sermon

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Hoping that their sermonic chastisements would not fall on deaf ears, ministers concentrated on three forms of deviant, although popular, behavior: inattentive listening, indifferent hearing, and disrespectful action.
Our analysis thus far has found that the generative nature of sermonic discourse functioned to create a state of affairs for the auditors, the plausibility of which was directly proportionate to the fidelity invested by the auditors in the ritual institution of which they were participants.
They published extensive sermonic writings and consequently receive much of the author's attention, while other rabbis, who could have been their equals in scholarly reputation, are passed by because they published little or nothing.
Congregational participation, often more visual and/or sensory than liturgical or sermonic, enforces teaching learned though home experiences, helps one to express belief in the Creator God, and encourages one to express more effectively religious experience through prayers and singing.
Snyder begins here with commentary on Dogen, although the passage slips almost imperceptibly into a virtually sermonic mode of his own: Dogen is not concerned with "sacred mountains"--or pilgrimages, or spirit allies, or wilderness as some special quality.
all evaluation expresses values; all language use is sermonic and advocates a partial point of view; and, if the argument under assessment is of public interest, the values and point of view cannot help but have a public dimension (pp.
17) That's exactly the point: the literary and artistic images combined with other cultural texts--journalistic, sermonic, and cartographic--to make the streets walkable, knowable, and to explore the new streets of new generic possibilities.
However, the interpretation of the text and the generation of the sermonic discourse are separate concerns to Tillotson and Swift.
Finley's final chapter, "The Typology of Atonement," wanders around a few of the later works, such as Modern Painters III (1856) and The Stones of Venice (1849-53), randomly examining color symbolism and Christ-types, but ends unsatisfactorily with a sermonic musing on Moses and Jesus that seems far afield from literary analysis.
Back at the Juneteenth revival, Bliss and Hickman preach on the Valley of Dry Bones, an archetypal text of the black sermonic tradition, affirming like Bessie Smith "the earth out of which we came" while also illustrating the ritual centrality of music and dance to African American identity (Living with Music 12):
old, jeremiadic voice in a completely different sermonic structure, one
The emotional excesses, the sermonic style, and the techniques shaped by Finney's new measures in fact culminated in the very kind of revival in Ulster against which Holmes had successfully argued for 300 pages.