Playing church: understanding ritual and religious experience resourced by Gadamer's concept of play
This article uses Gadamer's concept of play as a common lens through which both traditional church liturgy and imaginative evangelical practices of engaging with God can be understood. The category of play encompasses processes which exhibit a back-and-forth motion and functions in Gadamer'...
| 1. VerfasserIn: | |
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| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
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| Veröffentlicht: |
Taylor & Francis
[2018]
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| In: |
International journal of philosophy and theology
Jahr: 2018, Band: 79, Heft: 3, Seiten: 323-336 |
| normierte Schlagwort(-folgen): | B
Ευαγγελικό κίνημα
/ Θεία Λειτουργία (μοτίβο)
/ Gadamer, Hans-Georg 1900-2002
/ Παιχνίδι (μοτίβο)
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| RelBib Classification: | KDG Freikirche NBE Anthropologie RC Liturgik VA Philosophie |
| weitere Schlagwörter: | B
Play
B Τελετουργία (μοτίβο) B Liturgy B Aesthetics B Hans-Georg Gadamer B Evangelicalism |
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Volltext (Verlag) |
MARC
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| 245 | 1 | 0 | |a Playing church |b understanding ritual and religious experience resourced by Gadamer's concept of play |c Jack Williams (School of Divinity, New College, University of Edinburgh, Edinburgh, UK) |
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| 520 | |a This article uses Gadamer's concept of play as a common lens through which both traditional church liturgy and imaginative evangelical practices of engaging with God can be understood. The category of play encompasses processes which exhibit a back-and-forth motion and functions in Gadamer's aesthetics to describe the relationship between artwork and viewer. Through an aesthetics of play, Gadamer accounts for the presence of truth in art. As I demonstrate in this paper, liturgy displays the playful characteristics of artwork, allowing for a theologically realist interpretation of divine presence. The final part of this paper considers the imaginative evangelical practices described by anthropologist T. M. Luhrmann, which I refer to as God-play. I argue that there is an unexpected commonality between God-play and traditional liturgy in the form of a functional similarity between the two and propose that God-play may be regarded as liturgy-like practice that has not been traditionalised. My evaluation is that this is a positive development, which opens the opportunity for divine encounter to those alienated from traditional liturgies. However, caution must be taken to avoid inappropriately trivial imaginings of God, and I conclude by offering suggestions for the church and academy in cautiously welcoming these practices. | ||
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