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This book re-examines how Bonhoeffer employs musical patterns of thought and language to a theological end. It outlines how the significance of Bonhoeffer's musico-theology has not been sufficiently recognised, and sets the stage for a rigorous re-examination. It becomes clear that through the lens of his musical metaphor of polyphony, Bonhoeffer demonstrates how his account of Christian formation contains a latent pneumatology. Tarassenko demonstrates that incorporation of this pneumatology is key in deepening one's understanding of Bonhoeffer. It allows the relationship between…mehr
This book re-examines how Bonhoeffer employs musical patterns of thought and language to a theological end. It outlines how the significance of Bonhoeffer's musico-theology has not been sufficiently recognised, and sets the stage for a rigorous re-examination. It becomes clear that through the lens of his musical metaphor of polyphony, Bonhoeffer demonstrates how his account of Christian formation contains a latent pneumatology.
Tarassenko demonstrates that incorporation of this pneumatology is key in deepening one's understanding of Bonhoeffer. It allows the relationship between Christology and Christian formation in Bonhoeffer's thought to become fully realised. The appeal to polyphony articulates this pneumatology, as an indirect but nevertheless exceedingly successful means of contouring an account of the Spirit's work.
Joanna Tarassenko is Assistant Curate at St Clement's Church, UK
Inhaltsangabe
Introduction Part One: Dietrich Bonhoeffer's Musico-Theology Chapter One: A Musico-Theological Life Introduction A. Bonhoeffer's musical existence B. Bonhoeffer's musico-theological imagination 1. Aesthetic existence 2. The music of Heinrich Schütz and recapitulation 3. Bach's Art of Fugue and Eschatology Conclusion Chapter Two: A Musico-Theological Invention Introduction A. Polyphony: a musical term B. Polyphony in the prison letters C. A musico-theological invention for love D. A musico-theological invention for life Conclusion Part Two: The Polyphonic Shape of Christian Formation Chapter Three: The Polyphony of Christ Introduction A. A Christological construct B. The Christology Lectures C. The Polyphonic Christ Conclusion Chapter Four: The Contrapuntal Christian Introduction A. Christian formation B. The church through Christ and the Spirit C. Christian formation through the Holy Spirit Conclusion Part Three: Space for the Holy Spirit Chapter Five: A Musico-Pneumatology Introduction A. The 'indirect but pervasive pneumatology' of Ethics B. Space and the Spirit in Ethics C. Musico-pneumatology Conclusion Chapter Six: A Spirit Christology acoustically defined A. Pneumatic Chalcedonianism: an orthodox Spirit Christology B. Spirit Christology for Christian formation C. Acoustic space for the Spirit Conclusion Conclusion Bibliography
Introduction Part One: Dietrich Bonhoeffer's Musico-Theology Chapter One: A Musico-Theological Life Introduction A. Bonhoeffer's musical existence B. Bonhoeffer's musico-theological imagination 1. Aesthetic existence 2. The music of Heinrich Schütz and recapitulation 3. Bach's Art of Fugue and Eschatology Conclusion Chapter Two: A Musico-Theological Invention Introduction A. Polyphony: a musical term B. Polyphony in the prison letters C. A musico-theological invention for love D. A musico-theological invention for life Conclusion Part Two: The Polyphonic Shape of Christian Formation Chapter Three: The Polyphony of Christ Introduction A. A Christological construct B. The Christology Lectures C. The Polyphonic Christ Conclusion Chapter Four: The Contrapuntal Christian Introduction A. Christian formation B. The church through Christ and the Spirit C. Christian formation through the Holy Spirit Conclusion Part Three: Space for the Holy Spirit Chapter Five: A Musico-Pneumatology Introduction A. The 'indirect but pervasive pneumatology' of Ethics B. Space and the Spirit in Ethics C. Musico-pneumatology Conclusion Chapter Six: A Spirit Christology acoustically defined A. Pneumatic Chalcedonianism: an orthodox Spirit Christology B. Spirit Christology for Christian formation C. Acoustic space for the Spirit Conclusion Conclusion Bibliography
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