"Where Theologians Fear to Tread"
This essay appeals to the practice of Baroque musical ornamentation as an analogy to the place of reflection on angels and demons in Christian theology. In ways left to the discretion of the performer, this reflection functions to enhance the main theological melody of God, Christ, human salvation,...
| 1. VerfasserIn: | |
|---|---|
| Medienart: | Elektronisch Aufsatz |
| Sprache: | Englisch |
| Verfügbarkeit prüfen: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Veröffentlicht: |
2000
|
| In: |
Modern theology
Jahr: 2000, Band: 16, Heft: 1, Seiten: 39-59 |
| Online-Zugang: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallele Ausgabe: | Nicht-Elektronisch
|
| Zusammenfassung: | This essay appeals to the practice of Baroque musical ornamentation as an analogy to the place of reflection on angels and demons in Christian theology. In ways left to the discretion of the performer, this reflection functions to enhance the main theological melody of God, Christ, human salvation, and, in particular, eschatology. Jonathan Edwards and Karl Barth are the text cases for this thesis. While Edwards' treatment of angels and Satan mutes his eschatology of glory by drawing attention to the humility and suffering of Christ, Barth's treatment underscores the sovereignty of God and Christ's victory over sin. |
|---|---|
| ISSN: | 1468-0025 |
| Enthält: | Enthalten in: Modern theology
|
| Persistent identifiers: | DOI: 10.1111/1468-0025.00114 |
