Throughout the course of the twentieth century, as newly formed nations sought ways to develop and formalise their national identity and acquire a range of identifiable national assets, we find new musical canons springing up across the world. But these canons are not arbitrary collections of works imposed on the public by the authorities. Rather they acquire deep resonance and meaning, both as national symbols and as musical repertoires imbued with aesthetic value. This book traces the formation of one such musical canon: the Twelve Muqam, a set of musical suites linked to the Uyghurs, who are one of China's minority nationalities, and culturally Central Asian Muslims. The book draws on Uyghur and Chinese language publications; interviews with musicians and musicologists; field, archive and commercial recordings, and aims towards an understanding of the Twelve Muqam as musical repertoire, juxtaposed with an understanding of the Twelve Muqam as a field of discourse. The book brings together several years' work in this field, but its core arises from a research project under the auspices of the AHRC Centre for Music Performance and Dance.
This book offers a fresh cross-disciplinary approach to the current discussion on the Christian canon formation process. By carefully integrating historical, hermeneutical and theological aspects to account for the emergence of the canon, it seeks to offer a more comprehensive picture of the canon development than has previously been achieved. The formation and continuous usage of the Christian biblical canon is here viewed as an act of literary preservation and actualization of the church's apostolic normative tradition - 'the Scriptures and the Lord' - addressing, first of all, the church, but also the wider society. In order to grasp the complex phenomenon of the biblical canon, the study is divided into four parts, focusing respectively on linguistic and effective-historical, textual and material, performative, and ideational aspects of the canon. Attention is given to the scribal nomina sacra convention, the codex format, oral and written Gospel, early Christian liturgical praxis and the Rule of Faith. Bokedal argues that the canon was formed in a process, with its own particular intention, history, and direction. Throughout the study, history and theology, past and present are considered alongside each other. By using a Gadamerian hermeneutics of tradition, the reader's attention is directed to historical dimensions of the canon and its interpretative possibilities for our time. The notion of effective history (Wirkungsgeschichte), as well as the interaction between text, community and reader are crucial to the argument. The canonical text as text, its interpretation and ritual contextualization are highlighted as unifying elements for the communities being addressed.
Revelation studies have been typically characterised by two very different types of study emanating from academia and the church. Academia has been engaged in historical critical and source critical studies which typically dissect the text. Whilst the methods used in the church treat Revelation as scripture and keep the text intact, these approaches often lack the tools for sound interpretation. TÃµniste observes the need for a more holistic and thoughtful methodology to study Revelation.
TÃµniste develops an approach that respects Revelation as a part of Christian scripture composed by and for the church, whilst simultaneously making use of respected modern academic methods that support unity (literary, canonical, and narrative criticism, intertextuality, and canonical location) to arrive at theologically sensible and satisfying interpretations. The basic key to unlocking the mysteries of Revelation lies in its abundant use of intertextuality, an area that remains still under-researched. This integrated methodology is explored through a reading of Revelation 21-22.
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