DIVINE-HUMAN ENCOUNTER
notes, cont
75 Ibid., 80. Christopher Partridge suggests that popular music is especially suited for this purpose, operating as “edgework,” at the “boundary of the sacred and the profane, at the liminal edge.” See The Lyre of Orpheus (New York: Oxford University Press, 2014), 3. 76 Frith, “Music and Everyday,” 101. 77 Partridge, The Lyre of Orpheus, 2. 78 Ibid., 57. 79 Ibid., 59, 198. Here, Partridge borrows theologian Herbert Henry Farmer’s distinction of “adjectival” and “substantival” religion, with substantival referring to the actual divine encounter and adjectival simulating it. While music often represents “adjectival religion,” it does have the power, under the right conditions, to stimulate a substantival encounter. 80 Ruth, “A Rose,” 47. 81 Described by Linda Woodhead as the critical views of spirituality found in academia. See “Real Religion and Fuzzy Spirituality?” in Religions of Modernity, ed. Stef Aupers and Dick Houtman, 31-48 (Boston: Brill, 2010). 82 By emphasizing their “spirituality” I am not suggesting that evangelicals do not also value the external, “religious” dimensions of faith. However, as Luhrmann and others have demonstrated, the core of their faith-vision does appear to prioritize the inner, experiential, and emotional dimensions, even in the context of public worship. These priorities correspond to an emphasis on “spirituality.” See Woodhead, “Real Religion?” 38.
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NAAL PROCEEDINGS 2017