Search Results (4)

The study begins with the questions “Where was Paradise?” and “How was the Garden cultivated?”, and the relationship between different modes of interpretation. It compares the biblical data (Gen. 2) with patristic testimonies (John Chrysostom, Ambrose, Ephrem, Gregory of Nyssa, John of Damascus) and symbolic readings (Philo, Cyprian, Hippolytus), in order to assess whether the plurality of meanings generates confusion or coherence. Situated within the divergent approaches of these patristic authors—especially concerning literal and figurative aspects—I aim to outline an integral theological reading of the Eden tradition and of the aforementioned questions. The methods used in this research are comparative biblical and patristic exegesis, structured through a four-step framework: (1) retaining the literal sense when the text provides anchors (rivers, orientation); (2) shifting from description to vocation in the moral-liturgical sense (“to work”/“to keep”); (3) accepting the ineffable (2 Cor. 12) as a boundary; (4) articulating an ontology of paradisiacal matter. The findings of this study are as follows: Eden is an earthly reality, but one with transfigured materiality; “work” is an inner activity (obedience, contemplation) without toil; and the diversity of interpretations proves to be complementary: the literal anchors the “where/what”, while the spiritual illuminates the “why/how”, together avoiding both inert geography and ungrounded symbolism. Full article

The centrality of disruption as a graced moment of awakening social imagination to a new dawn where human flourishing becomes a possibility ought to be the focus of the church’s praxes of sacramental rituals. In fact, Christianity is itself a religion of disruption. The God–human reality that manifests itself in Jesus Christ is itself a graced disruption. God chooses to disrupt the familiar world of fallenness and thus offers God-self as a mediating gift that reorients creation to a new way of being that transcends the familiar orientation towards sin. Disruption, as an existential phenomenon, is not alien to the human condition. In fact, all aspects of human life are saturated with disruption. In fact, grace is itself God’s disruptive intervention in human history. Since creation embodies the goodness of God, creation can be said to be a sacramental symbol of disruption. In a social world where racism and other structures of marginality operate, victims of such marginalities embody in their existence the disruptive grace that can transform such a society. Black bodies are loci for encountering the disruptive grace intended to end the vice of racism. They also serve as the loci for the church to imagine a new way of being a sacrament of disruption in the world because of their existential proximity to the historical realities defining the life of Jesus Christ as a victim of the hegemony of empire. This work shows how black bodies can help foster a new imagination of the human in our contemporary world where systems of marginalization continue to shape human life in general. It attempts to address the following question: how can one conceive of black bodies in a world defined by systems of erasure that directly affect black persons and their embodied agencies? To do this effectively, this work appropriates a constructive theological approach that grounds itself in an interdisciplinary discourse with the intent to argue that to speak of the human person is to instantiate a polyphony of insights: insights that appeal to an ethical consciousness that is defined by altruism. Full article

Georgian polyphonic chant and folk song is beginning to receive scholarly attention outside its homeland, and is a useful case study in several respects. This study focuses on the theological nature of its musical material, examining relevant examples in light of the patristic understanding of hierarchy and prototype and of iconography and liturgy. After brief historical and theological discussions, chant variants and paraliturgical songs from various periods and regions are analysed in depth, using a primarily geometrical approach, describing the iconography and significance of style, musical structure, contrapuntal relationships, melodic figuration, and ornamentation. Aesthetics and compositional processes are discussed, and the theological approach in turn sheds light on questions of historical development. It is demonstrated that Georgian polyphony is a rich repository of theology of the Trinity and the Incarnation, and the article concludes with broad theological reflections on the place of sound as it relates to text, prayer, and tradition over time. Full article

The doctrine of God’s Triunity is at the core of Christian faith; this article presents a theological survey of how it has been understood in a musical way during the Christian era. The role of music as a participation in the liturgy of mutual love eternally experienced in the Trinity is first analyzed, with references to the Church Fathers and to modern/contemporary theologians. Later, the three main forms of congregational singing are taken into account (i.e., monody, polyphony and harmony), pointing out how each has been seen in turn as a symbol of the Trinity’s love. Full article