Art and Sacrament

Janes, Dominic

doi:10.1093/acprof:oso/9780195378511.003.0002

Cited by 8 publications

(10 citation statements)

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“…of some otherness of some sort." 67 Jones is not concerned here in the first instance with what preoccupies Weber, the causal effectiveness of sacraments, nor particularly with their ritual role. Towards the end of his essay he quotes a French theologian, Maurice de la Taille, as saying that on Maundy Thursday Christ "placed himself in the order of signs."…”

Section: Enchantmentmentioning

confidence: 99%

Disenchantment, Re‐enchantment, and Enchantment

Sherry

2009

Modern Theology

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said, famously, that the modern world is disenchanted. A number of recent writers have said, by contrast, that postmodernism and some developments like New Age religion are re-enchanting the world. My purpose in this article is to put Weber and these writers alongside each other, but then to undercut the discussion by suggesting a third possibility: that the world may still be enchanted, for those who have eyes to see, and who have kept fresh the responses of wonder, reverence, and delight. Perhaps it never was really disenchanted! Here I shall draw on the work of the poet and artist David Jones, as well as on that of some more recent theologians who are arguing for a close connection between aesthetics and religion, and suggest that their work depends on a wider sense of sacramentality, and one very different from Weber's understanding of that concept. Max Weber on Disenchantmentm oth_1533 369..386It needs to be noted straightaway that the English term "disenchantment" is a poor translation of the German "Entzauberung": the latter (which is not original to Weber, for Wieland had used it earlier and Schiller had used the cognate verb entzaubern) means something like "losing its magic". In English it is primarily people who become disenchanted, somewhat like being disillusioned, whereas Weber is describing the world as having lost some of its allure and coming to seem lifeless in certain ways. As Francois-A. Isambert notes, the poetic force of the term has popularized it, while concealing its original sense and so giving the misleading impression that Weber was nostalgic for the old Patrick Sherry Lancaster University, Religious Studies Department, Lancaster LA1 4YG, Lancashire, UK P.Sherry@Lancaster.ac.uk Modern Theology Re-enchantmentThus most recent writers reject Weber's attitude to the putative modern disenchantment of the world (though they may agree with some of what he Disenchantment, and Enchantment 373

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Section: Enchantmentmentioning

confidence: 99%

Disenchantment, Re‐enchantment, and Enchantment

Sherry

2009

Modern Theology

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“…Cut the ligament and there is atrophy'. 2 Narrative structure is foreclosed as a form for a poem about ideas because it presents a sequence of events, and Jones's ideas were not conducive to an orderly and logical laying out. In the course of the fifteen-year period of the writing of The Anathemata (1952), Jones's increasingly complex interrelation of ideas informed the necessary development of a method of writing which would not reduce this complexity into a false coherence.…”

Section: The Messy Making Of David Jones's Anathematamentioning

confidence: 99%

The Messy Making Of David Jones's Anathemata

2017

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“…The Mass that Christ instituted, in Jones's mind, was a work of art that revealed something about humankind: to be human is to be an artist, a maker, a creator, given that this creative function was undertaken by he whom the church considers the most perfect exemplar of the human. 63 This is the context in which Jones's favourite phrase of de la…”

Section: Was Ever Grief Like Mine?mentioning

confidence: 99%

David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy

Callison¹

2017

Modernist Cultures

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Abstract:Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the atonce tentative and imaginative thinking that marks the modernist response to religion.I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism -namely Frazer's The Golden Bough -with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis' seminal work, Religious Experience and the Modernist Novel. 12For Jones, churches are not deserted monuments, but rather lively centres of creativity and humour and my exploration of this perspective not only emphasises an aspect of religious 6 culture much neglected in recent work on modernism and religion, but also sets out a different form of modernism, one in which the commitment to imaginative transformation is nevertheless weighed against its provisional, limited and ultimately hopeful character.

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Art and Sacrament

Cited by 8 publications

References 0 publications

Disenchantment, Re‐enchantment, and Enchantment

Disenchantment, Re‐enchantment, and Enchantment

The Messy Making Of David Jones's Anathemata

David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy

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