Reformation “displays what things look like to an eye required to understand.” 12 In other words, Koerner demonstrated that the Reformation changed more than beliefs, doctrines, and dogmas. It changed the kinds of work images were supposed to perform in Christianity. It changed the way Christians looked at
With a new Study Translation by Katherine Firth and a Preface by N. T. Wright
The commentary explains the Biblical and poetic text, and its musical setting, line by line. Bach’s Passion is shown to be the work of a master craftsman and trained theologian, in the collaborative and cultural milieu of eighteenth-century, Lutheran Leipzig.
For the first time, this work makes much German scholarship available in English, including archival sources, and includes a new scholarly translation of the libretto. The musical and theological terms are explained, to enable an interdisciplinary understanding of the Passion’s meaning and continued significance.
discussed in so far as they “arose as an inference from aesthetic and philosophical beliefs.” 8 As such, fascism was not their primary interest. Burns had rejected the ideas of the Action Française as a young man in Paris 9 and claimed that the ideas of his circle “had nothing to do with the New Order
position,” Burns said, but “were less against amatory excursions than most rigid Catholics.” Rather than endorsing Lawrence’s belief that orgasm can be a mystical experience, they agreed that it might symbolize mystical union with God. Still, they thought Lawrence a prophet in the Cambridge
care for detail that only increased as he grew older, and the intensity of his belief in the luminous presence of signs. The inscription, Jones once said, was “my form of abstraction,” and it is in these works that word and image are united with the greatest purity of intent and execution in his oeuvre
Paul S. Fiddes
of “mimesis,” or the belief that art was truthful in so far as it mirrored nature, had held sway throughout the Enlightenment. What had mattered was the correspondence of image to physical object, but now this view was being radically questioned. In the visual arts, Cubism was breaking up the smooth
role as a poet. I do this not to advertise my own wares, but rather to contrast other possible approaches in ways that further highlight David Jones’ methods. First, I should again emphasize how highly I regard David Jones’ extraordinary belief in the ability of poetry to come to grips with, to
, animate and inanimate, as it expressed their inner soul [and] he was confident that the form or inscape was significant of God’s presence in all things.” 26 What motivated Hopkins, crucially, was belief in the artwork’s ability to communicate this divine presence; not only by representing the particulars
Elizabeth Coatsworth and Gale R. Owen-Crocker
magnificent Sainte-Chapelle next to the royal palace in Paris as a shrine for them. His religious belief led him to go on two crusades. 16 The first of these, in 1248, is closely documented by his biographer Jean de Joinville, French, medieval chronicler most famous for his Life of St Louis (Louis IX) Jean
as an active power which draws the one to the other, and which enters the circle of reciprocal attraction of love and beauty. Early Christian theologians were deeply fascinated by platonic interpretations of the erotic and have revised and integrated them into their belief system where God as the