By Dr Torevell David
Contemporary tradition is rediscovering the significance of good looks for either social transformation and private happiness. Theologians have sought, of their different methods, to illustrate how God's good looks is linked to notions of fact and goodness. This ebook breaks new floor by means of suggesting that liturgy is the potential par excellence through which an event of attractiveness is communicated. Drawing from either secular and non secular understandings, specifically the paranormal and apophatic culture, the ebook demonstrates how liturgy has the capability to accomplish the only eventually trustworthy type of good looks simply because its embodied elements may be able to mirror the stressful fantastic thing about the single to whom worship is usually provided. Such parts depend on figuring out the classy dynamics upon which liturgy relies.
This publication attracts from a large variety of disciplines interested in realizing good looks and self-transformation and concludes that whereas secular utopian types have a lot to give a contribution to moral transformation, they eventually fail on the grounds that they lack the Christological and eschatological framework wanted, which liturgy on my own provides.
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Extra info for Liturgy and the Beauty of the Unknown (Liturgy Worship & Society)
St John wrote on three different occasions about the importance of religious images, and these works have now become known as Three Treatises (2003). These works are part of a broader picture, however, since they reflect St John’s involvement in the defence of Christian orthodoxy (indeed he wrote a piece entitled On the Orthodox Faith) and demonstrate the wider significance of this debate. They belong, therefore, to a tradition which attempts to define what Christianity is and how it might be practised.
The difficulty here is whether liturgical symbols can sustain a movement so straightforwardly recognized by Denys. If the twelfth century strengthened the symbolic mentality, the same might be said in reverse for the twentieth and twenty-first centuries. The disenchantment of modernity (Torevell 2000b) stripped the symbolic imagination and its recovery is far from restored. Symbols are not so simply interpreted, nor is their use so readily adapted within liturgical contexts as they were during Denys’s time.
Liturgy must draw those present into that silence which is at the centre of the words and symbols and to which they point; it must therefore be essentially contemplative. As a consequence, liturgy makes a serious demand on the ‘hierarch’ (the bishop) – he must be trained in the contemplation of the divine and the still – and in his active ministry he must hold fast to contemplation. For without this meditative inclination and ability to render the silence beyond the symbolic, liturgy will fail to do its job – to draw all worshippers towards and into the inexpressible love of God.
Liturgy and the Beauty of the Unknown (Liturgy Worship & Society) by Dr Torevell David