Previous Years' Course Catalogues

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy. 

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy. 

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy.

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy.

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy. Teaching methods: lectures, DVDs of manuscripts, video, musical recordings.

The scope of what was understood as "liturgy" in the middle ages went far beyond the bare words used in the Mass, daily prayer and baptism and descriptions of how the services were performed. It included knowing the names and functions of the grades of ordained clergy (which varied from place to place) and their dress, the design of churches, their furnishing and consecration, the calendar of the liturgical year and of course the nature of the music which accompanied the liturgy. Teaching methods: lectures, DVDs of manuscripts, video, musical recordings.

Philosophical method for a theology of beauty. This course takes Balthasar's assessment of the loss of beauty as a context to survey the implications for the loss of beauty and the conditions for its recovery. Philosophical issues such as the nature of beauty, aesthetic experience/ perception, aesthetic judgements, the beauty of God/ Christ, and other cultural notions of beauty will be considered. Investigate Lonergan's philosophy as basis for theological aesthetics.

Philosophical method for a theology of beauty. This course takes Balthasar's assessment of the loss of beauty as a context to survey the implications for the loss of beauty and the conditions for its recovery. Philosophical issues such as the nature of beauty, aesthetic experience/ perception, aesthetic judgements, the beauty of God/ Christ, and other cultural notions of beauty will be considered. Investigate Lonergan's philosophy as basis for theological aesthetics.

Philosophical method for a theology of beauty. This course takes Balthasar's assessment of the loss of beauty as a context to survey the implications for the loss of beauty and the conditions for its recovery. Philosophical issues such as the nature of beauty, aesthetic experience/ perception, aesthetic judgements, the beauty of God/ Christ, and other cultural notions of beauty will be considered. Investigate Lonergan's philosophy as basis for theological aesthetics.

Philosophical method for a theology of beauty. This course takes Balthasar's assessment of the loss of beauty as a context to survey the implications for the loss of beauty and the conditions for its recovery. Philosophical issues such as the nature of beauty, aesthetic experience/ perception, aesthetic judgements, the beauty of God/ Christ, and other cultural notions of beauty will be considered. Investigate Lonergan's philosophy as basis for theological aesthetics.

Philosophical method for a theology of beauty. This course takes Balthasar's assessment of the loss of beauty as a context to survey the implications for the loss of beauty and the conditions for its recovery. Philosophical issues such as the nature of beauty, aesthetic experience/ perception, aesthetic judgements, the beauty of God/ Christ, and other cultural notions of beauty will be considered. Investigate Lonergan's philosophy as basis for theological aesthetics.

This course will focus on the way art, whether religious or secular, articulates lived human experience as a way to gain more intimate contact with the world, each other and, ultimately, also with God. In order to do so we will discuss the crucial role of the body in our pre-reflective understanding of the world; the importance of the sense of touch for sensing nuanced textures and timbres; and the notion of beauty understood as unfolding in time rather than as a timeless, captured moment. The course will conclude by assessing the implications of this approach for a fresh understanding of art. The aim of the course is to enable participants to develop new Christian criteria by which to approach and evaluate works of art of our time.