Renovating the Building versus Restoring the Foundations: The Need for Pentecostal Liturgical History

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Notes

1 Giovanni Battista Piranesi, The Prisons (Mineola, NY: Dover Publications, 2010), Preface.

2 John A. Pinto, Speaking Ruins: Piranesi, Architects, and Antiquity in Eighteenth-Century Rome (Ann Arbor: University of Michigan Press, 2012), 7–10.

3 Piranesi thoroughly reworked these images for republication in 1761 including two new prints.

4 Aldous Huxley, Prisons (London: Trianon Press, 1949).

5 See the comments of Huxley, Prisons, Introduction; Piranesi, Preface.

6 Some scholars suggest that The Prisons are Piranesi’s celebration of the Roman lex over other ancient systems of law. Ana Messuti, Time as Punishment (Aurora, CO: The Davies Group, 2008), 36.

7 The prioritization of this early Pentecostal period appeals to Walter Hollenweger’s assertion that this period reflects the heart and not the infancy of Pentecostalism. Walter Hollenweger, “Pentecostals and the Charismatic Movement,” in The Study of Spirituality, ed. Cheslyn Jones, Geoffrey Wainwright, and Edward Yarnold, SJ (London: SPCK, 1986), 551.

8 Mark J. Cartledge, “Renewal Ecclesiology in Empirical Perspective,” Pneuma 36, no. 1 (2014): 5–24. Cartledge notes that there are some studies that have featured congregational studies as a significant component of the methodology, these studies are not primarily focused on ecclesiology. As such, the ecclesiological observations of these studies are implicit rather than explicit.

9 Lee Roy Martin, ed., Towards a Pentecostal Theology of Worship (Cleveland: CPT Press, 2016). Kimberley Alexander’s essay, “‘Singing Heavenly Music’: R. Hollis Gause’s Theology of Worship and Pentecostal Experience” is the only exception. Even here, however, use of contemporary Pentecostal sources is limited to the last few pages and is framed by a faulty historical framework that sees the practice of singing in tongues or the “heavenly choir” as dissipating after the early Pentecostal period (p. 214). By contrast, this practice has remained prominent among many of the Pentecostal revival movements throughout the twentieth century. For instance, in his audio analysis of the practice, Joel Hinck studied a wide range of audio samples sourced from around the world in a period stretching from the 1970s to 2011. Joel Hinck, “Heavenly Harmony: An Audio Analysis of Corporate Singing in Tongues,” Pneuma 40, nos. 1–2 (2018): 167–191.

10 Lester Ruth and Lim Swee Hong, A History of Contemporary Praise & Worship: Understanding the Ideas That Reshaped the Protestant Church (Grand Rapids: Baker Academic, 2021).

11 Lester Ruth, “Silver Haired Liturgical Revolutionary: Judson Cornwall’s Critical Role in Disseminating Pentecostal Praise & Worship” (paper presented at the Society for Pentecostal Studies, 2022, Costa Mesa, CA).

12 This is most clearly illustrated by Daniel E. Albrecht, Rites in the Spirit: A Ritual Approach to Pentecostal/Charismatic Spirituality (Sheffield: Sheffield Academic Press, 1999), 153–154. Albrecht describes a trifold structure of worship and praise, pastoral message, and altar/response as the basic outline of Pentecostal and charismatic ritual. This trifold structure has become a touchstone for many scholars who seek to describe Pentecostal worship.

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Jonathan Ottaway

Jonathan Ottaway, a doctoral candidate at Duke University Divinity School, Durham, North Carolina, studying Pentecostal and Charismatic worship, also serves as a music minister in an Anglican congregation.