Worship and entertainment in the society of the spectacle
The distinctive feature of specialized persuasion of the spectacular speech is the game, that is, the fun, the playful. In this paper, once we establish the connection between fun and feeling, we will say that emotions are what entertainment is all about. While historically the institutionalized rel...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Brasil |
| Recursos: | Escola Superior de Teologia (EST) |
| Repositorio: | Tear Online |
| Idioma: | portugués |
| OAI Identifier: | oai:www.est.edu.br/periodicos:article/2369 |
| Acesso em linha: | http://periodicos.est.edu.br/index.php/tear/article/view/2369 |
| Access Level: | acceso abierto |
| Palavra-chave: | Worship; Entertainment; Media; Entertainment; Praxis Teologia; Teologia Prática. Culto; Espetáculo; Mídia; Entretenimento; Práxis |
| Resumo: | The distinctive feature of specialized persuasion of the spectacular speech is the game, that is, the fun, the playful. In this paper, once we establish the connection between fun and feeling, we will say that emotions are what entertainment is all about. While historically the institutionalized religion has vehemently fought the idea of entertainment, the Society of the Spectacle has finally imposed itself in many different instances, giving rise to the emergence of the Spectacular Worship, in that, theatricality begins to creep up in religious services. In recent history, we can identify a first generation of intuitive media celebrants. A second generation follows, now as celebrants of the more technical or technicist media; and we move towards the third generation, celebrants who have become media expert. As a consequence, we see a certain pastoral care that is disconnected with the formation of the community, and a Christian education that discourages science and reason, which develops a sense of worship that is suspicious of historical connections of liturgy-himnody-historical homiletics, and etc. |
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