Performing the Same Score: Repentance, Truth and Doctrine in Ecumenical Theology
This article develops the fruitful metaphor of musical performance to think about church-dividing conflicts over doctrine. In particular, I show that just as there is more than one way for a score of music to be faithfully performed, so there can be more than one way for shared fundamental dogma to...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Wiley-Blackwell
2008
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| In: |
New blackfriars
Year: 2008, Volume: 89, Issue: 1020, Pages: 149-161 |
| Further subjects: | B
Doctrine
B Music B Ecumenical Theology B Performance B Non-Chaledonian Theology |
| Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Electronic
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| Summary: | This article develops the fruitful metaphor of musical performance to think about church-dividing conflicts over doctrine. In particular, I show that just as there is more than one way for a score of music to be faithfully performed, so there can be more than one way for shared fundamental dogma to be faithfully articulated in different confessional or doctrinal traditions. When the disagreements between the Chalcedonian and non-Chalcedonian churches over christological doctrine are reframed as contrasting but not contradictory “performances” of one shared scriptural and Nicene dogma, possibilities for ecumenical reconciliation are strenghthened. Indeed, while not articulating its practice by means of the metaphor of a musical performance, the Roman Catholic magisterium is already approaching doctrinal reconciliation in just this way. |
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| ISSN: | 1741-2005 |
| Contains: | Enthalten in: New blackfriars
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| Persistent identifiers: | DOI: 10.1111/j.1741-2005.2007.00198.x |