“Taste and See”: The Eucharist and the Eyes of Faith in the Fourth Century

Frank, Georgia

doi:10.2307/3654543

Cited by 34 publications

(3 citation statements)

References 12 publications

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“…Similarly, angels were also thought to encircle Christians' earthly altars. 66 Winkler's work has highlighted the anabatic movements within the anaphora, by noting the way in which the classical anaphoras articulate the faithful's ascent to heaven. To use the language of McNamara, Winkler articulates how the liturgy ritually embodies the ascent of the faithful from the earthly perspective to the divine.…”

Section: The Unio Liturgica In the Divine Liturgies Of Addai And Mari...mentioning

confidence: 99%

The Ascent Into Heaven: An Answer to the Problem of Time in Liturgical Anamnesis

Chase

2022

Studia Liturgica

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Edward Kilmartin in his work on liturgical anamnesis sought to develop a Trinitarian theology of liturgical participation that could bridge Christ’s historical deeds with present reality in light of the problem of time. Kilmartin identified two poles in liturgical praying: the anamnetic and the epicletic. Together they unite the faithful with Christ in the Holy Spirit. At the same time, Gabriele Winkler in her study of the classical anaphoras has argued that these prayers are centered around a ritual of ascent, whereby the faithful participate in the heavenly liturgy. A survey of the classical anaphoras across the East and West reveals that participation in the heavenly liturgy is a hallmark of eucharistic praying also complemented by an understanding of the divine’s descent to Earth. This ritual articulation of ascent and descent provides ritual/experiential flesh to Kilmartin’s Trinitarian theology of liturgical participation, and the faithful’s participation in Christ’s saving deeds.

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Section: The Unio Liturgica In the Divine Liturgies Of Addai And Mari...mentioning

confidence: 99%

The Ascent Into Heaven: An Answer to the Problem of Time in Liturgical Anamnesis

Chase

2022

Studia Liturgica

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“…Indeed several terms describe this dramatic display through rhetoric: for example, ekphrasis and enargeia. 51 These devices were fine-tuned by authors to appeal to the imaginal powers of the reader or listener, enticing him or her to visualize the event, person, object, or place depicted. The rhetorical handbooks classify ekphrasis with specific regard to its power to stimulate the audience's visual imagination.…”

Section: Culture Of Imaginative Sight (Or Culture Of Listening Eyes)mentioning

confidence: 99%

Cultivating True Sight at the Center of the World: Cyril of Jerusalem and the Lenten Catechumenate

Kalleres

2005

Church Hist

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In 351 c.e., Cyril of Jerusalem prepared catechumens for baptism at what he identified as the very center of the world. From Golgotha Christ once stretched his hands to embrace the ends of the earth, and Cyril's catechumens would soon receive a distinctive baptism predicated on their proximity to Golgotha first and Christ's tomb second. For this bishop location was truly everything, in his own words: “For others only hear but we both see and handle.” Cyril's Lenten Catechumenate consisted of an eight-week course of prebaptismal preparation culminating in an Easter baptism. Within this institution Cyril offered a privileged course of Christian inculcation and a singular notion of the “Christian Soldier.” Through a highly visual exegesis of the crucifixion and resurrection, Cyril transformed baptizands into witnesses to these two events, a status obligating them to defend the actuality of these moments and, in so doing, promote Cyril's particular conceptualization of Jerusalem as Holy Land.

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“…21 In these discussions, however, the taste of the Eucharist is seen as offering an access to deeper spiritual truths. 22 Touch, however, was a key element in the experience of any Byzantine worshipper. Sensations of touch are immediately apparent on entering a Byzantine church today as the cool air inside strikes the body.…”

Section: Senses and Sensibility In Byzantium L I Z J A M E Smentioning

confidence: 99%

Senses and Sensibility in Byzantium

James¹

2004

Art History

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Byzantine art tends to be considered in almost exclusively visual terms. However, Byzantine writings about works of art appeal to all the senses and aim to involve the listener (who may also be looking at the object described) in an emotional engagement with the image and with the scene it depicts. This paper explores some of the ways in which the five physical senses were engaged in the overall sensory experience of worship in a Byzantine church, notably Hagia Sophia in Istanbul, discussing how the senses seem to have played spiritual as much as physical roles in the church. The Byzantines do not appear to have perceived the interaction between the senses as synaesethic, but rather as an interlinking and an interplay. This emphasis on the sensory nature of images suggests a corporeal dimension to religious experience, offering the human body an intrinsic role in the worship of the divine.

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“Taste and See”: The Eucharist and the Eyes of Faith in the Fourth Century

Cited by 34 publications

References 12 publications

The Ascent Into Heaven: An Answer to the Problem of Time in Liturgical Anamnesis

The Ascent Into Heaven: An Answer to the Problem of Time in Liturgical Anamnesis

Cultivating True Sight at the Center of the World: Cyril of Jerusalem and the Lenten Catechumenate

Senses and Sensibility in Byzantium

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