Homiletic: Moves and Structures

Homiletic: Moves and Structures

Homiletic: Moves and Structures

Homiletic: Moves and Structures


Buttrick presents a complete homiletic that focuses on how sermons form in consciousness and how the language of preaching functions in the communal consciousness of a congregation. His "phenomenological" approach marks a sharp departure from older homiletics.


Homiletics is an odd discipline. You cannot talk of sermon design without some glimmer of what sermons are made of, and you cannot comprehend the internal parts of a sermon without a grasp of sermon design—a “Homiletic Circle” of sorts. Thus, I have written a homiletic in two parts, Moves and Structures, for you to read in any order you choose. You may begin with part 1, Moves, a study of the components of sermons, and then go on to look at structural theory. Or, you may wish to begin with part 2, Structures, before studying such matters as words and images and ideas. You will have to decide.

Originally, I had planned a work that included chapters on Worship and Preaching as well as chapters on Preaching in the Social World. I have abandoned the plan since the present volume is quite enough for you to wrestle with, much less purchase. Thus, the volume you read will be limited to matters of homiletic design and procedure—the making of sermons. I do not discuss the delivery of sermons, the preacher's character, congregational psychology, or the setting of preaching in worship. There are already books on such matters. the present work, by contrast, is an introductory theoretical-technical homiletic.

I have attempted to do without footnotes and to bypass normal scholarly apparatus so as to keep the style fairly free and easy. Therefore, though the technical information I offer does rest on some years of research, at the risk of dogmatism I neither describe nor document studies. I have, however, provided a selected list of books for those who may wish to explore particular topics.

In any book on homiletics examples arc a problem. Ideally, one could wish to draw examples from many different sources so as to display a variety of . . .

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