Search Results (56)

Amidst Hölderlin’s many well-known odes, elegies, and hymns, it is perhaps not surprising that Hölderlin’s occasional poem “To my Venerable Grandmother. On her 72nd Birthday” (Meiner verehrungswürdigen Grosmutter. Zu ihrem 72sten Geburtstag) has been translated into English only once and in an obscure self-published edition. Yet the poem is rich in Hölderlin’s distinctive diction and syntax, it reveals much about Hölderlin’s aspirations for himself, and it contains one of his deepest sets of reflections on Christ. Still, the poem is often overlooked. But once one reflects on its content, with its multiple attempts to name Christ, including his friendship to the earth and his knowing no strangers, one can readily see why Pope Francis elevated this poem as one of his favorite literary works. This publication presents the first accessible translation of the poem (I), after which I offer some commentary on its form, individual lines, and the translation (II). I then turn to the period of his writing the poem (III). I conclude with a few additional thoughts on Hölderlin and religion (IV). Full article

The current article does not directly study the liturgical ritual as a set of gestures and forms of ceremonial behavior. Instead, it focuses on shedding light on the doctrinal content of many Mariological liturgical hymns, precisely the conceptual basis that gives meaning to the corresponding Marian liturgical rituals. Based strictly on the study of primary sources of Christian doctrine, this article aims to highlight the belief in the help, protection, and mediation of the Virgin Mary on behalf of human beings as reflected in countless medieval Latin liturgical hymns. The article is divided into two central parts: in the first, the author presents, in the original Latin and its English translation, an extensive series of fragments of liturgical hymns that develop the Mariological belief; in the second, he summarizes the primary doctrinal meanings and emotional attitudes that hymnographers reflect when poetically reconfiguring this belief in their hymns. Following the conclusion, the article catalogs the abundant sequence of Christian primary sources used in this research. Full article

This article aims to explain why, in some European representations of the Annunciation, a bundle of rays of light comes from the mouth of God the Father toward the head/ear of the Virgin Mary. In order to find a satisfactory answer to this problem, the author first studies a series of biblical, patristic, theological, and liturgical sources referring to the supernatural human conception of the Word of God in Mary’s immaculate womb. He then analyzes eleven images of the Annunciation that present this peculiarity. Finally, through a comparative analysis between the doctrinal texts and these exceptional images, the author concludes that the latter illustrate as visual metaphors the textual metaphors contained in the writings of some Church Fathers, medieval theologians, and liturgical hymnographers; that is to say, the beam of rays of light emitted by the mouth of the Most High to the Virgin’s head/ear metaphorizes the human conception/incarnation of the Word of God in the virginal womb of Mary. Full article

This paper proposes that William Cowper’s Olney Hymns (1779) instantiate a curious form of modern belief. Cowper’s hymns are riddled with personal confessions of doubt, unbelief, and a sense of exile from the broader Christian church. At the same time, the public nature of his hymns—an emergent genre in eighteenth-century England—placed such private misgivings in a communal context. As congregations collectively sang their individual doubts, those doubts were transformed into tentative affirmations of faith. To believe meant one first had to admit his or her unbelief, joining voices with those who likewise declared that they, too, lacked faith and did not belong in God’s church. This sense of exile was abiding for Cowper, and his hymns thereby suggest that a crucial aspect of faith and communal religious identity is Christians’ insistence that they can never quite believe what it is they are singing. Belief is, therefore, inextricably tied to a sense of belonging with those who do not belong. Full article

Objectives: This study explored the challenges and solutions to the effective promotion of physical activity (PA) to cancer survivors in practice in Ireland amongst a variety of stakeholders, including healthcare professionals (HCPs), policy makers, community providers of cancer care, and academics. Methods: Focus groups (n = 5) were conducted with participants (n = 40), including oncologists, oncology nurses, physiotherapists, cancer support centre managers, academics, consumers, cancer policy representatives, exercise specialists, community providers of exercise programmes, and a chartered psychologist. The data were analysed using reflexive thematic analysis. Results: Four primary themes were identified: (i) embedding PA into the cancer pathway (including the sub-themes of ‘singing from the same hymn sheet’, ‘PA as an essential element of treatment’, and ‘intervention opportunities and models of care’); (ii) education and training; (iii) access to appropriate PA interventions; and (iv) tailored programmes. Conclusions: The importance of embedding PA into the cancer pathway such that PA is viewed by clinicians and patients as a key part of their treatment was emphasised. Opportunities for PA intervention within existing practice were highlighted, such as the chemotherapy education sessions run by Daffodil nurses. Findings pointed to a need for education and training for HCPs that include how to coach and counsel cancer patients concerning PA in clinic. Finally, a major barrier to PA promotion was limited access to appropriate PA interventions. Full article

This article sheds light on the repercussions of the Proverbs sentence “Wisdom has built her house” on Christian doctrine and on the Marian iconography of the Annunciation. To achieve his objectives, the author uses a double comparative analysis as a methodology. To begin with, he analyzes a vast corpus of texts in which numerous Fathers, theologians, and liturgical hymnographers of Eastern and Western Churches interpret this biblical locution according to Mariological and Christological projections. Secondly, he analyzes eight pictorial Annunciations from the Italian Renaissance in which Mary’s house in Nazareth is depicted as a luxurious palace. As a result of these two sets of analyses, the author concludes that the interpretations of the Fathers, theologians, and hymnographers about the house built by Wisdom and the form of the house/palace in images of the Annunciation allude to the dogma of God the Son’s supernatural human conception/incarnation in Mary’s virginal womb. Full article

Used to mark devotion to the main propagators of Jainism, namely the Jina (arhat), the Liberated Souls (siddha), the Teachers (ācārya), the spiritual Guides (guru), the Preceptors (upādhyāya), and the monks (muṇi), the formula of homage to the five supreme entities (pañcanamaskāra) underwent a significant development in the medieval period where it became a mantra protecting against all evils and violence and symbolising Jainism in its entirety and its respect for life in all its forms amidst the various Indian religions. In the present paper, I intend to investigate how the formula was used in largely unknown romance poems composed in the Prakrit language by Jaina scholar monks in medieval North India between the 8th and 12th centuries. Particular attention will be paid to how the writer monks used the formula of homage in the narrative to avoid the use of violence. The analysis will also focus on the development of the formula in the hymns of praise of the romance poems and study its significance in the context of the spread of Jainism at the turn of the first millennium, a period that led to the advent of King Kumārapāla, who has remained famous in history not only for the imposing monuments he left behind, but also for his conversion to Jainism and his governance according to principles of non-violence. Full article

The current article seeks two interrelated objectives. First, we will shed light on the Mariological and Christological meanings underlying the saying templum Dei and other similar metaphorical expressions, with which countless medieval liturgical hymns, inspired by the Bible, designate the Virgin Mary. Second, we will iconographically interpret some paintings of the Annunciation from the 14th and 15th centuries that represent Mary’s house in Nazareth as a majestic temple. In this order of ideas, we will proceed according to two complementary methodological strategies: first, we will analyze an abundant corpus of fragments of liturgical hymns configured around some biblical metaphors, such as temple of God, tabernacle of the Lord, seat of Wisdom, Ark of the Covenant, temple of Solomon, or throne of the King (Solomon); second, we will analyze eight pictorial Annunciations that include a temple in their scene. The comparison of both analyses, the texts and the images, will allow us to conclude that these texts are the conceptual support of those images, and that the latter are the visual illustrations of those concepts. Full article

The Harrist Church in Ivory Coast, West Africa, emerged from the ministry of Liberian William Wadé Harris who baptized between 100,000 and 200,000 people during his eighteen-month evangelistic tour, 1913–1915. This story is full of linguistic complexities and anomalies. Harris himself spoke only English and his own local Liberian Glebo language. He was therefore compelled to work through expatriate English-speaking merchants, knowledgeable of and conversant in local languages, as interpreters and translators in addressing the twelve ethnic groups who heard and accepted his message. Harris encouraged new converts to compose hymns in their own indigenous languages by transforming musical genres embedded in their local musical traditions. Additionally fascinating is that during this early colonial period, the twelve ethnic groups impacted by Harris’s ministry lived in almost total isolation from each other and developed their own hymn traditions for thirty-five years (1914–1949), unaware of the existence of churches and worship patterns in neighboring ethnic districts. Only in 1949 did they suddenly become acquainted with the broader, multi-musical, multilingual reality of the Harrist movement. Since then, individual musicians and choirs from local congregations have gradually begun to sing a few of each other’s songs, though the challenge of becoming a truly multicultural, multiethnic church remains a work in progress. Documentation of these developments include written colonial and early Protestant and Catholic missionary sources and a large number of eye-witness interviews. Primary research methods employed here come from four intersecting disciplines and theoretical frameworks: orality studies, with particular focus on oral sources in constructing historical narrative; religious phenomenology; mission history; and ethnodoxological research. Full article

Friedrich Hölderlin’s late hymns Patmos (first version) and Mnemosyne (early draft) create an intriguing tension between the “solid letter” that must be deciphered faithfully and the evocation of a “sounding script” that, together with an equally enigmatic “echo”, refuses direct hermeneutic understanding. At the point where the reader’s interpretive desire threatens to fail, musical settings like Peter Ruzicka’s MNEMOSYNE: Remembrance and Forgetting can be listened to as an attempt to actualize what Hölderlin’s original writing must leave unrealizable: the presence of real sound. In this audio-hermeneutic transfer, the act of listening opens up possibilities of the audible that are promised by the literary text without being actualized. The present essay interrogates this intermedial translatability between letter and sound by isolating a few selected passages from the facsimile reproduction of Hölderlin’s palimpsestic manuscript of multiple revisions, as provided by the Frankfurter Ausgabe. Mindful of the discontinuities and gaps in the original poems, my own analysis foregrounds its own fragmentary mode of reading Hölderlin’s poetry and listening to Ruzicka’s music. Full article

This study aims to analyze, through religious hymns in the German-speaking area from the early 18th century, the influence that the Pietist theological movement, starting from Philipp Jacob Spener’s Pia Desideria, had on the centralization of the self in the Protestant religious world, through the introduction of personal feelings of love towards God. On the one hand, the origins of Pietism can already be traced back to the late 16th century in areas affected by the radical reforms of the Anabaptists. On the other hand, it is from the late 17th century and throughout the 18th century that this theological and spiritual movement destabilized orthodox Lutheranism in some symbolic cities of Protestant Germany, such as Frankfurt am Main, Halle, and the Duchy of Westphalia, up to Moravia. The extensive publication of hymnals and musical compendia for the use of individuals, lay groups (collegia pietatis), faith communities, and churches denotes a fervor and a desire to preach their way of “practicing” spirituality, which greatly contrasts with both orthodox Lutheranism and the prevailing rationalism in the religious and philosophical sphere in Germany of the mid-18th century. For the first time since the Reformation, Lutheranism saw the use, in the theology of the preached and sung Word, of personal feelings and emotions that connect the individual with God, who is made an object of individual as well as collective worship. This was one of the most significant accusations that came from the University of Wittenberg against Pietism, namely the shift of theological and spiritual focus from the centrality of God to the centrality of the self, which manifests its faith through the most intimate emotions and feelings. Through the analysis of some examples taken from hymnographic and theological production, centered on the individual feelings of the believer, this article focuses on how this influenced the religious revival movements that would pervade England and the United States of America for more than two centuries (from the First Great Awakening in the late 18th century to the Pentecostal movements of the 20th century), with a spotlight on Italian hymnody during the Risorgimento. Full article

This article investigates the Sanskrit hymn, ´Srī Gurugītā, from a scholarly, scriptural, historical, and ethnographic standpoint. Mystical yogic concepts such as chaitanya-shabda (Consciousness–sound) and shravana samadhi (absorption through reading or listening to holy texts) are introduced in the context of Gurugītā recitation. The history of diverse lineages that practice Gurugītā recitation and several historical dimensions of svadhyaya (long-text chanting) and namasankirtana (short chants) are briefly introduced, and the works of Jeremy Morse and Antonio Rigopoulos are closely considered. This article deals with the significant elements of yogic awakening referenced within the Gurugītā text and the goal of liberation cited therein. Many scholars have researched Hinduism, Tantra, Bhakti yoga, and devotion. This article investigates musical devotion in the context of yogic communities dedicated to Gurugītā recitation with the aim of experiencing the inner Self. The democratization and dissemination of this practice have global dimensions. Full article

Discussions of Philippians 2:6–11 consider whether it is intended kerygmatically or ethically. Kerygmatic proponents consider that Paul inserted an early hymn to narrate the story of Christ’s coming and his exaltation to encourage the worship of Christ. Ethical readers argue that the hymn aims to shape readers’ ethical posture. Others argue that both ideas are in play. This essay argues that the passage has kerygmatic power. It declares the story of Christ’s coming, self-emptying and humbling, incarnation, death, exaltation, and cosmic lordship. However, it also presents Christ as the ultimate ethical paradigm. It argues, however, that the “ethical” reading is reductionistic unless explained in the direction of social relationships (socioethically) and mission (missioethically). The passage’s missional power is then clarified. First, the broader context in the first century is missional and evangelistic. Second, the “fabric” of the letter urges engagement in gospel proclamation. Third, the movement of the passage is missional, and it succinctly proclaims the gospel of Christ. Fourth, the purpose of Christ’s exaltation is universal submission supposing the proclamation of his lordship. Finally, the hymn climaxes with worship, the end goal of all missions. As such, the hymn should be read through a missional and evangelistic lens as it invites readers to participate in God’s goal of universal submission to Jesus Christ as Lord. Full article

For over a century, Hong Kong Christians have sung Chinese hymns in an “out-of-tone” manner. Lyrics in traditional hymnals were translated or written to be sung in Mandarin, the national language, but most locals speak Cantonese, another Sinitic and tonal language. Singing goes “out-of-tone” when Mandarin hymns are sung in Cantonese, which often causes meaning distortions. Why did Hong Kong Christians accept this practice? How did they move from singing “out-of-tone” to creating contextualized Cantonese contemporary worship songs? What does this process reveal about the evolution of Chinese Christianity? From a Hong Kong-centered perspective, this article reconstructs the city’s hymnological development. I consider the creation of national Mandarin hymnals during Republican China as producing a nationalistic Mainland-centric and Mandarin-centric Chinese Christianity. Being on the periphery, Hong Kong Christians did not have the resources to develop their own hymns and thus continued to worship “out-of-tone”. With the decline of the old Chinese Christian center of Shanghai, the growth of Cantonese culture and Hongkonger identity, and the influence of Western pop and Christian music, local Christians began to create Cantonese contemporary worship songs. This hymnological contextualization reflects and contributes to not only the decolonization but, more importantly, the decentralization of Chinese Christianity. Full article

In the past, the Romani in Slovakia identified with the prevailing religion, mainly with the Roman Catholic Church. However, the missionary activities of various Christian denominations after 1990 resulted in the conversion of the Romani to Pentecostal Christian communities. This launched a long, creative process of the formation of Pentecostal Romani music. Romani believers consider music and the ability to play and sing to be a gift from God and view these as a form of prayer that should serve for the praise of God. That is why many have given up their worldly music making and now play only praise songs. They gradually modified the hymns they borrowed and replaced them with their own creations. The soundscape of religion does not lie only in religious singing and music, as the emotional sermons and prayers, glossolalia and sounds during the healing and blessing rituals can also be considered religious sounds. During the worship services, this mixture of various sounds leads to the gradual spiritual and emotional unification of the community. The music and the rituals create feelings of intense sensory and emotional character that reflect in bodily expressions. Movements, dance, and the positions of the hands can help glorify God and experience the worship service more intensely. However, under certain circumstances, they might become sources of temptation and sin. This is related to the concepts of “purity” and “impurity”. The premises, whether sacral or profane, interior or exterior ones, also play a significant role in creating the sound. In writing this paper, I have also drawn on my own research on Romani Christian songs, which I carried out in (2012–2013 in Eastern Slovakia). Full article