Abstract

The article examines the constitutive role played by Herder’s theories of tone and aurality, as practiced as in his sermons, for his foundational concepts of universal and culturally particular communities. The author examines Herder’s project as pastor of creating a particular, rarified cultural code separate from the Latinate, Roman Catholic tradition or that of actors, both in his sermons and song books. The focus is on Herder’s performance as pastor in Weimar, which has posed a lacuna in scholarship, in part due to the paucity of textual material available as he resisted the publication of his sermons. The author uses archival sources in order to open up new methodologies beyond traditional textual interpretation to study the interactive and performative dimensions of Herder’s preaching, and their formation of publics. While largely taken as secular in contemporary scholarly accounts throughout the humanities, Herder’s worldly concepts of community, the author argues, emerge from the Lutheran two-kingdoms doctrine (Zwei-Reichs Lehre). It is in the pastor’s performance that the binary of the visible and invisible kingdom is disrupted and assumes a dialectical form; the pastor’s language is to aid in mediating grace to a universal humanity such that they enter the Kingdom of Christ. The author’s reading destabilizes several influential narratives concerning the format of the sermon and the role of aurality in the eighteenth-century, and calls to question the narrative of the decline of the preacher during the Enlightenment starting from the period of the Reformation.

摘要

本文考察了赫德的语气和听觉理论在其布道中所实践的关于普遍性和文化特定社区的基本概念所起的构成作用。作者将赫德的项目视为牧师的作品，该牧师在讲道和歌本中都创作了与拉丁，罗马天主教传统或演员传统不同的，特殊的，受人尊敬的文化规范。重点是赫德在魏玛（Weimar）担任牧师的表现，这在学术上造成了不足，部分原因是由于他拒绝发表布道而缺乏可用的文字材料。作者使用档案资料来开辟传统文本解释之外的新方法，以研究牧民传道的互动性和表演性维度以及公众的形成。Zwei-Reichs Lehre）。在牧师的表演中，有形和无形王国的二元性被打乱并采取辩证形式。牧师的语言是帮助将恩典调解为普世人类，使他们进入基督的王国。作者的阅读动摇了关于讲道形式和听觉在18世纪中的作用的几种有影响力的叙述，并呼吁质疑从改革时期开始的启蒙运动中传教士衰落的叙述。