdom, written in 235, and describes the public witness of Christians to the glory of God through their willingness to be condemned to death for their faith. The verbal and visual image of this ‘ procession before the world ’ was re-introduced with the 2001 monograph publication of Robin Darling Young ’ s lecture at Marquette University, entitled In procession before the world: martyrdom as public liturgy in early Christianity . In borrowing Origen ’ s phrase and focus on martyrdom as witness to faith, Darling Young stressed the public nature of martyrdom as a type of public liturgical sacri fi ce in which the word of Jesus and his kingdom was confessed and acted out, and an offering made that repeated his own. If the Eucharist of the early Christians was a kind of substitute sacri fi ce, then the martyr was an imitative one. When the eucharist was still private, not open to non-Christian view, the martyrs ’ sacri fi ce was public and dramatic. 1
“在世人面前列队行进”这句话对许多人来说无疑是熟悉的。这是来自奥利的劝诫殉道,写于235年,并描述了基督徒的公开见证,通过他们愿意被判处死刑的信仰,上帝的荣耀。2001年,罗宾·达林·杨在马凯特大学发表了题为《在世界面前的游行:早期基督教中的殉道仪式》的专著,重新介绍了这种“在世界面前的游行”的口头和视觉形象。达林·杨借用奥利金的说法,把重点放在殉道作为信仰的见证上,强调了殉道的公共性,作为一种公共礼仪的献祭仪式,在这种仪式中,耶稣和他的王国的话语被承认和实践,一种献祭重复了他自己的话语。如果说早期基督徒的圣餐是一种替代献祭,那么殉道者就是一种模仿。当圣餐还是私人的,不向非基督徒开放时,殉道者的牺牲是公开的和戏剧性的。1
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引用次数: 0
Mixed Media: The Assembly's Theologia Prima of Resistance to Its Place of Prayer 混合媒介:大会的首要神学对其祈祷场所的抵抗
Pub Date : 2022-07-18 DOI: 10.1177/00393207221111563
Bryan Cones
Many liturgical assemblies celebrate in spaces purpose-built for the worship of a different age. While financial and other constraints limit the possibility of complete reordering and renovation of these buildings, assemblies can nevertheless creatively engage their inherited architecture and discover new encounters with the living God. This paper explores how active resistance to the built environment can be a juxtaposing act of primary liturgical theology that interacts with the received liturgies of past assemblies and proposes new patterns for prayer even in inhospitable spaces.
许多礼拜集会在专门为不同年龄的人建造的空间里举行。虽然财政和其他限制限制了这些建筑完全重新排序和翻新的可能性,但会众仍然可以创造性地参与他们继承的建筑,并发现与永生上帝的新相遇。本文探讨了对建筑环境的积极抵抗如何成为主要礼仪神学的并置行为,与过去集会的礼仪相互作用,并提出了新的祈祷模式,即使在不适宜居住的空间。
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引用次数: 0
Domestic Liturgies in Time of Lockdown: A Survey to Orientate Post-Covid-19 Liturgical Ministry 封锁时期的家庭礼仪:新冠疫情后礼仪事工定位调查
Pub Date : 2022-07-18 DOI: 10.1177/00393207221112183
A. Join-Lambert
Based on a survey of 1,200 people in France and Belgium on their ritual practice during the period of lockdown due to COVID-19 (Spring 2020), the author highlights the major importance of eucharistic liturgies broadcast by the various media and followed by many of the faithful, with the theological and pastoral questions that this raises. He notes above all the small but nevertheless significant proportion of domestic liturgies in small locked down groups, whether encouraged or not by their pastors, which give space to certain creativity at the same time as to the Church's liturgical tradition. This observation leads him to question the major challenges of a liturgical and sacramental pastoral ministry geared towards developing and encouraging the assumption of responsibility by the laity for their prayer and liturgical life, beyond and complementary to the Sunday Eucharist, within their communities and more particularly in their family context.
作者对法国和比利时1200人进行了调查,了解他们在2019冠状病毒病(2020年春季)封锁期间的仪式实践,并强调了各种媒体播放的圣体礼拜仪式的重要性,以及由此引发的神学和牧灵问题。他首先注意到,在小而封闭的群体中,家庭礼仪的比例虽小,但却很重要,不管他们的牧师是否鼓励,这给了某些创造力空间,同时也给了教会礼仪传统空间。这一观察使他质疑礼仪和圣事牧灵工作的主要挑战,这些工作旨在发展和鼓励平信徒承担他们的祈祷和礼仪生活的责任,超越和补充主日感恩祭,在他们的团体中,特别是在他们的家庭环境中。
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引用次数: 0
Reframing Liturgical Theology Through the Lens of Autism: A Qualitative Study of Autistic Experiences of Worship 从自闭症的角度重构礼仪神学:对自闭症敬拜经验的定性研究
Pub Date : 2022-07-18 DOI: 10.1177/00393207221111573
A. L. Van Ommen, Topher Endress
The way autistic people experience worship services is typically different from the majority, non-autistic church population. These autistic ways of experiencing worship, however, are mostly disregarded in practical and in liturgical theology. This leads not only to exclusion of autistic people from the worshiping congregation, but both the church and liturgical scholarship miss out on the opportunity to enrich its worship practices and theology through the diversity offered by autistic participants. This article presents the results of a qualitative study involving thirteen in-depth interviews with autistic people, summed up in three main themes: the experience of worship, community, and encountering God. The ensuing theological reflection on these themes argues that the indispensability of autistic worshipers to the body of Christ, and the theological evaluation of the “normalcy,” are key principles for reframing liturgical theology through the lens of autism.
自闭症患者体验敬拜的方式与大多数非自闭症的教会成员不同。然而,在实践和礼仪神学中,这些自闭的敬拜方式大多被忽视。这不仅导致自闭症患者被排除在敬拜会众之外,而且教会和礼仪学术都错过了通过自闭症参与者提供的多样性来丰富其敬拜实践和神学的机会。本文介绍了一项定性研究的结果,其中包括对13名自闭症患者的深度访谈,总结为三个主题:敬拜经历、社区经历和与上帝相遇。随后对这些主题的神学反思认为,自闭症信徒对基督身体的不可或缺性,以及对“正常”的神学评价,是通过自闭症的视角重新构建礼仪神学的关键原则。
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引用次数: 4
Présence, Visage, Lumière - L’assemblée Liturgique Comme Icône 存在,脸,光-作为图标的礼拜集会
Pub Date : 2022-04-13 DOI: 10.1177/00393207221082458
Julie Sauvé
Les espaces liturgiques aménagés par Jean-Marie Duthilleul peuvent être qualifiés d’aniconiques. Pourtant, une étude approfondie de la théologie qui les sous-tend fait prendre conscience que Duthilleul ne rejette pas la question de l’image dans ses espaces, mais la déplace. En effet, l’attention qu’il porte à la forme de l’assemblée, à la disposition des participants dans la liturgie, aux visages de ceux-ci et à la lumière qui les éclaire, manifeste le souci de prendre au sérieux la présence du Christ au milieu de son peuple rassemblé pour prier et chanter les psaumes (cf. Sacrosanctum Concilium 7). Or, ces notions de présence, visage et lumière relèvent précisément de la démarche de l’iconographe. Il est donc possible de considérer que Duthilleul envisage l’assemblée liturgique comme une icône.
Jean-Marie Duthilleul设计的礼拜空间可以被称为无锥形。然而,对它们背后的神学的深入研究表明,Duthilleul并没有在其空间中拒绝图像的问题,而是移动了它。。事实上,他关注大会的形式,向与会者提供礼拜中,他们的面孔和光线的照耀,显然是希望认真对待基督存在的中间,汇聚人民祈祷和唱诗篇(参看Sacrosanctum Concilium 7)。然而,这些概念的存在,脸和光线恰恰属于l’iconographe步态。因此,Duthilleul可能认为礼拜仪式的集会是一个图标。
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引用次数: 0
Presence, Face, and Light: The Liturgical Assembly as an Icon 临在、脸与光:作为圣像的礼仪集会
Pub Date : 2022-03-31 DOI: 10.1177/00393207221084538
J. Sauvé
Architect Jean-Marie Duthilleul can be reproached with leaving out images in his layout of liturgical spaces. However he may only be tackling the issue in a different way. Indeed the way he fits the assembly in the liturgical space can remind us of the way icons are painted. In this study I will try to see if this hypothesis has any grounding by first recalling the norms concerning liturgical space and images, then by scrutinizing Duthilleul's approach to liturgical space and then by comparing it with that of an iconographer from three specific points of view : presence, face and light.
建筑师Jean-Marie Duthilleul可能会因为在他的礼拜空间布局中遗漏了图像而受到指责。然而,他可能只是用一种不同的方式来解决这个问题。事实上,他将集会安置在礼拜空间的方式可以提醒我们圣像的绘制方式。在本研究中,我将首先回顾有关礼仪空间和图像的规范,然后仔细审查Duthilleul对礼仪空间的方法,然后从三个特定的角度将其与肖像画家的方法进行比较,看看这个假设是否有任何基础:在场,脸和光。
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引用次数: 0
Liturgy as Essentially Poietic 礼拜仪式本质上是诗性的
Pub Date : 2022-03-01 DOI: 10.1177/00393207221081302
François Cassingena-Trévedy
The Christian liturgy is far more than a simple mobilization of a diverse range of artistic expressions in service of its ordinary performance; in fact, the liturgy is in essence a poiesis of the faith. Nor does this poiesis function as a system in harmony with Christian dogma and ethics, because in many regards it transcends these other two approaches. In the midst of the contemporary questioning concerning faith and life, believing and living, the centuries-old poiesis represents an invaluable resource. Truth alone cannot be imposed, nor should it be. More than ever, the symbolic translation of the faith, or to put it in other words, its aesthetic mediation, as expressed in its communitarian practice, will prove itself worthy of faith.
基督教的礼拜仪式远不只是简单地动员各种各样的艺术表达来服务于它的普通表演;事实上,礼仪在本质上是信仰的一种表达。这种观点也不能作为一种与基督教教义和伦理和谐一致的体系发挥作用,因为在许多方面,它超越了另外两种方法。在当代对信仰与生命、信仰与生活的质疑中,这些有着数百年历史的理论代表了一种宝贵的资源。只有真理不能被强加,也不应该被强加。比以往任何时候,信仰的象征性翻译,或者换句话说,它的审美中介,表达在它的社区实践中,将证明自己值得信仰。
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引用次数: 0
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Studia%20Liturgica
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