Critical Mass: Sermon for the Church of the Atom (part of A Theatre to Address at Arnolfini, Bristol and Late at Tate Britain)

A Theatre to Address explores the work of contemporary artists who use text as both a visual and sonic form. In this programme, text appears not primarily as a means of communication, but as something which has shape and structure of its own. The Reading Room will also be displaying work that looks at text as concrete or visual poetry, and the script in artists' practice. Clare Gasson presents a new work The traveller - walking walking walking through ... that explores the connection between the text, the rhythm and the action. Maryam Jafri presents a performance-lecture Death With Friends, a body of visual and textual material that forms the basis for her new film of the same name. Pil and Galia Kollectiv present a radical worship for the apocalypse, featuring a sermon for the Church of the Atom with live music by Gelbart.

Sermon notes and manuscript communities

Any reader of manuscript catalogues knows how common the unhelpfully vague entry “sermon notes, 17th-century” can be. This essay explores whether we can find in sermon notes the kinds of textual communities that have been found through the reconstruction of other routes of manuscript circulation. It will unpick what those laconic catalogue entries mean, and distinguish the different kinds of sermon notes found in our archival collections (some derived from the original preacher, some from hearers, some from readers of manuscript and printed copies). The physical forms of different sorts of “sermon notes” alerts us to the different types of authors who created these manuscripts, and the different purposes involved in preserving an oration in textual form, purposes which included fostering the creation and maintenance of communal identities among the self-consciously godly or Catholic recusants.

Scripture, style and persuasion in seventeenth-century English theories of preaching

The distinction between a Puritan ‘plain’ and a Laudian ‘metaphysical’ preaching style rests on secular rhetorical theories of persuasion that are relatively unimportant to early Stuart homiletics but are central to later Latitudinarian polemics on preaching. Instead, the ‘English Reformed’ theory and method of sermon composition rests on the didactic function of preaching and the need for the Holy Spirit and hearers to co-operate with the preacher. Although Andrewes and some avant-garde conformists questioned this theory, they developed no alternative method of composition. Arguments made in the 1650s for direct inspiration by the Spirit contributed to the decline of both theory and method