Preaching for everyone and for no one - STM Dissertation
The English version of my STM Dissertation, "Preaching for everyone and for no one - History and Production of the Toque de Vida TV Program".
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ABSTRACT
This dissertation brought forth the history and the making of the TV Show Toque de Vida. It researched details of production, numbers, specific needs of Lutheran preaching on TV, and the homiletical shape and practice of its speakers regarding television audience. The production process of the program was identified by interviewing three producers and eight speakers, assessing the visual language and the content of the messages as well. The research highlighted the need for development in the learning and adaptation process from on-site preaching to television preaching. It also pointed out to the effort of the presenters in producing messages that, while based on Lutheran doctrine and homiletical theoretical approaches from face-to-face preaching, idealize the anonymous public which is receiving the message, developing form and content for the communication of the Gospel. It identified the effort to create a message that makes sense to the daily life of the imaginary hearers, with a clear, concise, illustrative speech aiming to bring the truth of the Gospel to the hearts of the ones watching the program.
Keywords: Homiletics, Sermon, Preaching, Television
November, 2015
INTRODUCTION
The Evangelical Lutheran Church of Brazil (IELB) carried out some initiatives on television seeking to achieve its objective of communicating the Gospel of Christ to the greatest possible number of people throughout its history. Since the first program, “a Hora”, in the 1970s, through programs like “Expectativa”, syndicated in different places in the country, the effort was for adaptation and continuity. However, the IELB never managed to establish daily program, and, unfortunately, all of them ended up closing their activities after a certain time.
In November 2004, through CELSP - Comunidade Evangélica Luterana São Paulo (“St Paul’s” Lutheran Church) and its sponsor, ULBRA (The Lutheran University of Brazil) the TV program Toque de Vida went on air. Designed to be a daily program on the University's new television channel, ULBRA TV, it was aired at the beginning (8:00am) and at the end of the daily schedule (close to midnight). It was created with a basic structure of “music and message”: in six minutes it presented a brief message, followed by a music video and a short closing speech, underlining in a clear and constant way the channel's confessional stance.
After eleven years on air the program can be converted into an object of homiletic-communicational study by the Church, especially for its duration, periodicity, form, and content. Normative questions for this study would be: what are the guiding principles for the production of program content? What are the homiletic references of the presenters in the construction of the content? How is the target audience thought of since it is an “anonymous crowd”?
The analysis seeks foundations in Lutheran homiletics in the face of the postmodern panorama and its plurality of meanings and constructions. Anthony Cook, in his article “The media as a source of information and identity”, defends his idea of the “patchwork quilt”, stating that the postmodern human being is understood as a series of pieces of fabric sewn together, several facets of the same person, for which the construction is personal, and not referenced by an external paradigm.[1] However, Ely Prieto points out that “postmodernists have their own stories, their own truth. As preachers, we must confront them with the metanarrative of Scripture. Through the narrative story of the Gospel, the Holy Spirit can make history their story. The truth of the Bible, their truth.”[2]
Another important aspect is to verify how the preachers deal with the tension that can occur between theology and communication. David Luecke, using research carried out in the two largest Lutheran Churches in the United States, brings as the hypothesis of the study the fact that committing to more effective communication, “may lead to a departure from the Lutheran norm of approach in preaching and worship, by the fact that it places greater emphasis on the needs and interests of listeners and participants.”[3]
From the point of view of homiletics, a survey of the paradigms of the construction of the face-to-face sermon, as for example presented by Caemmerer and Walther, from the USA, and Scholz, Jagnow and Prieto, from Brazil, when taken to the television environment can highlight the tensions as well as the opportunities and needs that gospel communication faces when adapted to this medium.
Finally, this paper brings a brief analysis of the presenters’ perception of their target audience, their expectations, and challenges. In the field of communication, Stuart Hall, in “Encoding, decoding in the television discourse”, describes the audience as composed of individuals who do not passively receive a message. Not only are they active, but they are also producers of meaning. This leads the Reception Studies to consider a comparison between audience and media discourses as well.[4] In that area, Jacks and Escosteguy understand the receiver as an active individual. The media message is a cultural form that can be subject to analysis and interpretations different from the original intention, since the audience is composed of people who produce meaning. Thus, what characterizes the analysis of reception is a comparison between the content of the media and that of the audience, confronting the structure of the content with the audience's response to it.[5]
Thus, the justification for this work is established: in the historical field, by rescuing the history and production system of the Toque de Vida program. It is an unprecedented opportunity for Portuguese-speaking Confessional Lutheranism to announce the Word of God to a wide and unknown daily audience and for a lengthy period. In the field of theological knowledge, for the importance of understanding and expanding the investigation of the various adaptations and contingencies faced by the form of Lutheran homiletics in relation to the television language, in the challenge of keeping its content intact. Still, this research is justified as a contribution to the theoretical field of the Lutheran Sermon/Message on television since this is an area still almost unexplored by the IELB.
1.
THE HISTORY OF THE TOQUE DE VIDA TV
PROGRAM
The Toque de Vida TV program represented IELB’s return to the communication activity on television in the 21st century, which was interrupted at the end of the 1980s. The communication efforts of the Synod, which were strong in the previous century but had now lost much of its strength, highlight an institution concerned to make use of platforms and means of contact with the Brazilian population within its possibilities.
1.1. Aspects of communication in the history of IELB on radio and TV
Founded in 1904, IELB was born when it already had its first communication vehicle, a printed one. It was the Evangelish-Lutherisches Kirchenblatt für Suedamerica (Journal of the Evangelical Lutheran Church for South America), which had its first edition published in December 1903.[6] In 1917 She put into circulation its first periodical in Portuguese, Mensageiro Christão, which, years later, would be renamed Mensageiro Luterano.[7] On the radio, the first Lutheran service was broadcast by Rev. Rodolpho Hasse in 1929. The same Pastor Hasse would inaugurate a milestone in Lutheran Radio Communication when, on April 6, 1947, he conducted the first Lutheran Hour (Hora Luterana) radio program in the city of Rio de Janeiro.[8] In 1963, there were already twenty-five syndicated radio stations broadcasting the Hora Luterana Internacional (The Lutheran Hour International) in Brazil, in addition to several congregations that maintained their own radio programs.[9] In the 1970s, recorded by pastors Johannes Gedrat and Rodolpho Warth the program was sent regularly to 35 stations. It was in this same decade that Hora Luterana began producing the program called Cinco Minutos com Jesus (Five Minutes with Jesus).[10]
In the extraordinary convention of December 1976, IELB created for the first time a Department of Communication.[11] Years later, into during the 1990s, the IELB suffered setbacks in that area. After having already lost space on television, it also diminished its presence in the radio environment.[12] Throughout the final decades of the 20th century, however, and in the beginning of the 21st century IELB regularly promoted initiatives for reflection and sharing of experiences, highlighting the importance of the Church's communicational action, especially making use of the means and resources available.[13]
1.2. IELB and television
In 1960 IELB turned its attention to TV for the first time. The Church's National Convention that year gave the Department of Parochial Education the responsibility of looking into the possibility of starting religious programs on TV.[14] This expectation was already high in 1962, when there seemed to be a concrete possibility of broadcasting the American program “This is Life”, however, ended up not happening.[15] In the early 1970s, the scenario was still not very different. But, in 1972, the first IELB initiative took place on a television channel, with the American film “O Natal é...”, (“Christmas is…”) overdubbed by The Hora Luterana and presented on Rede Globo de Televisão.[16]
The first program that the IELB effectively aired on a television channel was the weekly A Hora,(The Hour) in the city of Erechim, RS, on TV Erechim (Alto Uruguai – RBS TV), produced and presented by Pastor Edgar Tilp. Paulo Buss reports that “for four years, it remained the only IELB program on television”.[17] Then, it was in 1980 that another television program took shape. A Voz da Cruz, (The Voice of the Cross) coordinated by Pastor Mario Lehenbauer was broadcast on Sundays in Cruz Alta, RS, on channel 3. In addition to Pastor Lehenbauer himself, four others participated in the production: Pastors Paulo Nerbas, Waldemar Raimann, Ari Thoma, and later, Valdo Weber.[18]
Other subsequent IELB television initiatives, as reported by Buss, include:
- Expectativa, a program that was aired for the first time on September 7, 1980 in Vitória, ES. Each edition was 10 minutes long and it was broadcast on Sundays on TV Gazeta. The team was led by Pastor Nilo Figur.
-The same program Expectativa started to be retransmitted in Cascavel, Paraná, from November 8, 1980 on TV Tarobá, but it had a short life on air. In the second phase, starting in 1983, it was still retransmitted via satellite but with local calls and highlights.
-Programa Fé e Esperança, a program from the “Porto-Alegrense” Circuit, produced and presented by Pastor Paulo K. Jung on TV Gaúcha. The three-minute program aired on Fridays and was also hosted by pastors Galdino Schneider and Gerhard Grasel.[19]
- Encontro, lasting 15 minutes, aired from 1983 on in the city of Florianópolis. The production and presentation of the program were by Pastor Martinho Sonntag, with the support of Pastor Daltro Tomm.[20]
As a result, in 1984, IELB had programs on eight television channels in four states, with 93 minutes per week. However, as Buss reports,
The difficulties in producing the programs and the high cost of maintaining them meant that, after a few years, the programs stopped airing. Thus, by the end of the decade, the IELB had stopped using television as a vehicle for its message.[21]
Reflecting on the historical difficulties of IELB in being a church that does not regularly invest in actions other than internal communication[22], and considering that everything happens within a historical context, we raise two clues for this outcome, among several others that might be listed. They date back to the beginning of the Synod and the German colonization in the state of Rio Grande do Sul, the birthplace of the IELB.
Pastor and Historian Martin Dreher, when telling the story of Pastor Wilhelm Rotermund during the German colonization in São Leopoldo, mentions that a large part of those who arrived here came from the region in Germany called Hunsrück. There, the inhabitants had many problems due to religious reasons. As the law provided that the religion was determined by the prince, the families could be Lutheran one day, Calvinist the next and Catholic later on. It ended up being natural that, with the passage of time, religion ceased to be a public matter for them; “no public confession of faith was made! Faith is something interior, which is almost never communicated, because it can change 'with each sovereign.”[23] As a consequence, religion became a private matter for these people. When you talk about converting someone, it might be even for the political view, but never for the religious one – which was a private thing.
We observe grandmothers reading their prayer book, closed in their rooms, but we don't remember seeing them talk about their faith. We see them going to church, but we don't see them witnessing their faith with words. Her female ancestors came from Hunsrück. Would their mothers and grandmothers have taught them that religion is not talked about because it is a dangerous thing?[24]
From this, it seems that it was somehow embedded in the German Lutheran immigrants a certain refrain about going public and wide open about their confession of faith.
The second clue emerges from the main reason for the Missouri Synod to come to Brazil, when starting its work in Rio Grande do Sul. According to Pastor and Historian Walter Steyer, it was done so to gather German immigrants who wanted the presence of the Confessional Lutheran Church and provide them with pastoral care. The IELB emerged focused almost exclusively on serving Lutheran families of Germanic origin.[25]
These two clues seem to contribute to the scenario and, consequently, to the understanding of the difficulties in maintaining, in the long term, mass communication initiatives, which normally involve high financial investment. Then, it seems natural to understand that the resumption of the IELB's missionary work through a mass vehicle – television - with regularity, consistency and the possibility of long duration would take place in an environment that was born with the vocation of "going public", and where the essential ministerial work is with the public not belonging to the Synod: The University.
1.3. The Touch of Life program
The Toque de Vida program took IELB back to a TV open channel in Brazil in 2004.[26] After many years absent from that vehicle, the daily program inaugurated on November 26 of that year. It was a project of the Pastoral of ULBRA launched together with UlbraTV.[27] Dieter J. Jagnow describes the program as being composed of four parts, distributed in six minutes: opening, message, music video and a closing.[28] He adds: “The program is produced and presented by Pastor Lucas Albrecht, who works in the Campus Ministry.”[29] Jagnow further quotes that:
the language of the program was not developed for those who already have ties to a religious denomination, but to try to communicate with those who do not yet have, or still do not know, the Gospel.[30]
The focus was attempting to connect with the public outside of the Lutheran realm.
1.3.1 Production routine
In order to understand the details of the production from a technical point of view, three producers who worked with Toque de Vida were interviewed: Tatiana Nucci, Fernanda Chacon Bordinhão and Fabiano Ribeiro da Silva.
Tatiana Nucci, journalist, and publicist, worked on the production of Toque de Vida from its beginning in 2004 until 2007. Nucci points out that among the different parts of the program the message was the longest part, and almost always “made an analogy with anyone’s everyday life.”[31] She also mentions that the program started to air at the opening and closing of Ulbra TV's daily schedule.[32] The show's production in the 2004-07 period consisted of a basic routine: the presenter organized all the show's content during the week. The team, based in the ULBRA TV studios in Porto Alegre, drove to the ULBRA campus in Canoas once or twice a week for the recording.[33] About the recording process Nucci remarks that “we divided it into the following moments: heads,[34] messages and final reflection. The three parts were recorded for each day of the week so that it was always something new.”[35] The team's effort to produce new programs meant that even during the vacation period recordings were made in advance to avoid reruns.[36]
Fernanda Chacon Bordinhão, publicist, worked on the production of Toque de Vida from 2008 to 2013. Bordinhão reports that, during this period, recordings took place once a week and lasted one hour. The presenter recorded all the programs on the same day. According to Chacon, “the production team received the script for the calls, we revised the text and recorded the calls [37] and heads of the program.”[38]
Fabiano
Ribeiro da Silva, journalist and executive producer of TV and Radio, current
producer of Toque de Vida, points out that the program has a “productive and
organized routine, always respecting the logistics and the agenda”.[39]
1.3.2 Visual language
The development of the program's visual language, according to Bordinhão, was based on closed shots[40] in studio recordings, and in outdoor settings, the use of camera movements and open shots[41]. In some messages, interactivity with other elements was also used. She also adds that in the edition of the program, videoclips of music related to the theme were inserted.[42] Nucci reports that, for editing the program the presenter would have previously brought the tape with the recorded materials for the editing work.[43] Nucci, who contributed to the formatting of the program in its early years, adds elements about the set and locations of the recordings:
In the beginning, due to the beautiful chapel located on Ulbra Canoas, it was decided that it would be the setting for all the programs. Over time we decided to do it in other places of the university to illustrate, when possible, some message themes.[44]
A variety of locations were used to enhance the visual aspect of the program. And in line with the making and formatting of the program from the beginning, Silva points out that Toque de Vida continues to be built with thematic illustrations of everyday life.[45]
1.3.3. Content and target audience
The program's spoken language was defined together with Pastor Lucas and directed in the sense that it should be simple and colloquial, to reach the wide television audience, recalls Bordinhão. “A program that would enter people's homes every day should be easy for the whole family to understand its message.”[46] Nucci notes that the objective was not the intellectual deepening of the Lutheran doctrine, but communication of the principles of the religion as a whole. “It was made for all types of viewers, with a language that always seeks to insert itself in the context of today's society”, she stresses.[47] Silva confirms the program's line of communication, defining the language as always being clear and objective.[48]
When asked to evaluate factors that were and are considered when editing the program, regarding its objective of communicating a Christian message to the public of Porto Alegre Metro Area, the producers emphasized clarity and objectivity. Nucci observes the importance given also in editing to setting up the program with simple and precise language, “that informs and does not tire the viewer”.[49] This led the team to be careful with the artistic part during the recording, trying different lighting, with beautiful and pleasant angles.[50] Bordinhão points out that another target of the production team was the emphasis on the importance of delivering a message in an informal way, “without a commitment to having words and actions always in the same way” .[51] Further to that, Nucci observes that,
During edition, the process basically was to unite the three parts in which we divided the recording: head, message and final reflection. It was important to send a clear and direct message, because that was the idea of the program: a touch of life.[52]
For Bordinhão,
One
of the main factors that I believed to be important in editing the programs was
to convey a message in a more informal way(…). I'm not a Lutheran, but I
learned many things editing, participating in the recordings of Services and the
daily Toque de Vida, in a more relaxed way, without the obligation to join the
religion. Toque de Vida was like that, for the public that wants to do good,
receive messages of motivation and pass on a message of life, for people's
lives.[53]
Discussing the continuity of the project in 2015, Silva points out that the visual aesthetics and audio of the program always receive care and attention. He also emphasizes that the production of the program addresses and respects Christian frames, to convey the message both with reflection and emotion, "in addition to clips, which are also shaped by the aspects addressed".[54]
1.3.4. Effectiveness of format and language
Bordinhão understands that the program achieves its objective by focusing on people open to new information, with faith and with a more contemporary profile. “These are people who set aside a small amount of time each day to receive words of comfort and motivation.”[55] Silva understands that the effectiveness of the program lies, in large part, in the fact that it addresses real and obvious everyday situations, also including commemorative dates. “The effectiveness [is] in its simple and brief communication”, he points out, indicating that the message reaches both those who are Christians and has the potential to win over those who are not.[56] And Nucci believes the show was able to quickly reach its goal of reaching viewers with a positive message. She mentions that it was possible to create an attractive program, easily accessible to the whole family. Being a program shown in the morning and in the evening, reaching different audiences, it needed to have a fully comprehensive and dynamic format. And he concludes: “I believe that Toque de Vida was able to contemplate all types of viewers.”[57]
At the end of the interview, the three producers, who are not members of the IELB, were invited to express their opinion on the question: “what caught your attention the most in the messages during the period in which you worked on the production of the Toque de Vida program?” For Silva, the emphasis is on diversity and creativity.[58] Bordinhão recalled the fact that she is not a Lutheran, but that she learned a lot by participating in the recordings, both in the daily Toque de Vida and in the Toque de Vida Services[59] on Sundays, as well as in her relationship with other participants. For the publicist, there is a difference between Toque de Vida and other programs: the format of speaking with the public. “The language is different, blunt, easier to understand, without the obligation to join religion and, most importantly, updated with routine situations and people's lives.”[60] For Nucci, “the most interesting thing is that the messages always touch everyone in some way. They are always everyday situations exposed in a simple and clear way.”[61] She believes that the name of the program, “Toque de Vida”, gives a clear idea of what will be seen on television, and its content satisfies those who watch it, showing what is expected by the viewer.[62]
In the additional comments, Nucci ended by indicating his satisfaction in having participated in the history of the program, stating that it was “very gratifying to work on the Toque de Vida program together with Pastor Lucas. It was years of learning through your messages and explanations.”[63]
From
the analysis and evaluation of the producers, we can seek to delineate,
starting from the model of the Toque de Vida program, clues for the production
and execution of a Lutheran program with brief messages for television, in the
context of speaking for everyone and for no one, and even from the perspective
of non-Lutheran recipients. We could mention: Clear and objective language,
connected to the lives of viewers. Use of everyday illustrations, informal
language. Concern about audio and video quality; and qualified edition, seeking
to give dynamics to the program.
1.3.5. Lutheran Worship on TV
In
2008, Toque de Vida led the next communication breakthrough in IELB. After the
first radio broadcast of a Lutheran service in 1929 conducted by Dr. Rodolpho
Hasse, the first Full Lutheran Service was broadcast on TV live, for the entire
area covered by Ulbra TV. The premiere took place at IELB's 104th anniversary
service, on June 22nd.[64]
The Service was celebrated by the pastors of then Comunidade Evangélica
Luterana São Paulo (CELSP), which at that time was the sponsor of ULBRA and
which, in 2014, was replaced by the Associação Educacional Luterana do Brasil
(Aelbra)[65]. The
unprecedented initiative also marked the moment when the Toque de Vida program
incorporated, on Sundays, the regular transmission of services recorded in the
chapel of Ulbra. In a celebration that included the institution's Orchestra and
Sacred Choir, Pastor Lucas Albrecht highlighted that the Lutheran Church still
needed to learn a lot about television[66].
It was also mentioned that the format and liturgy of the service did not change
due to the TV broadcast.[67]
The services, recorded in Comunidade São Paulo, and later sermons from the
Toque de Vida Services continue to be aired in 2015.[68]
1.3.6. Format and periodicity in 2015
In 2015 the program Toque de Vida airs on ULBRA TV from Monday to Friday at 7:15 am. On Saturdays, at 8:00am and 12:20pm. And on Sundays, at 8:00am, alternating between “The Christian Lutheran Worship” and “Toque de Vida Varieties”.[69] The daily program is eight minutes long and the presentation is given by Pastor Lucas Albrecht [70], 39 years old, journalist, Head-chaplain of Ulbra.[71]
The Toque de Vida program on ULBRA TV started in 2004 has had developments in new platforms. In January 2006 the blog “Toque de Vida” was launched.[72] Later Toque de Vida via e-mail was launched in the same year, with messages written 3 to 5 times a week,[73] sent to subscribers.[74] In 2008 the book “Toque de Vida” came to the market,[75] which had its official launch at the 2008 Porto Alegre Book Fair.[76] In 2011, the Toque de Vida page was created on the social network Facebook .[77] In September 2013, Toque de Vida went on to the Radio, a daily version on Rádio Mix FM, owned by Ulbra. It was the “Minuto Toque de Vida”(The Toque de Vida Minute), airing at 6:55am and 6:40pm.[78] As another development of the missionary project, the “Touch of Life Services” began in 2014, held on Saturday evenings, 7:30pm at Colégio Ulbra Cristo Redentor, in Canoas.[79] Another product was launched in 2015, the Touch of Life Minute for Ulbra TV.[80] All the connected products are running on a regular basis to the date of this paper.
1.3.7. Numbers 2004-2015
In over 10 and a half years of existence, from November 2004 to June 2015, the Toque de Vida Project has the following numbers:
Toque de Vida Program, ULBRA TV: The program was aired for the first time on November 26, 2004. There are no records in the pastoral files of the number of recordings and programs of the debut year. During the following year, 2005, the Pastoral's records are not very precise, but they make it possible to identify about 80 recorded messages, some of them delivered by guest pastors.[81] During 2006, even without a more precise organization of dates and message titles, around 170 recorded messages can be reckoned with a few more messages made by guests.[82]
From 2007 onwards, the archive of the Campus Ministry’s retrancas has more precise information allowing a better visualization of the recorded and reruns. For that year, there were 224 programs recorded by the presenter and 45 programs recorded by guests. Still in 2007 a variety program is launched, the Sunday program called “Touch de Interview” with 16 editions. Among those interviewed were Seminary professor, Ulbra Professors, local Pastors, a student, an American pastor and representatives from Celsp. The other dates showed reruns in a total of 80. Among the message recording locations, in addition to the chapel, are the Martin Luther Library, the Football Stadium, the Dental School building, streets, parking lots and inside a moving car.[83]
The year 2008 was one of the seasons of most intense activity for the program. It is possible to identify the following: 223 programs recorded by Pr. Lucas, 11 interviews/special programs on Saturday/Sunday, 38 messages from guest pastors. There were also aired 25 Sunday services, whose recording and exhibition began on that this year,[84] and a rerun. Also, 68 reruns of daily programs. Among the illustrations and locations used for the daily programs are a clipboard, scaffolding, chapel, piano, hanger, train, ladder, car, battery, lake, tree (climbing), museum, pipe organ, air conditioner, University Hospital, Bible Fair, classroom, chimarrão, camcorder and war tank.[85]
The year 2009 presents the following records: 204 messages from Pastor Lucas, 41 messages from guest pastors, and reruns on the other dates. There were 41 services aired on Sundays, including the IELB’s 105th Anniversary Service and the ULBRA’s Anniversary Service, in addition to the Celsp’s Anniversary Service. It is not possible to determine, however, how many of them are new and how many are reruns. This year, the special story “Um Toque de Natal”(A Touch of Christmas) was recorded, produced and directed by Ulbra TV's production team. It had the special participation of Pastor Lucas[86], and among others the University Chapel was also a location.[87] Among the illustrations used on this year are: photos from the web, chess piece, pen drive, knife, tractor noise, lamp, balloon, cold, cell phone, keychain, orthodontic device, coffee, chair, pen, key, fountain, terminal bus, alcohol gel, rails, sticks, elevator and matches.[88]
In 2010, Pastor Lucas recorded 180 new messages. The guest pastors had 46 participations, some of which were recorded at the IELB National Convention in Foz do Iguaçu, PR. 33 services were aired on Sundays and there were about 100 reruns. Among the illustrations are a screen, a coffee cup, a parking lot, a data show, a fire extinguisher, a card machine, electronic scrap, air conditioning, a chimarrão bowl, a rear-view mirror, a dental appliance, an orange leaf, rain, a cell phone, haircut, cars, aspirin, coffee powder, book, glasses, cell phone charger, ruler, monitor, framing, weight, hospital.[89]
In 2011 there were 157 messages from Pastor Lucas and 74 from guest pastors. 33 services were shown on Sunday and there were Easter and Christmas Special Programs. The reruns totaled 101. From the illustrations we find accordion, altar, works on campus, white cloth, candles and chandelier, air conditioning and a self-interview, where Pastor Lucas recorded the part of interviewer and interviewee, with a week of difference.[90]
In 2012, the numbers indicate 129 messages from Pastor Lucas, 97 from guest pastors and the exhibition of 25 services on Sundays, with a total of 114 reruns. Among the illustrations: piano, chapel, baptismal font, medicine, notepad, blood pressure measuring device, microphone, library, crumpled paper, credit card, Facebook .[91]
In 2013, there were 90 messages from Pastor Lucas and 127 messages from guest pastors. On Sundays, 17 services were exhibited. A special program was recorded for Sundays detailing the Lutheran Liturgy part by part.[92] This year was the debut of Toque de Vida Varieties, with programs of debate and special messages. The topics covered on the Varieties program were: How a Lutheran congregation works, Pentecost, Interview with the IELB National Board, Church and State, 4th International Luther Symposium, University Chaplaincy, Concordia Seminary, Lutheran Bible School, School Chaplaincy, Hospital Chaplaincy, Biblical Society of Brazil and Advent and Christmas. The reruns totaled 119 editions.[93]
In 2014, reruns greatly surpassed unpublished messages. 58 messages from pastor Lucas and 29 from guest pastors are recorded, with 270 reruns throughout the year. On Sundays, when there was no rerun, recorded messages were shown in the Toque de Vida services, in addition to the DVD of “the Worship Leader” Project.[94]
As of June 30, 2015 the records of the program are: 38 messages from Pastor Lucas and 139 reruns. On Sundays, mainly reruns, with the exception of three messages from the Toque de Vida Services and the documentary “Forte em Santa União”.[95]
In summary, considering the unpublished daily messages (the main focus of this work), the total indicates at least 1550 messages produced by Pastor Lucas and approximately 500 by guest pastors.
Webblog Toque de Vida : Started on January 20, 2006, [96]the pastoral electronic diary recorded 336 posts in 2006, 449 in 2007, 605 in 2008, 457 in 2009, 348 in 2010, 327 in 2011, 196 in 2012, 142 in 2013 and 75 posts in 2014, In 2015, there are 10 posts until April, in a total of 2945 posts in the period.[97]
Touch of Life by e-mail : Started on September 21, 2006, sending short messages by e-mail, it reached the following numbers: 56 messages in 2006, 204 messages in 2007, 211 messages in 2008, 149 messages in 2009, 117 messages in 2010, 89 messages in 2011, 67 messages in 2012, 60 messages in 2013 and 53 messages in 2014. In 2015, 12 emails were sent until the month of April. In total, 1018 emails with message, closing phrase and, on some occasions, information, news, comments and promotions.[98]
Toque de Vida by email, English: On May 17, 2008, the English version of Toque de Vida, “Touch of Life” was started. In the beginning, written and edited by Pastor Lucas. As of July 18 of the same year, the text was revised and edited by Deaconess Kim Starr, from St. Louis, Missouri, USA. Most messages are translations of Toques de Vida in Portuguese. The numbers indicate 35 messages sent in 2008, 28 in 2009, 21 messages in 2010, 19 messages in 2011, 12 in 2012, 6 in 2013 and 9 in 2014, in a total of 130 emails. In 2015, until the month of June, the sending of messages had not yet resumed.[99]
Toque de Vida by email, Spanish: On June 6, 2008, The Spanish Toque de Vida was launched. Most messages are translations of Toques de Vida in Portuguese. Until 2010, they were made by Rev. André Luiz Müller. In 2011 and 2012, by the (then) Brazilian missionary in the Dominican Republic, Rev. Walter T. Ries Jr. The numbers of Toque de Vida in Spanish are 26 messages sent in 2008, 16 in 2009, 5 messages in 2010, 7 messages in 2011 and 6 messages in 2012. Since then, the sending was suspended and, in 2015, until the month of June, messaging had not yet resumed.[100]
Minuto Toque de Vida, Mix FM : Started on September 20, 2013 as a program of approximately 90 seconds, it has the following numbers: 102 unpublished programs in 2013, 65 conducted by Pastor Lucas and 37 by Rev. Angelo Elicker; in 2014, a total of 365 messages, 47 were recorded by Pastor Ângelo, 189 by Pastor Lucas and 129 were reruns. Until April 30, the 2015 recordings totaled 24 programs, while the reruns, 96 editions.[101]
Toque de Vida page on Facebook: Started on June 29, 2011, the page had, in April 2015, 705 likes. The space is essentially used to publish the messages written in the Toque de Vida by email and the messages in a reduced version, used in the Minuto Toque de Vida of Mix FM.[102]
Touch of Life Services: An ULBRA Campus Ministry Project started on May 10th, 2014. It consists of Christian Lutheran Confessional Services held on Saturday evenings at ULBRA Cristo Redentor Elementary and High School. On its Facebook page the Services are described as: “a community of people coming together for a moment of contemporary Christian music, both vibrant and reflective, prayer and biblical teaching applied to practice.” In July 2015, the page, which was essentially used to publicize the themes of services and programs, had 298 likes.[103]
Minuto Toque de Vida, Ulbra TV: Started in the first half of 2015 as a program of approximately 90 seconds, to be broadcast during breaks on Ulbra TV. Until June 2015, it had 16 finished programs.[104]
2.
LUTHERAN PREACHING : PRODUCTION,
FORM AND CONTENT
In order to study the production of messages in the Toque de Vida program, it is necessary to delimit the elements that constitute the form and content of Lutheran preaching. For this purpose we will make use of the work carried out by the author in the conclusion of his bachelor's degree in journalism, with the research "The Lutheran sermon in the receiver's vision", with the collaboration of Professor Dr. Jamile Dalpiaz.[105]
The vast majority of definitions of Lutheran preaching refer to the locus of face-to-face preaching, especially community worship. Since Brazilian Lutheran homiletics does not yet have a specific field of teaching and research on preaching in the television environment, it is necessary to use the concepts and contents of preaching in the face-to-face context as the main basis for defining television preaching.
From the Great Commission of Christ [106]and, especially, from the event on the Feast of Pentecost [107], Christians have confirmed the certainty that the role of the Christian Church in the world is, primarily, to announce the Gospel of Jesus Christ. The apostles claim that they cannot help but speak of what they have seen and heard. [108]Paul states that faith comes by preaching the Word. Therefore, it is necessary to have someone who preaches it. [109]Throughout his epistles, he points several times to the office of preaching and its importance for the Christian Church. [110]In this way, over the centuries, the communication of the Gospel, usually called preaching, in the Christian Church was consolidated as an indispensable condition for its existence and maintenance.
Since the beginning of the Protestant Reformation movement, preaching has been one of the primary duties of a pastor. Proclaiming the Gospel from the pulpit was the most common means of teaching doctrine. Even the functions of pastoral work were redefined, seeking to create more space for preaching. [111]However, according to Burnett, Luther himself never clearly voiced a position on exactly what the form of a Lutheran sermon should be. He soon abandoned the formal and thematic mode of the Middle Ages in preaching. He created his own style, with sermons focused on biblical expositions.[112]
Learning to prepare sermons takes place in the academic discipline known as Homiletics, which is concerned with Christian preaching and, in a particular way, with the sermon within worship. [113]The task of Homiletics is not just to deal with theoretical principles, but includes practical training. The sermon is distinguished from preaching in the broadest sense by the fact that it is one of the liturgical parts of community worship.[114] David Schmitt, analyzing the way pastors talk to each other about preaching, observes that they tend to isolate one or another aspect pertinent to message building:
Some say that the sermon is simply "bringing people back to the text." Others talk about preaching in the context of new Christians and how the sermon should be more about teaching, more like a Bible Study. Others hold firmly to the line of evangelical proclamation and say that when the preacher steps into the pulpit he must simply "afflict the comfortable and comfort the afflicted," or "kill the people with the law and raise them with the gospel." Still others talk about the importance of using contemporary life stories and how storytelling is a way of relating to people.[115]
Schmitt concludes that, listening to this type of manifestation, one hears different voices without, however, having a general and more complete vision. Each shepherd has a piece of the tapestry, but none of them can look at the whole.[116] Therefore, seeking a global vision, or at least establishing a cut to define preaching, helps in a broader understanding of the preacher's task.
CFW Walther, a Lutheran theologian of the 19th century, one of the founders of the Missouri Synod (the North American denomination from which the IELB originated), is the author of one of the reference works of this discipline at the Concordia Seminary, entitled Law and Gospel, republished in Portuguese in 1998. The book presents 27 theses on Law and Gospel, highlighting that the theologian, to be correct, necessarily needs to know how to differentiate between what is law and what is gospel. A task, however, that is not considered easy. Walther points out that Martin Luther, expressing the complexity of this differentiation, wrote that he would willingly grant the title of doctor to anyone who knew how to do it properly. [117]Paulo P. Weirich also points out that this tension is never resolved, citing the third thesis in which Walther states that the greatest task of Christians in general, and of theologians in particular, is to correctly establish this distinction. And he adds: “This art is taught exclusively by the Holy Spirit, in the school of experience”.[118]
Even so, Walther seeks to determine this difference in his 27 theses. The law shows what the Christian should do, but he cannot; the gospel only reveals what God is doing. The law refers to human works; the gospel, to the works of God. The law confronts the human being with what he should have done or failed to do; the Gospel presents only the promises of God. The law has the threefold effect of telling men what to do, to reveal their sins and bring them to contrition. [119]From this assumption, he makes his warnings about the danger of confusion between the two concepts. For the theologian, therefore, the starting point of the content of Lutheran preaching is to announce to its listeners the law and the gospel, which are different, and must be correctly distinguished, but not separated. They are in a complementary relationship in the message, [120]however without dissolving the polarity between them. In this connection, Jagnow argues that the Lutheran sermon proclaims God's judgment on the human being, with the aim of pointing to the opportunity of salvation or sanctified life. “For this reason, Law and Gospel need to be present, side by side, in every sermon”.[121]
Another referential author in Lutheran Homiletics is Richard Caemmerer, who claims that it is the pastor's task to announce a message that is not his, but God's.[122] The content of the preaching is to tell the story of Jesus Christ, the Messiah who came to save his people, as God had already predicted in the Old Testament of the Bible. Thus, the content of the Lutheran sermon needs to address:
1.
Jesus is the Messiah promised by God;
2. He died, but is risen, lives and rules Christians;
3. His followers proclaim to the world and to one another the story of his
death and resurrection;
4. This message has the power to change and transform listeners;
5. The message has power because it speaks of forgiveness of sins, which is the
purpose of Jesus Christ's death and resurrection.[123]
Caemmerer largely reflects what Richard Eislinger identifies as deductive methodology. It derives its name from an internal logic and movement. It starts with a general truth, aiming to apply it to specific situations for a particular situation. [124]Eislinger demonstrates that this is a long-established form, both in terms of form and exegesis, and has a recognizable structure:
The theme of the sermon is stated and divided into its constituent "points"; these subthemes are then expanded upon, illustrated, and applied to some particular life situation. This approach is immediately familiar and expresses the mainstream of traditional preaching.[125]
The focus of the Lutheran sermon on the person of Jesus Christ was already present in the thought of Martin Luther. David Lotz shows that, for the Protestant Reformer, preaching the Word of God is not just talking about Jesus Christ because he is the object, but also because he is the active subject of proclamation. Luther makes it clear that "the preaching of the gospel is nothing else than Christ coming to us, or us being brought to him."[126] He highlights that, for Luther, the hearts of listeners will not find satisfaction and consolation if they do not hear, in preaching, the correct announcement about Jesus Christ.[127]
Caemmerer also points out that each sermon produced should have only one objective, because, as the pastor seeks to persuade the listener, seeking to achieve more than one purpose in a single sermon weakens this attempt. However, generally speaking, every sermon should always have this mission: to present God's plan to the listener, to show God's judgment for failure to follow this plan (law), and to speak of God's grace (gospel).[128] With regard to the listener he recalls that the preacher has a commitment both with the Bible, teaching it correctly, and with the listener, in helping him to understand the Word.[129] Caemmerer remains the author of reference for the formal structure (theme and parts) and sermon writing of Lutheran pastors.[130]
Schmitt, looking for an overview of the tapestry of preaching, understands that the Lutheran sermon has four discourses: 1) Textual exposition – It communicates the original meaning of the text in its historical context; 2) Theological Confession – where confessions of the teachings of the faith are presented; 3) Gospel Proclamation – something that distinguishes the Lutheran sermon. Properly announce Law and Gospel, with predominance of the Gospel; 4) Listener Interpretation – what the listener says in the sermon. The receiver's view.[131]
According to Rich Gurgel, there should be little doubt about the number one priority when it comes to Lutheran preaching: it must be Christocentric.[132] For Jagnow, biblical preaching is “a communication event that aims to help people hear the eternal and unchanging Word of God in their changing everyday situations.” [133]It is a piece of communication that aims to reach the real needs of real people.[134]
In this way, it is possible to infer that the Lutheran sermon must present in its content: Christocentrism, law and gospel, speak of the person and work of Jesus Christ, have only one objective, take into account the pericope (biblical text), bring theological teaching of the Church and adapt to the context and reality of the recipients.
2.1. Preaching and Television
Luiz Carlos Ramos, in his article “Homiletic Persuasion in the Media Age”, analyzes homiletic practice in its interrelationship with the phenomenon of mass media, particularly television. He says:
Our opinion is that if, on the one hand, television programming found strong inspiration in religious homiletics, currently the experience of preaching in churches seeks in the media its modus operandi (method), its modus faciendi ( technique ) and your own modus vivendi (lifestyle).[135]
For Ramos, religion and media inspire each other, both in terms of form and content. He argues that, particularly with regard to TV, the content must be simplistic and simplified for easy assimilation by the viewer, in addition to being superficial, emotional, narcissistic, among others.[136] The inspiration between religion and media is mutual, and the homiletic principles that guide religious practice are reflected in the communicative conception of secular media. [137]In the same way that “the more visual, the greater the chance of certain content being broadcast by the television medium. Hence the impossibility, in this case, of separating form from content.”[138]
Thus, according to Ramos, when religion uses this channel of communication,
she
has no choice but to surrender to the demands of the environment. Its message
necessarily becomes merchandise, and the experience of God, or of faith, is
placed side by side with other products on the market. There is, currently, a
millionaire and competitive industry that strives to meet an unprecedented
demand, and that heats up the religious goods market.[139]
Ramos' article, based on authors such as Barthez and Gabler, aligns with recurrent criticisms of vehicles, especially the concepts of “society of the spectacle” and “republic of entertainment”, dating from the 20th century. Briggs and Burke, in “A Social History of the Media”, demonstrate, however, that the idea of the social spectacle – public rituals, for example – can be traced back to as far back as, at least, the 17th century. “The word “spectacle”, commonly used in the 17th century, was resurrected in the 20th century”.[140] Television, despite its distinctive characteristics, does not seem to be a pioneer in its appeal to emotion and its tendency towards massification. The assertion that “the spectacle has become the world”, derived from The Society of the Spectacle (1967), must be contrasted with the comment of Richard Adler, American television writer: “The small screen seriously limits the effectiveness of the spectacle”.[141]
Another point highlighted by Burke and Briggs is the fact that most of the criticisms leveled at television in the 1960s and 1970s are outdated. However, "some seem curiously persistent."[142] Television continues to be criticized for being an agency of reduction and trivialization of issues and news, as well as a negative force, distorting content and facts. However, McLuhan, in the 1980s, was already much less quoted than 20 years earlier. The debates went further, especially addressing the role of the family. Many said that children needed protection from television, but there was little consensus on how to do this. [143]It can be understood therefore that having received fierce criticism, especially between the 1960s and 1980s, television has also been seen, more recently, with less prejudice and from positive angles, as an example, its use as a vehicle for information and training .
For Robert Rosin, there are many types of communication vehicles - media - and the role of Christians, especially communicators, is to learn what they do and how they affect the message. And recommends:
Use them as best you can to contact those God wants to be his again. Be sober and then, from whatever direction you come with the message, conveyed by the media of the moment, go towards the cross.[144]
2.2. Reception in preaching
Despite not being the main focus of this work, we dedicate a few lines to the study of the receiver, both from the point of view of communication, as well as from the Lutheran theology and homiletics.
In the communicational field, following Nilda Jacks and Ana Carolina Escosteguy, the theoretical-methodological contribution of reception analysis is used, which understands the receiver as an active individual. The media message is a cultural form that can be subject to analysis and interpretations different from the original intention, since the audience is composed of people who produce meaning. Thus, what characterizes the analysis of reception is a comparison between the content of the media and that of the audience, confronting the structure of the content with the audience's response to it. Reception analysis differs, therefore, from uses and gratifications by focusing on the message, making predominant use of qualitative and interpretive methods.[145]
Stuart Hall, when addressing reception studies, describes the audience as composed of people who do not receive the message passively, but actively and even producing meaning. Which also leads to a comparison between audience and media discourses. [146]Escosteguy shows that reception studies in Latin America, initially influenced by Martín-Barbero, began to indicate, from the late 1980s onwards, a receiver-subject. In this new perspective, the receiver came to be seen as someone who gives new meaning to what he receives within a complex process, in which negotiations and also resistance to the media proposal are identified.[147]
In order to obtain the interpretation of the audience, interviews and participatory observation are used, then comparing the evidence obtained with the structure of the content of the media. In this way, it is possible to indicate how a certain theme is understood by a specific group. It becomes evident, however, the authors point out, that it is not possible to make generalizations from this method, as it “works with representative samples of the population”.[148]
Justin Rossow, analyzing what Hogan and Reid define as “Practical Postmodernism” in preaching, indicates that this type of preaching is more concerned with the listener's experience in the event, unlike the emphasis on the salvific encounter, which is given by the kerygmatic approach . “Meaning is no longer located in a proposition or in an encounter with the redemptive presence of God. Rather, meaning is the work of the hearers as the sermon is interpreted.”[149]
The listener is considered by Theology as an important part and the target of this process, since the Bible states, in the book of Romans 14.17: “faith comes by hearing”. It takes someone to preach for someone else to hear and thus receive the message. However, the listener as an active subject of the process, giving meaning to the content, is a point of tension in Lutheran Theology. Vilson Scholz, when discussing postmodernity, mentions the critique of reader response/reception theory. Contrasting modernity, which centered on the author and objectivity, the postmodern moment has the reader and subjectivity as the main actor, which can bring some tension to Theology:
Before
you start wanting to hate the criticism of the reader's response, it is good to
remember the positive aspects that result from this approach. More than ever,
it is clear that no interpreter is tabula rasa. Strictly speaking, he already
has a text or texts in his memory (in computer language one could say that the
"environment" or the "program" pre-exists working with
different texts or files). This environment or text determines how new texts
will be read. In practice, one only hears what the mind is prepared to hear.[150]
Ely Prieto reinforces the importance of knowing the audience for the application of teaching. In his text “Communication skills for postmodern times”, he reports a series of challenges that the preacher faces in front of the audience in postmodernism. It highlights the change in the concept of relevance, the consumerist mentality, the need to experience and not just listen, the abandonment of commitment, the desire to see and participate, tribal individualism, immediacy and the relativization of the concept of “truth”. [151]About the latter, Prieto points out:
Postmodernists
have their own stories, their own truth. As preachers, we have to confront them
with the metanarrative of Scripture. Through the narrative story of the Gospel,
the Holy Spirit can make history their story. Bible truth, their truth.[152]
What is evident, in the analysis of the traditional Lutheran homiletics, is the fact that the concern lies in knowing the listener in terms of the elaboration of the sermon, with greater emphasis on production and delivery. When it comes to Reception analysis, it is possible to show a certain tension.
Nelson Kirst, for example, observing the sermon from the perspective of communication processes, mentions the receiver's expectations. For him, the listener has well-formed ideas about what should or should not be preached, normally waiting for the pastor to confirm his convictions. If this expectation is frustrated, he will be considered a non-preacher, which ends up breaking communication. [153]On the other hand, the preacher cannot only confirm what the listeners expect, under penalty of not taking the listeners beyond where they are. [154]This causes the loss of critical stamina and does not cause it to leave its accommodation. Thus, the intentions of the preacher's speech must be conveyed, while taking into account, as far as possible, the expectations of the listener. [155] Caemmerer would say that
Every
stage of preaching preparation, as well as preaching itself, requires the
preacher to be equally concerned about the Word of God and the people to come .[156]
This view contrasts with David Luecke regarding the relationship between sermon and communication. Using research carried out with pastors from the two main Lutheran churches in the United States on the behavior of listeners towards Lutheran sermons, he states:
The hypothesis of the study carried out is that the commitment to more effective communication can lead to a departure from the Lutheran norm of approach in preaching and worship, due to the fact that it places greater emphasis on the needs and interests of listeners and participants.[157]
This contrast is even more evident in Robert Schaibley. The American theologian points out, already in the title of his article, that “Lutheran preaching is proclamation, not communication.” [158]The pastor has a God-given office, and because of that, he makes a one-sided announcement of biblical truth in the sermon, to be accepted or rejected. Preaching involves the listener's presence, but not necessarily his cooperation. [159]Even if the hearer comes to deny what he heard, the proclamation has taken place if the Word of God has been announced. The author identifies, in his article, only production and emission as the factors that define the effectiveness of communication in the sermon.[160]
Back to Rossow, in his thesis on the use of metaphors in preaching, we see him advocating an intermediate point between the meaning intended by the sender and the production of meaning by the receiver. From a linguistic point of view, he observes that the extremes when approaching human communication can be misleading; both from the objectivist view, which can belittle the role of the interpreter in the production of meaning, and from the subjectivist one, which can ignore cultural, contextual and even textual constraints. And it indicates:
To preach metaphors somewhere between these two extremes means to be concerned as much with the interpretive work of the listener as with the ways in which the text, the preacher, and the wider culture guide and constrain the interpretive task. Linguistically, metaphors in the biblical text and in the sermon participate in the complexity of human communication .[161]
From the theological point of view, it emphasizes what is evident - the Word of God is presented in human words. Therefore, context, culture and subjective experiences affect how people will understand texts and sermons. But the fact that they are human does not mean that they cannot be divine. They remain the means of God's grace, no matter their variations. “The words of the biblical text are human words all along; yet they are also the Word of God.”[162]
Thus, Rossow works with the definition that, theologically, the sermon and its text are both part of a human process of communication and also a means of grace. And, linguistically, it is more than an objective transfer of meaning and less than a merely subjective action, without guidance. [163]In short, he advocates meaning as situated midway between emission and reception.
At the conclusion of the study “the Lutheran sermon in the receiver's view”, the reality verified by the research showed that the receivers identify the elements of the Lutheran sermon, theme and objective of the message. However, they interpret and reframe this content within their personal context, both amplifying and distancing themselves from the original objective. From the analysis and interpretation of the data, it is evident, in line with the Reception Studies, that the receptor subject is a content producer. While identifying a preferred meaning in the sermon, he also interprets, produces meaning from what he received and also has losses of content in the reception process.[164] Another piece of evidence provided by the study was the verification of the previous trust of the listeners in the institution, in the pastor and in the medium used to send his message, thus not showing resistance to the logic of the means.[165]
3. PREACHING FOR EVERYONE AND FOR NOBODY. Analysis of the productionof the message from interviews with presenters of the Toque de Vida program
For the third chapter of this dissertation, the testimony of IELB pastors who worked and/or work in the construction of messages for the Toque de Vida program was collected. Communicators of the Word who have been and are facing the challenges of preaching to everyone – since the television audience they are aimed at can be as wide as possible – and to no one – since the message is recorded in front of a camera. They are:
Rev. Ângelo Naor Elicker – 10 years of ministry. Rev. Angelo contributed to the program between 2008-2014.[166] He reporst in the period:
1
weekly program for daily TdV on TV
9 services per year (on average) on Sunday TdV .
1 monthly program (on average) as a presenter or as an interviewee on TdV
Sunday in 2013 .
1 weekly TdV program on PopRock from 2010 to 2012
15 monthly Minuto TdV programs on Rádio Mix in 2013 and early 2014.[167]
Rev. Gerhard Grasel – 46 years of pastoral ministry. He mentions that he did not make the exact accounting but he believes that he collaborated in a period of two to three years with the program.[168]
Rev. Herivelton Regiani –16 years of pastoral ministry. He contributed to Toque de Vida in the period of two years on a weekly basis.[169]
Rev. Lucas Albrecht – The Author of this work, active in ministry for 16 years. He has been active in Toque de Vida since its inception, in 2004, on a daily and weekly basis.[170]
Rev. Marcos Schmidt – In the active ministry since 1983, he recorded a specific number of programs in the 2006 season.[171]
Rev. Paulo Cesar Fernandes Brum – Serving in ministry for 17 years he collaborated with Toque de Vida from 2005 to 2012, on a monthly basis.[172]
Rev. Tiago José Albrecht – 6 years of ministry. He describes that he collaborated with Toque de Vida in the second half of 2014/02.[173]
Rev. Walter Trescher Ries Jr – 10 years in the active ministry. He collaborated with Toque de Vida for one year, once a month.[174]
The
questionnaire, which can be viewed in annex one, addressed aspects of each
presenter's personal references in the construction of their messages. It
sought to find out about the way messages were created and worked upon. It also
sought to bring the vision or creation of the communicators regarding the
public whom they aimed at when producing their messages.
3.1. Recording routine
The pastors reported their various experiences in the program's recording routines. Regiani points out that, “following the format already proposed he made an appointment with the sector responsible for the recordings at Ulbra, through the Campus Ministries Office, and recorded about three to four messages at a time”. He adds that the Ulbra’s Campus Chapel was the most used location, but sometimes he would go to other locations on campus or “Cristo Redentor” School.[175] Elicker points out that, in the technical aspect, “after wearing the microphone, carrying out the necessary tests, and finding a good scenario, we started recording.”[176] Tiago reports that the recording took place in the university chapel. With the presence of the cameraman, programs were recorded in sequence.[177] Lucas describes the theme research and the preparation of the topics. In some cases he would record enough messages for up to two weeks. With the time previously scheduled with Ulbra’s Audiovisual Production Center he waited for the cameraman to arrive at the chapel for recording, which took normally “a period of 1 to 2 and a half hours.”[178] Ries points out how, once on the Canoas campus and having the message prepared, his routine was to choose the recording location and wait for the cameraman to arrive. He also highlights the need to choose different shirts when recording more than one program at a time.[179] Schmidt notes that his recording routine was made easier by the technical help of the recording crew. As the texts of the messages were ready the recordings took place.[180]
Focusing on the content of the message Grasel reports that he returned
to themes or subjects that were in his memory and let these texts bring these
themes back to mind. “I tried to bring them to a new reality because time was limited.
It was another way of reaching people”.[181] Elicker reports that after scheduling the recording he tried not to
read from sheets of paper as much as possible, arriving for the recordings with
the messages already well engraved in his mind. “At most, I would read the
Bible when quoting some text or some object for illustration.”[182] Brum highlights his research of topics and also the exchange of ideas
with the program's producer, seeking to specify the communication approach
according to the public. He also points out “the elaboration of the written
messages and then the recording. Usually, I did two to three at a time so the direction
of the program could have them ahead of time.”[183]
3.2. Spoken Language
An important concept to be identified in Brazilian Lutheran preaching on television is the making of its spoken message. As we observed in the theoretical framework, there are presupposed contents in a Lutheran message, especially: Christocentrism, Law and Gospel, talking about the person and work of Jesus Christ, having only one objective, taking into account the biblical text (pericope), the context of the listener and bring theological teaching of the Church. However, as we have observed, the homiletic literature focuses essentially on preaching in the written and/or face-to-face context, not giving clear indications of possible adaptations and needs for the television environment. The experience reported by these eight participants of the Toque de Vida program can enrich this content and production.
The research indicates that a specific environment of Lutheran communication spoken on television in short messages can be observed. Although strongly influenced by traditional homiletic assumptions, aimed at face-to-face preaching, it also has distinctive characteristics.
Brum, for example, emphasizes an objective and informal language, seeking proximity/empathy with viewers, seeking a Christian application to everyday life.[184] Elicker reinforces this notion by pointing out the search for an accessible, easy-to-understand language, “as if it were a chat with someone at your side. Figures of speech and illustrations were often used to didactically better explain a topic.”[185] In the same vein Schmidt demonstrates concern with a “simple language so as not to complicate communication.” He also adds the search for an imaginary profile of the viewer, “so that theological terms in the preaching of the Word of God do not cause strangeness in people’s ears.”[186] Ries Jr. cites the use of commonly understood language, “not too churchy”. He also comments on the use of biblical stories with application to people's lives.[187] Speaking about form Lucas adds that over time he also tried to work with language from a journalistic point of view, “avoiding unnecessary repetition, excessive buzzwords and commonplaces, and also ‘crutches’ in speech.”[188] The theme of simplicity is also in Tiago when he reports seeking the simplest possible language, trying to connect with people's daily lives, as if they were "modern parables".[189] The effort is also mentioned by Regiani. In addition to using the simplest possible language, he avoided using theological jargon, “also targeting the public unfamiliar with the Bible and Christian theology.” Using a story, event or issue on the agenda in society, or even everyday situations, he sought to lead the reflection to the Gospel itself.[190] As one of the creators of the program, Lucas highlights, firstly, the base of illustration and application: almost all recorded messages follow the idea of using a biblical illustration, everyday life, historical facts, objects, and others, to then make a connection with the Word of God, both in the aspect of justification and sanctification. He also points out the search for a language as clear and precise as possible.[191]
This agrees with Jagnow when he states that quality in the message also involves the use of illustrations, which is one of the most common creative resources in preaching.[192] Justin Rossow, citing Hughes and Kysard, observes that the predominant use of illustrations and metaphors is not just at the edges, but also right at the center of Christian theology and discourse.
The Gospel itself may be proclaimed in terms of birth, life, salvation, light, food, ransom, redemption, inheritance, reconciliation, marriage, atonement, cleansing, salvation, deliverance, victory, payment of debt, or a verdict of not guilty, to name a few. just a few.[193]
Jagnow also comments that the preacher's greatest challenge, perhaps, is to apply the truths of God to the daily lives of his listeners, "taking into account the present spiritual needs and the eternal destiny of men and women, children, youth and adults, literate and illiterate, rich and poor”.[194] The simple and objective language, making use of illustrations as highlighted by the interviewees is in correlation with the use of creativity in the construction of a succinct message for television.
The relationship with everyday life and the objective of establishing a connection with people's lives are also Robert Kolb's concerns. Describing the beginning of the conversation between Christians and people who do not yet have the Christian faith, he points out that “they realize that the initial agenda of this dialogue is set by life experiences that have posed questions that need answering.”[195] Further on, Kolb points out:
These questions and answers, of course, do not conclude Christian witness. They don't even simplify it. Rather, they lay the groundwork for effective application of God's messages to those who were not listening.[196]
Another important aspect that emerges from the answers can be connected to the theory of Relevance, proposed by Dan Sperber and Deirdre Wilson. For them the fundamental premise is that we rarely say exactly what we want to communicate. On some occasions, we can be more succinct, using less content, and even so, we make ourselves understood.[197] Thus the authors demonstrate the importance not only of the linguistic code, but also of the context of speakers and listeners, as vehicles of meaning. This indicates that we can be relevant even not using all the words that, supposedly, would be necessary to make sense, as long as we use the linguistic code in our favor together with the adequate context so that viewers understand the meaning of what is being communicated. Pattermore indicates:
Context,
in Relevance Theory, is a cognitive concept – a set of propositions that we
consider to be true, or likely to be true. The summary of all these ideas is
our cognitive environment. By evoking a context, the speaker both compels and
constrains the listener towards a specific interpretation .[198]
The presenters' perceptions on the question about the most commonly used message structure also reflect this aspect of relevance.
Elicker points out:
The message always came from an everyday experience, to capture attention. Whether it's a story, a situation with great repercussions in the media, or the most important fact in the history of that day. Afterwards, it continued with the spiritual application, also seeking to rely on some biblical text or story, always ending with the message of God's love and protection, and wishing "a happy and blessed day".[199]
Brum highlights this emphasis on people's reality, when reporting the use of stories or everyday situations, which are easy to identify. Subsequently, the application of the Word of God. Finally, a conclusion, or catchphrase, leading to closure.[200] Tiago presents his message model topically:
Greeting;
Introduction with an "everyday parable" or factual example;
Application to the Christian life
law and gospel;
Invitation to know this Gospel, practical suggestions for everyday life based
on what God says in the Bible;
Farewell.[201]
Ries Jr does the same, listing four items: a short introduction to the theme, use of a story to illustrate it, insertion of a biblical verse or text and, finally, the application to daily life.[202]In similar terms, Lucas describes:
-Greeting
-Illustration: It can be a story, a fact, an object, a place. Often, something
that, in principle, leaves the viewer intrigued;
-Transition to application, which starts from pointing to Christ as the source
of everything in our life ;
- application for daily life, starting from faith in God.
-Conclusion, always looking for a 'golden closure', a sentence that ends the
message closing the circle with the initial illustration and theme.[203]
Regiani presents two parts, divided into 4 moments, also indicating, between one part and another, a change of shot / angle / framing:
1.
The question or problem;
1.1. Introduction, with a hook to draw attention and lead to the subject;
1.2. Exploration of social, relational or existential issues involved in the
proposed theme;
2. The Gospel;
2.1. What has to be said, from the point of view of Christian faith, on the
subject;
2.2. Conclusion, usually referencing the introduction.[204]
Grasel demonstrates that, at times, he resorted to his ability to improvise, at others, he used read text. In general, he built a mental scheme in parts, being a kind of “scaffolding” for the construction of thoughts.[205] Schmidt, who also has a written and spoken role in other vehicles and media, brings the following ingredients:
They
are messages with a simple structure, with a beginning, middle and end, seeking
the listener's attention. I try to look for a subject about some news, a fact
that is in the media, something that is happening, to make a ‘hook’ to the Word
of God. That is, using creativity, I always try to bring the Gospel into
people's lives with something that is happening, in order to draw attention.[206]
All presenters seem to follow, therefore, the path of creativity, variety, illustration and metaphor, analyzed by Jagnow and Rossow. In addition to it, they reflect Caemmerer's instruction that each sermon produced must have only one objective, because, as the pastor seeks the persuasion of the listener, trying to achieve more than one purpose in a single sermon weakens this attempt.[207]
Extending the discussion on the construction of the television message, answering the question “What should a Lutheran message be like for television?”, the presenters highlighted some items. For Tiago, “without church platitudes, simple, with a smile on the lips and without labels. Just talking about Jesus in a modern and attractive way.”[208] Schmidt adds “Very well prepared, communicative, creative, dynamic, current, committed to its confessional principles, responsible with its doctrine, and above all, that has the same language as Jesus, that is, love for people.”[209] Ries lends his vision of understanding how to be confessional in communication:
Confessional!
But what does confessional mean? That we must maintain our doctrinal focus in
all messages. To be confessional is to be biblical and relevant to the daily
lives of all viewers.[210]
Brum notes that the Lutheran message on television must be relatable to the audience, relevant to the present day, grounded in the Bible, visually and rhetorically pleasing to the viewers' eyes and ears.”[211] Grasel highlights the opportunity to use this tool which takes the message to places where it is not known where they will be. Several comments from people who watched a message refer to the validity of its production, despite the fact that, at the time of recording, no one's face was being seen.[212] Regiani emphasizes what he believes to be “the DNA of Lutheran homiletics: speaking in a simple way and close to the time in which we live, reforming and adapting the language. To speak of the gospel as a mother speaks to a child”. Many of the attempts that the IELB carries out through television, according to him, still maintain the construction model and the formal tone that attach to the internal context of the Church. For example, “the professorial posture, the posed tone of voice, the pauses and rhetorical questions "very formally" posed; the indirect construction of sentences; the prayers in speech tone.”[213]
This is also what Elicker thinks, when he states that the language must be simple and attractive and the content must be based on Lutheran doctrine. The message can take advantage of theological and doctrinal themes and teach them in a simple and positive way, so that it can be understood and reinforced by different audiences. And he adds: “Since the Lutheran message is characterized by the great rediscovery of the Gospel through Luther, the evangelical language of God's love through Christ must predominate”, in line with Walther's position, in his thesis number 27 .[214] Lucas further adds:
-Designed
for a primarily non-Lutheran audience;
-Based and focused on basic concepts of the Christian faith:
-Applied to people's daily lives;
-Thinking about the long term, establishing relationships; do not put all the
content in each message;
-Well-crafted visually;
-Focused on clear and consistent arguments, without the need for appeals or
impositions.
From the various responses of the communicators, it is observed that, in their message structures and content, the main contents indicated for a Lutheran sermon, as raised in this work, appear: Christocentrism, law and gospel, talking about the person and work of Jesus Christ, having only one objective, to bring theological teaching of the Church and consideration for the context and reality of the receivers. The item that does not seem to be clearly contemplated with regularity is taking into account the pericope.
We can also add here another ingredient of relevance theory:
Relevancy
itself is defined by comparison. A communicated idea is more relevant if it has
many contextual effects for the listener. Communication is also more relevant
if it requires less mental processing effort to understand. A communication is
optimally relevant when it is worth the listener's effort to process it, and it
is the most relevant text that could have been generated consistent with the
speaker's abilities and preferences.[215]
It is pertinent to observe, analyzing the information about the production, formatting, content and intended audience of the communicators, and their reiterated affirmation of the search for expressing a content that does not change, using variable forms, the consonance with the principle expressed in the Augsburg Confession, in its Article VII, when it deals with the essence and content of worship and the Christian message and its relation to the ways of doing it:
And
for the true unity of the church, it suffices that there be agreement on the
doctrine of the gospel and the administration of the sacraments. It is not
necessary that human traditions or rites and ceremonies instituted by men
should be similar everywhere. .[216]
The concern with creativity and variety in the construction of texts and messages emerges from the interviewees' responses. This is in line with Chester Pennington when he emphasizes that persuasion skills in preaching come from creative expression. Therefore, it is not a work done haphazardly, but carefully constructed, “This undoubtedly requires some creative work”.[217] Jagnow sees creativity and variety as the key words in the quest for quality reception of the Christian message by listeners. And this does not happen when the communicator always repeats the same arguments and resorts to worn-out formulations. [218]Argues:
Undoubtedly,
the Holy Scriptures, in all their pages, testify to the variety and creativity
with which biblical preachers announced the creative Word of God.[219]
Kerygmatic preaching and its use of metaphors, Rossow indicates that, as a whole, metaphor is used by this style of preaching to translate the essence of the Christian message into an accessible way for listeners, facilitating the salvific encounter with God. [220]And adds:
Because metaphor often functions at the level of a general method for bringing text and listeners together, describing how it works becomes similar to describing the homiletic method as a whole.[221]
The need for variety in preaching is further reinforced by the words of Harold Freemann: “Our hearers need variety. They put on invisible earplugs when they hear the same sound coming on... We need to build into our reservoir of sermon resources enough variation to introduce an element of surprise into our preaching ministry.”[222] Later, Jagnow will state that, since the Word of God is creative, creativity becomes intrinsic to preaching. [223]And he explains what, in his view, is the essential tripod of the creative process: the accumulated experience, the motivation to want to be creative and the freedom to break patterns (or paradigms) and have and try new ideas.[224]
In
this context, a relevant aspect can be contrasted. Although built to be
broadcast in the television environment, with creativity and variety, one
cannot categorically infer that the description of unrestricted adherence to
television communication models - especially emotionality , simplism and commercialism –, as manifested by
Ramos, apply to the Lutheran way of
conceiving and producing messages for this means of communication. Still, that
the Lutheran television message also “converts, necessarily, into merchandise,
and the experience of God, or of faith, is placed side by side with other
products on the market.” [225]On
the contrary, when analyzing the way in which the messages reported by the
pastors were produced a similarity is observed with what Prieto describes when
he states: “As preachers, we have to confront them [the postmodernists] with
the metanarrative of Scripture. Through the narrative story of the Gospel, the
Holy Spirit can make history their story. Bible truth, their truth.”[226]
3.3. The invisible audience
One of the central objectives of this work is to investigate how communicators of the Word deal with the situation of being in front of a camera and, therefore, talking to nobody, at the same time that they potentially communicate with a universe of thousands of people, in almost entirely, unknown to the preacher. Preaching without anyone in front of you, therefore, is a challenging task for Lutheran pastors, who have their homiletic training directed towards communicating with the public in front of them. Thus, trying to understand how they face this challenge and how, in their minds, the invisible public to whom they are addressed is delineated helps in understanding the production and broadcast of televised Lutheran preaching.
Grasel reports that Toque de Vida was not his first experience on television, but he resumed it when acting on the program. It highlights the need to realize that one is always learning, in a posture of humility. He emphasizes that he considers this reality of reaching many environments and homes encouraging. "It enhances the moment, even though you're not seeing anyone's face but that camera."[227]
Lucas recalls that, once he was used to talking face-to-face, receiving an immediate reaction from people, in the beginning 'chatting with a camera' was extremely challenging. It was with the passing of time, and with becoming aware that, behind those lenses, possibly thousands of people would receive the message of the Gospel, that he was able to develop greater naturalness. Also highlights:
It represented a great responsibility. Especially for being a very heterogeneous audience, who would receive that message at different times of the day, in different life situations. It was a slow construction of a language that could immediately connect with the viewer.
Schmidt believes that, even with the experience of working in front of a camera, it does not have the naturalness that he would like, as he understands that the camera creates a certain barrier in communication, since people do not receive an immediate reaction, as in face-to-face communication. “At the same time, I always tried to imagine the public in front of me, in order to avoid a square communication, as if I were talking to the walls.” He recalls the butterflies in his stomach, noting that if it was just the camera, it wouldn't be as difficult as knowing that thousands of people would watch that message. “This generates a natural nervousness, which hinders the smooth running of communication.”[228]
For Elicker, the experience did not present significant difficulties, since he was studying journalism, which was of great help. He points out, however, that it is not possible to do without preparation. Putting yourself in the viewer's shoes is another strategy, encouraging people to use Portuguese correctly; illustrations, making it easier for the public to follow the reasoning and its application; also, take care of the details of the visual language. "But above all, the greatest care is in content and correct doctrine."[229]
Tiago reports the initial difficulties, due to the fact that the homiletic training is to speak to people in person. Over time, however, tranquility materializes and, in a certain sense, he considers it even easier than being in front of large audiences. He emphasizes that it is wonderful “to be able to make a difference for someone with the message of Jesus even though he is not there, live, inside the person’s house, but still, live and in color through people’s television.”[230]
Regiani, even having had previous experience in front of a camera, reports both the same initial nervousness, for now being pastoral messages, and the same subsequent tranquility, which comes with practice. He notes that, at the time of recording, he was not thinking about the fact that potentially thousands of people could watch that message, possibly because it was a recorded program, not live. “But it was interesting to hear or get reactions afterwards, via email or meeting people who happened to remember watching the show.”[231]
Brum recalls that, at first, he found it cold and discouraging to speak in front of a camera. I was used to an immediate reaction from speaking in front of people, and it was a shock not to have it, in that format. With time,
when I realized that behind the camera lens could be an infinity of people and souls, I began to change my attitude, understanding that I would be having the opportunity to speak to a larger and more heterogeneous audience than my congregation or weekly students, and more, without a immediate visual feedback. This caused my gestures, rhythm of words and sound rhetoric to change significantly, adapting to that reality according to the witness of the Gospel of Christ. I tried to seize the opportunity, molding myself to it.[232]
Ries Jr. also reports the initial difficulty and speaking in front of a camera and getting used to it over time. He understands that observing other television presenters and receiving tips from more experienced people also contributes to the process. Regarding the impact of speaking “to nobody”, she observes that the feedback received from people who watch her reinforces the certainty that the Word does not return empty. “The Holy Spirit operates through these means of mass communication”, he reinforces.
The interviewees' answers reinforce the difficulty present in the performance of the IELB pastors in relation to television. The lack of initial experience is a barrier to be overcome, with continuous training, repetition and absorption of the needs that a message in front of a camera requires. They also indicate that the homiletic and rhetorical principles apprehended for the issuance of face-to-face messages need reworking and specific direction for the television environment.
In this connection, Rich Gurgel, when commenting on the double way in which the Word acts when communicated – Psychological and Supernatural – highlights that trust in the second should not prevent us from investing in the first.
This
protects us from the folly of assuming that the power of the Word means we
don't have to put significant effort into working out how we speak the message
to our hearers.[233]
Robert Rosin also makes an important contribution on the need to prepare and adapt to the medium in which the message is communicated, when he comments on the fact that the medium affects the message:
Do we realize how much the means of communication - the media - actually shape the message ? If we don't realize what a medium or media can do to the message it carries or conveys, we can get hurt.[234]
Further on, he reinforces the importance of adequate preparation of the
communicator when transmitting the word of God - without, therefore, denying
the action of the Holy Spirit. Without preparation, preaching can be mere
repetition of the word, like a mantra. He recalls that this is why the Seminar
has the study and teaching of homiletics and biblical interpretation. “This is
why pastors and people in general strive to say things in the best possible way
(...) We need to learn to do our best”.[235]
3.3.1. Non-Lutheran
Public
The presenter pastors of Toque de Vida were also invited to describe how they dealt/deal with the fact that the majority of the audience is potentially non-Lutheran.
Regiani sees it as an enabling factor, something that normally made him feel more at ease, “without the formal requirements associated with speaking 'to the church'”. [236]For Brum, it is a great opportunity and responsibility. [237]Ries Jr. points out that reaching out to non-Christians was what actually motivated him to record, since “Christians go to church to listen to the word of God.” [238]Lucas relates his expectation and joy, since his main objective has always been, through the program, to speak to people outside the Lutheran circle. "When making each message, this was always the primary target audience in my mind."[239]
Schmidt describes the opportunity as a natural and pleasant challenge, which even helps in communicating with Lutherans, transforming the language into a more contemporary and pleasant one for their ears, since they are also used to the external language. [240]Grasel describes that this made him feel freer, as he realized the fact that the seed would be released in different environments.
Suddenly,
it's the person's first opportunity to start thinking about life, thinking
about essential things in their existence and the fact that it's not a program
so focused on our Lutheran, that didn't bother me, I even think it was a
challenge why did I have to speak a non-church language.[241]
Finally, Tiago mentions that it is a constant challenge, which avoids the comfort zone or the mere repetition of theological words. He considers it a privilege for the pastor to be able to speak to people outside his flock, something that only mass communication can offer. [242]And Elicker comments that he considers this the biggest challenge:
I think that precisely the concern for a non-Lutheran to say "I get it now", "I hadn't thought of that", "That's interesting", "That happened to me too" was the guide to all the language and preparation of the program.[243]
The perceptions of the interviewees are in line with Kolb, who states that not only the message content must be accurate, but also needs to be presented correctly and, as he spoke to the public of the apostles and prophets, so long ago, it must be " precisely directed to the situation of the contemporary listener”.[244]
Here, Jagnow's emphasis on creativity and variety in preaching is resumed. He observes that preaching can be seen as an artistic expression, since the preacher is a craftsman who acts as an instrument of God in an orderly and expressive way. [245]Creativity in preaching “is the eye that seeks to see what is familiar from a new perspective or a different context” [246].
3.3.2. Reception
Still on the topic about the target idealized audience in the production and broadcasting of the messages, the pastors were encouraged to answer the question “What factors were taken into account, when recording the program, regarding its objective of communicating a Christian message to the public of Porto Alegre metro area in the so-called postmodern era?”
Here it is possible to outline some converging points. First of all the fact that the audience is mostly not composed of Lutheran Christians seeking real-world connectivity with the real God - the biblical God.[247] As the program is inserted in an academic environment, it provides an opportunity for good, intelligent Christian messages. A language that includes examples of the daily life of people in a large metropolis.[248] Simple content, everyday examples, local culture, good aesthetic, and a smile when communicating a good message.[249] To speak to what the listener or viewer has in front of him/her today, and their questions in a scenario of rapid changes; constant concern to contextualize; balance between text and context.[250] A diverse audience; the individual act of watching, as opposed to the traditional model of the family gathered on the couch; the fluctuating attention competing with other media; the need for a tone that is less "apodictic" or "teaching" and more dialectical, from the point of view of rhetoric.[251]
Other topics mentioned were: using language that avoids direct denials and attacks on other worldviews, always trying to be assertive about the Christian faith, and that seeks to demonstrate security and clarity in statements; no need for rudeness, shouting, or attempts at intimidation; messages focused on everyday life, on 'today', since the generation of the beginning of the 21st century is characterized by a distancing from the past and a certain hopelessness about the future.[252] To communicate the Gospel; to present the Lutheran confessionality; to be a channel of communication for Lutheran Christians; to transmit different proposals for life in a way that is foreign to the Word of God and the practice of God's will.[253]
Emphasis is also given to contextualizing the themes treated in a very didactic way for people's daily lives, trying to bring recent examples of events that could serve as an illustration and that makes sense to viewers. The program's language was very focused on a non-Christian or non-Lutheran target audience, not least because it emerged within a university.[254]
The interviewees, in general, in one hand are opposed to Schaibley, for whom the needs of listeners should not be taken into account, since Lutheran preaching is “not communication, but proclamation.” On the other hand, they meet Kolb's vision of the need to understand the questions and traumas of people outside the faith for an effective application of the Word. They share Jagnow's opinion, which emphasizes creativity and variety as a way to take the listener seriously. Quoting Gerald Knoche, he indicates that creativity can be seen as building a bridge between the unchanging Word of God and the ever-changing group of listeners it addresses.[255] Jagnow states that it is important to generate suitable conditions that allow God's creative and recreative action to take place in the listeners' lives with the greatest possible vigor.[256] But he also highlights in accordance with Lutheran biblical teaching:
The
listener's true response does not come because of his ability as a preacher,
but as a result of the action of the Spirit of God. You must seek to be or
become a creative preacher, yes, but sanctifiedly creative.[257]
Under the heading “updating, not accommodating”, it is also worth seeking in Kolb the reference that the words that are announced must be clear and understandable for people who are not familiar with the context of the Scriptures, avoiding, however, the danger of, when building the bridge, focusing too much on the side where it touches the prevailing culture. Christians cannot forget the guidance of the Holy Spirit in this matter. But, also, they need to
remember that the Holy Spirit does not work in a magical way. He guides and advises through intense study of the Word and the culture to which he has called us to be witnesses. He guides and advises through brothers in the faith, who are also engaged in the study of the content, or teaching of the Word, and its application and proclamation in the society in which they live.[258]
Hard work is indispensable for that purpose. It is not possible to divide pastoral communication between creative and non-creative preachers, argues Jagnow, because creative results are possible in the life of any pastor, in any area of ministry.[259] This is what Knoche defends, for whom good results in preaching are given less by superior gifts and more by hard work over time. Creative pastors are those who understood creativity as something important and constantly worked in this direction.[260]
3.3.2.1.
Reception in the view of the producers
It is also relevant, in this topic, to quote the opinion of the three producers of the program, presented in chapter 2 of this work. In addition to being producers, the three also acted as message receivers. They have no history of connection with the IELB, its doctrine and practice, and expressed their opinion on the effectiveness of the program's communication.
Bordinhão understands that the program achieves its objective by focusing on people who are open to new information, with faith and with a more contemporary profile. “These are people who set aside a small amount of time each day to receive words of comfort and motivation.”[261] Silva understands that the effectiveness of the program lies, in large part, in the fact that it addresses real and obvious everyday situations, also including commemorative dates. “The effectiveness [is] in its simple and brief communication”, he points out, indicating that the message reaches both those who are Christians and has the potential to win over those who are not. [262]And Nucci believes the show was able to quickly reach its goal of reaching viewers with a positive message. She mentions that the team was able to create an attractive program, easily accessible to the whole family. Being a program shown in the morning and in the evening, reaching different audiences, it needed to have a fully comprehensive and dynamic format. And concludes: “I believe that Toque de Vida was able to contemplate all types of viewers.”[263]
3.4. Lutheran preaching for television
With the contents presented so far, it is possible to infer, within the context of a succinct communication in the television medium, a concept of the content of the Lutheran television message.
From the producers' point of view, as analyzed in chapter 1, the following ingredients can be listed: Clear and objective language, connected to the viewers' lives. Use of everyday illustrations, informal language. Concern about audio and video quality. Good edition which seeks to give dynamics to the program.
From the interviews with the pastors, linked to the foundations of Lutheran homiletic practice, it is evident that, taking into account the traditional ingredients of Lutheran preaching, the television communication of the IELB can be defined by a clear, objective language, filled with everyday ingredients and which, through illustrations and connections with daily life, seeks, in a few minutes, to connect the viewer to the Gospel. Its distinguishing feature from face-to-face preaching lies in the fact that it does not have the audience before it. This imaginary audience is made up of a non-denominational group, that is, a wide spectrum of people from all possible backgrounds.
One can see the constant concern of the communicator pastors with
establishing contact with the “invisible audience” of the program, even though
they do not have specific data about the people who watch them. Emphasis is
placed on communicating with creativity and variety, devoid of theological
jargon and language more geared towards the audience of Lutheran congregations,
who are already familiar with them. The effort is for the correct use of the
medium in which it is inserted – and that affects the message-, paying
attention to the visual language and the inherent needs of a message broadcast
for television.
3.5.
Dangers
and Benefits
As a closing the interviewed pastors were invited to express their opinion about the dangers and benefits for the Church when using television preaching.
With regard to the dangers, these are some topics mentioned: the risk of the presenter desiring to be the star of the show, taking Christ out of the center;[264] regarding congregations, the difficulty in dealing with profiles of people coming from this mission work, with their cultures and practices and lack of clarity regarding the immutable (content) and the changeable (form), in addition to a feeling of impotence in the face of issues polemics and the theme of sanctification;[265] misuse of it (careless production and contextualization, bad content) and exhibitionism;[266] loss of identity in the exaggerated search for attention; sacrifice of theology by simplifying complex issues or seeking to respond to the viewer's desires with objective answers;[267] exposing the church to the external public without due technical and doctrinal preparation, not communicating the Gospel effectively and creating more barriers in bringing people to Christ, in addition to the danger of trying to please the external listener, without preaching Law and Gospel; [268] becoming just a television entertainment attraction; [269]misuse and excessive mediatization of the Church.[270]
As for the benefits, Ries Jr., succinctly, comments that “the greatest benefit is reaching many people at the same time.” [271]Grasel points out that the fundamental thing is that, amid all the televised options, Jesus Christ prevails as the only Savior.[272] Regiani sees as positive adapting the language to the times we live in and the possibility of reaching people who would otherwise not be reached as strengths. He also cites the visibility of the Church before the world and, also, the “strengthening of the identity of the church members themselves when they see themselves or their pastors in these spaces.”[273] Brum lists social visibility for later involvement in projects and partnerships, reaching out to people outside the Lutheran church and involvement with society. He also highlights “opportunities to leave the missionary comfort zone.”[274] In line with these opinions, Lucas highlights the benefit of reaching a larger number of people, “challenging oneself to leave the Lutheran 'little box'. Greater exposure, which implies greater preparation”. He also stresses fulfilling the mission of the IELB, which is to communicate Christ to all.
This mission is the starting point for Elicker to highlight that he only sees advantages in this work. For him, the seed will be sown in different “soils”, without imposition, as people have the option of switching channels. And, if there is resistance or even misuse of the message, there is no need to fear, since we are secure of what we communicate.[275] In the same line, Schmidt believes that the benefits are wide, such as the expansion of the Gospel and the fulfillment of Christ's order. He also emphasizes “penetration in a differentiated space, dissemination of Lutheran doctrine among people from other churches or non-believers, visibility of the church, challenges of transforming the communication language more attractive also for the internal public”.[276] Pointing to the Great Commission of Christ as well, Tiago states that the benefits are incalculable in fulfilling it, in addition to showing a church inserted in people's daily lives, investing in being close to people, and “that is concerned with the 'lost sheep of the house of Israel'."[277]
When one verifies the reality of television as a daily vehicle, based largely on the search for constant novelty and on the rapid disposal of content already shown, the impression can be expressed that the great effort undertaken in its use, in the comparison of time invested in preparation versus audience reached/result obtained, it may have been fruitless. Rosin, however, points out that
Luther
understands that what is proclaimed is the viva
vox Dei, the voice of God. The preacher and the words he speaks are
transient, but the message conveyed brought life.[278]
This is reinforced by the words of Tatiana Nucci, when commenting on her satisfaction in having participated in the history of the program:
It was years of learning through your messages and explanations. Many times, the messages seemed to be written directly to me. The simple and direct format, the colloquial language used, are certainly determining factors for the success and long life of the program.[279]
On air since November 2004, currently in its 11th season, and having already produced more than 2000 unique messages, the Toque de Vida Program is already the longest initiative and exposure in communication on an open channel in the history of the IELB. It represented the return of the Synod to a TV open channel after a gap of more than a decade. This comeback happened through a daily program on Ulbra TV, a channel of the Lutheran University of Brazil. Throughout its history, having the author of this work as its main anchor, it also had the participation of many Lutheran pastors, some of them having participated in the research of this dissertation as well. All of them come from the Lutheran homiletic training, directed towards face-to-face preaching, and, therefore, seeking to build their way, manner, form and mode of production and broadcast for the television language.
This dissertation rescued the history and mode of production of the Toque de Vida Program. The research brought details and numbers of the Toque de Vida program, as well as the specific needs of Lutheran preaching on television. It also brought the homiletic form and practice of its broadcasters in front of the television audience. It identified the production process, both from a technical point of view, with the interviews of three producers, as well as the presenters, both in the visual language and the content of the messages.
As the preaching was done everybody and to nobody the research highlighted the need to learn and adapt the face-to-face language to television. It also identified ingredients for the formation of the concept of Lutheran preaching on television. There was an effort to build messages that, based on Lutheran doctrine and homiletic theoretical references of face-to-face preaching, idealize an anonymous public of receivers, seeking the best form and content for communicating the Gospel. It was noted the effort to create messages that make sense to the daily life of the imaginary viewer, with a clear, concise, illustrative speech, and that brings the truth of the Gospel to the hearts of those who watch it.
Like every research this one also has its gaps to be explored in future works. One of the clues for progress in the area would a reception survey with viewers, identifying the negotiation of meaning and resignification when watching the program. Still, the sedimentation and expansion of homiletics research focused on non-face-to-face means of communication, not just TV, but especially the web, social networks and other electronic media.
In conclusion, the mission of Christians, of the pastor, of the Church, remains the same that moves it since the great commission of Christ: Making disciples by baptizing and teaching. Whether preaching to everyone in a face-to-face communication environment – which may also be, depending how it is done, a “preaching to nobody” event. Or preaching “to nobody” in the composition of a message that is spoken alone but which, depending on how it is done, and with the correct use of the medium, may be a preaching to everybody.
[1] COOK, Anthony A. Media as source of information and Identity. In: The American Mind meets the mind of Christ . Kolb, Robert, ed. St. Louis, Concordia Seminary Press, 2010, p.146-161.
[2] PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003, Work presented in the classroom for a graduate course.
[3] LUECKE, David S. Trends among Lutheran Preachers. Word and World , Volume XIX, Winter 1999. Available at: http://www2.luthersem.edu/Word&World/Archives/19-1_Preaching/19-1_Luecke.pdf Accessed 21 Nov. 2010.
[4] HALL, Stuart (1980) 'Encoding, decoding in the television discourse' . Hall, S. Hobson, D. and Lowe, P., (eds) Culture, Media, Language . London: Hutchinson, 1993. In: HOFFMANN, Adriana, CID, César Netto and RIBEIRO, Lúcia Gomes. Audience reception and decoding (audience/spectators) Denis McQuail and Sven Windahl . 1993. Available at: http://wwwusers.rdc.puc-rio.br/imago/site/recepcao/textos/mcquail2.htm Accessed on 25 Apr. 2011.
[5] JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception . São Paulo: Hacker Editores, 2005.
[6]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine . Year 1. Number 2. Dec 2010- Jan 2011, p.36.
[7]Id.Ibid., p.36
[8]Id.Ibid., p.36
[9] BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.86
[10]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.175. The construction model of Cinco Minutos com Jesus has remained the same since the beginning, carried out with the collaboration of several IELB pastors, including the author of the dissertation, who has already written more than 100 devotions in the last 15 years. Source: www.horaluterana.org
[11]BUSS, Paul Wille. A grain of mustard: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.156.
[12]Id.Ibid., p.304
[13]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine . Year 1, number 2. Dec 2010- Jan 2011, p.36. The article brings a more detailed view of initiatives in this area.
[14]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.87
[15]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p. 87.
[16]Id.Ibid., p.177.
[17]Id.Ibid., p. 177.
[18]Id.Ibid., p.251.
[19]BUSS, Paul Wille. A mustard seed: the history of the Evangelical Lutheran Church of Brazil . Vol. 2. Dieter Joel Jagnow, ed. Porto Alegre, Concordia, 2006, p.251.
[20]Id.Ibid., p.251-3.
[21]Id.Ibid., p.254.
[22] We use Bueno's (2003) concept of internal communication here: "Internal Communication is the communication effort developed by a company, agency or entity to establish channels that enable the relationship, agile and transparent, between management and the internal public and between the elements that make up this public (it is known that there are several internal publics in an organization).” BUENO, Wilson da Costa. In: Mansi, Viviane. Internal Communication: what is it and what is it for? Available at: http://www.comunicacaocomfuncionario.com.br/2013/01/15/comunicacao-interna-o-que-eea-que-se-propoe/ Accessed: September 2015. With the addition: “Internal Communication is not restricted to the so-called downward communication, that which flows from management to employees, but includes mandatorily horizontal communication (between segments of this internal public) and upward communication as well, which establish the feedback and effective communication.” Internal communication. In: Online Business Communication . Available at: http://www.comunicacaoempresarial.com.br/comunicacaoempresarial/conceitos/comunicacaointerna.php Accessed: September 2015
[23] DREHER, Martin N. Wilhelm Rotermund: His Time – His Works. 2 ed. São Leopoldo, Oikos, 2014, p.76
[24] DREHER, Martin N. Wilhelm Rotermund: His Time – His Works. 2 ed. São Leopoldo, Oikos, 2014, p.76 The author inserts these reflections in the context of the chapter in which he talks about the Mucker revolt. “In this environment where faith was not something that was externalized (...) the meeting at the Maurer house, next to [Mount]Ferrabraz, must have caused a sensation. There was an externalization of faith there. Anyone who acted like that could be the target of mockery.” P. 76
[25] STEYER, Walter O. German immigrants in Rio Grande do Sul and Lutheranism. Porto Alegre: Singulart, 1999.
[26]JAGNOW, Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine . Year 1, number 2. Dec 2010- Jan 2011, p.36.
[27] http://www.ulbratv.com.br/historico/ Accessed on: April 29, 2015
[28]Jagnow,. Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine . Year 1, number 4. February and March 2011. p.14
[29]Id.Ibid., p.14
[30]Jagnow,. Dieter. TV as a vehicle for evangelization in the Evangelical Lutheran Church of Brazil. In: Theology Magazine . Year 1, number 4. February and March 2011, p.14
[31]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email)
[32]Id.Ibid.
[33]Id.Ibid.
[34]NA: Journalistic term. “Head: It is the lead [introduction] of the matter. The person who reads it is always the presenter who introduces the subject of the article made by the reporter”. Available in: http://jornal.metodista.br/tele/manual/glossario.htm Access: April 30, 2015
[35]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email)
[36]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email)
[37]NA: Journalistic term. “Call: Text about the main highlights of the newscast, transmitted within the broadcaster's normal programming. It aims to attract the viewer”. In the case of Toque de Vida, the term Retranca, used internally between presenter and production, would probably be more appropriately applied. “Retranca: Identification of the topic. It is the name of a given program. It is only used internally and only highlights two words from the Video.” Available at: http://jornal.metodista.br/tele/manual/glossario.htm Access: April 30, 2015
[38]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[39]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).
[40]NA: Closed shot, or close-up : “the camera is very close to the subject, so that it occupies almost the entire scene, without leaving large spaces around it. It is a plane of INTIMACY and EXPRESSION.” Source: http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/
[41]NA Open plan, or long shot : – “the camera is far from the object, so
that it occupies a small part of the scene. It is an AMBIENTATION plan.”
Source:
http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/
[42]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[43]Id.Ibid.
[44]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).
[45]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).
[46]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[47]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).
[48]SILVA, Fabiano Ribeiro da. Master's Interview . March 2015. (Communication via email).
[49]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).
[50]Id.Ibid.
[51]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[52]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).
[53]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[54]SILVA, Fabiano Ribeiro da. Master's Interview . March 2015. (Communication via email).
[55]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[56]SILVA, Fabiano Ribeiro da. Master's Interview . March 2015. (Communication via email).
[57]NUCCI, Tatiana Interview Master . March 2015. (Communication via email).
[58]SILVA, Fabiano Ribeiro da. Master's Interview . March 2015. (Communication via email).
[59] See p.20.
[60]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[61]Id.Ibid.
[62]Id.Ibid.
[63]Id.Ibid.
[64]“ TV service broadcast marks 104 years of IELB foundation ”. Available at: http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html . Accessed on April 30, 2015
[65]“Ulbra confirms it will have a new sponsoring entity”. Available at: http://www.diariodecanoas.com.br/_conteudo/2014/04/noticias/regiao/39503-ulbra-confirma-que-tera-nova-entidade-mantenedora.html Accessed on April 30, 2015
[66]“TV Service broadcast marks 104 years of IELB’s foundation”. Available
in:
http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html
.
Accessed on April 30, 2015
[67]Id.Ibid.
[68]“ Touch of Life ”. Available at: http://www.ulbratv.com.br/toque-de-vida/ Accessed on April 30, 2015.
[69]Id.Ibid.
[70]“Touch of Life”. Available at: http://old.hagah.com.br/programacao-tv/jsp/default.jsp?uf=1&action=programa&canal=ULB&operadora=15&programa=0000071040&evento=000000530358992&gds=1 Access: April 30, 2015. The description of the program's content, on this website, says: “Moments of peace and reflections on the screen. Touch of Life is presented by Pastor Lucas Albrecht who brings to our life, through the Lutheran message, the word that comforts us”
[71]“Head-Chaplain”. Available at: http://www.ulbra.br/sobreaulbra/pastor-lucas-andre-albrecht.html Accessed: April 30, 2015
[72]“ Daily Pastoral ”. Available at http://toquedevida.blogspot.com.br/2006/01/pastoral-diria.html Accessed: April 30, 2015.
[73] Touch of Daily Life . Email sent on September 21, 2006.
[74] Pastoral Activities . Available at: http://www.ulbra.br/pastoral/atividades-da-pastoral/ Accessed: April 30, 2015.
[75] The Book . Available at: http://toquedevida.blogspot.com.br/2008/10/o-livro.html Accessed: April 30, 2015.
[76] Launch . Available at: http://toquedevida.blogspot.com.br/2008/11/lannamento.html Accessed: April 30, 2015.
[77]Available at: https://www.facebook.com/programatoquedevida Access: April 30, 2015
[78] Pastoral Activities . Available at: http://www.ulbra.br/pastoral/atividades-da-pastoral/ Accessed: April 30, 2015.
[79] Touch of Life Services. Available at: http://ulbra.br/pastoral/culto-toque-de-vida/ Access: May 5, 2015. In their description on the Facebook page , the Toque de Vida Cults are presented as “a community of people who meet for a moment of contemporary Christian music, both vibrant and reflective, prayer and biblical teaching applied to practice. Messages that seek to answer the question: “What do the Bible and faith have to do with my daily life?” Available at: https://www.facebook.com/cultostoquedevida/info?tab=page_info Access: May 5, 2015.
[80] Available at: https://www.facebook.com/programatoquedevida Access: June 30, 2015
[81] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.
[82]ID Ibid.
[83]ID Ibid.
[84]“ TV service broadcast marks 104 years of IELB foundation ”. Available at: http://noticias.gospelmais.com.br/transmissao-de-culto-pela-teve-marca-104-anos-de-fundacao-da-ielb.html . Accessed on May 21, 2015
[85] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.
[87] Available in: https://www.youtube.com/watch?v=aGZ3kv0ZVfY (Part 01) and https://www.youtube.com/watch?v=JqXFz1s2Yy0 (Part 02)
[88] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.
[89] ID Ibid.
[90] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.
[91] ID Ibid.
[92] Available at: https://www.youtube.com/watch?v=9vw8SbPgtfU
[93] Touch of Life. Material available at the Pastoral archive in Canoas, RS. Accessed May 21, 2015.
[94] ID Ibid.
[95]“ Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed on July 10, 2015.
[96]“ Daily Pastoral ”. Available at: http://toquedevida.blogspot.com.br/2006/01/pastoral-diria.html Accessed on: May 12, 2015.
[97]Source: http://toquedevida.blogspot.com.br/ Accessed on: May 12, 2015
[98]“ Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed in June, 2015.
[99]“ Touch of life ”: Material available in the archive of Pastoral Canoas. Accessed in June, 2015.
[100]“ Touch of Life ”: Material available in the archive of Pastoral Canoas. Accessed in June, 2015.
[101]“ Minuto Toque de Vida Mix FM ”: Material available in the Pastoral Canoas archive. Accessed in June, 2015
[102] https://www.facebook.com/programatoquedevida Accessed on May 12, 2015.
[103] https://www.facebook.com/cultostoquedevida Accessed on: July 10, 2015.
[104] Drops Touch of Life Ulbra TV : Material available in the Pastoral Canoas archive. Accessed in June, 2015
[105] ALBRECHT, Lucas André; DALPIAZ, Jamile. The Lutheran sermon in the receiver's view. A study of the Evangelical Lutheran Community São Paulo de Canoas. Completion work of the Social Communication Course. Canoas, 2011. Available at the Library of the Lutheran University of Brazil.
[106]Gospel of Matthew 28.19
[107]Acts, Chapter 2
[108]Acts 4.20
[109]Romans 10.14-17
[110]For example: 1 Corinthians 1:23; 2 Corinthians 4.1-6; 2 Corinthians 5:18-21; Philippians 1.15-18; Colossians 1.28-29;
[111]BURNETT, Amy N. How to Preach a Protestant Sermon: A Comparison of Lutheran and Reformed Homiletics. Department of Faculty Publications, Department of History . v. 63, Lincoln, 2007. n. 2, Available at: http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1106&context=historyfacpub Accessed 24 Apr. 2011.
[112]ID Ibid.
[113]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985. The author also adds that the term originates from the Greek HE HOMILIA, with HOMILEIN meaning to relate, to talk. HE HOMILIA designates, in the New Testament of the Bible, being together, relating. It was in the first centuries of the Christian era that this term came to be used for the sermon, from which the expression homiletic is derived.
[114]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985
[115] SCHMITT, David R. The Tapestry of Preaching . Available at: http://concordiatheology.org/2011/09/the-tapestry-of-preaching/ Accessed: October, 2015
[116] ID Ibid.
[117]WALTHER, CFW Law and Gospel . Porto Alegre: Concordia, 1998.
[118]WEIRICH, Paulo P. Meaning and Content in the Christian Proclamation: Subsidies for a Reflection from the Reading in Luther in Chapter 1 of the Gospel of John. Revista Igreja Luterana , São Leopoldo, v.62, n.1, p.35-54, Jun.2002, p.46. Yet Weirich, quoting Walther, mentions the second thesis on law and gospel, in which the American theologian declares: has been false. The correct theologian is only the one who, among other requirements, knows how to correctly differentiate law and gospel” (p.46). The tension is established, therefore: to seek a distinction that, in practice, is difficult to achieve.
[119]WALTHER, CFW Law and Gospel . Porto Alegre: Concordia, 1998.
[120]ID Ibid.
[121] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.316.
[122]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959.. p.5 Also available in Portuguese.
[123]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959.p.5-6
[124] EISLINGER, Richard L. The Web of Preaching: New Options in Homiletical Method. Abingdon Press, 2002 , p.7
[125]Id.Ibid., p.7
[126]LOTZ, David. The proclamation of the word in Luther's thought. Word and World , vol. 4, New York, 1983, n.3. Translated by Clóvis Jair Prunzel (2004). Available at: http://www.seminarioconcordia.com.br/Artigos_Prunzel/A%20Proclamacao_na_Teologia_de_Lutero.mht Accessed on: 25 Apr. 2011.
[127]Id.Ibid.
[128]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959. p.10
[129] Id.Ibid., p.11.
[130]While Walther pays more attention to the content of the sermon, Caemmerer also emphasizes the formal aspect. As for the single objective of each sermon, it shows that this can be an “objective of faith”, that is, to strengthen the listeners' faith in Jesus Christ, or “objective of life”, encouraging the listener to live his faith in practice. From the theme, it suggests how to work the parts of the sermon, with sub-themes and specific applications, a kind of 'skeleton' for the message.
[131]SCHMITT, David R. The Tapestry of Preaching . Available at: http://concordiatheology.org/2011/09/the-tapestry-of-preaching/ Accessed: October, 2015.
[132]GURGEL, Rich. A Lutheran Theology of Preaching . A brief essay to spark discussion originally prepared for the faculty of Wisconsin Lutheran Seminary, presented with some minor changes for the National Conference on Worship, Music & the Arts Available at: https://connect.wels.net/AOM/ps/worship /_layouts/mobile/mWord.aspx?doc=%2FAOM%2Fps%2Fworship%2F2008%20Conference%20Presentations%2FAlternate%20Styles%20of%20Preaching-Readings%2Edoc&s=1&source=%2FAOM%2Fps%2Fworship%2F_layouts%2Fmobile%2Fview %2Easpx%3FList%3Da4b5726b-b798-478c-b70a-945df2b4ad19%26View%3D312ea540-3c72-4120-9428-8d8da2a9ec59%26CurrentPage%3D1&i=0 Accessed: May 26, 2015.
[133] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.9.
[134] Id.Ibid., p.9.
[135]RAMOS, Luiz Carlos. Homiletical Persuasion in the Middle Ages. Contemporary preaching and the mass media . Available at: http://www.metodista.br/ppc/caminhando/caminhando-15/caminhando-15/persuasao-homiletica-na-idade-midia-a-pregacao-contemporanea-e-os-meios-de-comunicacao -de-mass Accessed on May 26, 2015
[136] RAMOS, Luiz Carlos. Homiletical Persuasion in the Middle Ages. Contemporary preaching and the mass media . Available at: http://www.metodista.br/ppc/caminhando/caminhando-15/caminhando-15/persuasao-homiletica-na-idade-midia-a-pregacao-contemporanea-e-os-meios-de-comunicacao -de-mass Accessed on May 26, 2015
[137] Id.Ibid.
[138]Id.Ibid.
[139]Id.Ibid.,
[140]BRIGGS, Asa; BURKE, Peter. A social history of media: from Gutenberg to the Internet. Rio de Janeiro, Jorge Zahar Ed., 2006. 2nd ed., p.19
[141] BRIGGS, Asa; BURKE, Peter. A social history of media: from Gutenberg to the Internet. Rio de Janeiro, Jorge Zahar Ed., 2006. 2nd ed., p.249
[142] Id.Ibid., p.244
[143]ID Ibid., p.244
[144] ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.53
[145]JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception . São Paulo: Hacker Editores, 2005.
[146]HALL, Stuart “'Encoding, decoding in the television discourse'. Hall, S. Hobson, D. and Lowe, P., (eds) Culture, Media, Language. London: Hutchinson, 1993. In: HOFFMANN, Adriana, CID, César Netto and RIBEIRO, Lúcia Gomes. Audience reception and decoding (audience/spectators) Denis McQuail and Sven Windahl. 1993. Available at: http://wwwusers.rdc.puc-rio.br/imago/site/recepcao/textos/mcquail2.htm Accessed on 25 Apr. 2011.
[147]ESCOSTEGUY, Ana Carolina. Reception studies and gender relations: some provisional notes . Ciberlegenda, n.7, Rio de Janeiro, 2002. http://www.uff.br/mestcii/carolina1.htm Accessed on 15 Apr. 2011.
[148]JACKS, Nilda; ESCOSTEGUY, Ana Carolina. Communication and Reception . São Paulo: Hacker Editores, 2005, p.45
[149] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.16 Rossow adds Craddock's definitions on Postmodernist Practice: “Meaning is a team event, a collaborative effort between the words offered by the preacher and the work of the hearers in making meaning from those words.”. And Hogan and Reid: “Rather than passive recipients, hearers are cast as actively participating in a “journey of discovery,”. Rossow concludes: “a journey the preacher hopes to guide but ultimately cannot control.”
[150]SCHOLZ, Wilson. Postmodern Hermeneutics . Revista Igreja Luterana , v.56, n.2, p.159-163, 1997. p.162
[151]PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003. Paper presented in the classroom for a graduate course. p.2
[152] Id.Ibid., p.3
[153]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985
[154] In conversation with the advisor, Dr. Vilson Scholz, this noted, at this point, that by Relevance Theory, “you can do one of three things: confirm what the person knows, deepen what he knows, or contradict what he knows. But she always knows something. Otherwise, you won't understand anything.”
[155]KIRST, Nelson. Rudiments of Homiletics . São Leopoldo: Sinodal, 1985
[156] CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959, p.15
[157]LUECKE, David S. Trends among Lutheran Preachers . Word and World , Volume XIX, Winter 1999. Available at: http://www2.luthersem.edu/Word&World/Archives/19-1_Preaching/19-1_Luecke.pdf Accessed 21 Nov. 2010.. p.22
[158]SCHAIBLEY, Robert. “Lutheran Preaching: Proclamation, Not Communication,” Concordia Journal , St. Louis, v.18, n.1, p. 6-27, Jan.1992
[159].SCHAIBLEY, Robert. “Lutheran Preaching: Proclamation, Not Communication,” Concordia Journal , St. Louis, v.18, n.1, p. 6-27, Jan.1992
[160] Id.Ibid.
[161] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.27
[162] ID Ibid., p.29
[163] ID Ibid., p.29
[164] ALBRECHT, Lucas André; DALPIAZ, Jamile. The Lutheran sermon in the receiver's view. A study of the Evangelical Lutheran Community São Paulo de Canoas. Completion work of the Social Communication Course. Canoas, 2011. Available at the Library of the Lutheran University of Brazil. p.18.
[165]ID Ibid., p.18
[166]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[167]ID Ibid.
[168]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone]..
[169]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[170]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email)..
[171]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[172]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email).
[173]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[174]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[175]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[176]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[177]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[178]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Communication via email).
[179]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[180]SCHMIDT, Marcos. Interview for my dissertation . [Personal message]. Email received in May 2015.
[181]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[182]ELICKER, Angelo Naor. Interview for my dissertation . May 2015. (Communication via email).
[183]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email).
[184]BRUM, Paulo Cesar Fernandes. Interview for my dissertation . May 2015. (Communication via email)..
[185]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[186]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[187]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[188]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email)..
[189]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[190]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[191]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).
[192] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.272
[193] ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.5
[194] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.9.
[195]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.10.
[196]Id.Ibid., p.11.
[197] PATTEMORE, Stephen. On The Relevance of Translation Theory. In: Review and Exhibitor . No: 108, Spring 2011. p .266. On the same page, the author illustrates: “If I shout "Fire!" in a crowded room, it will be understood by everyone to mean, "The house is on fire. Leave the building immediately”. I could say exactly what I mean, but it would be not so relevant because it would take too long for the listeners to process and might not gain their attention in the first place. Similarly, few in the room would interpret my utterance to mean, 'Squeeze the triggers of your guns/' although in another conte xt that might be the precisely relevant meaning . No conceivable code system distinguishes these two meanings of "Fire!" Context does that.”
[198]PATTEMORE, Stephen. On The Relevance of Translation Theory. In: Review and Exhibitor . No.: 108, Spring 2011. P.267.
[199]ELICKER. Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[200]BRUM, Paulo César F. Interview for my dissertation . June 2015. (Communication via email).
[201]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[202]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[203]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).
[204]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[205]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[206]SCHMIDT, Marcos.. Interview for my dissertation . May 2015. (Communication via email).
[207]CAEMMERER, Richard Rudolph . Preaching for the Church . Saint Louis: Concordia Publishing House, 1959.
[208]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[209]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[210]RIES, Walter Trescher Jr. Interview for my dissertation . May 2015. (Communication via email).
[211]BRUM, Paulo César F. Interview for my dissertation . June 2015. (Communication via email).
[212]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[213]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[214] WALTHER, CFW Law and Gospel . Porto Alegre: Concordia, 1998.
[215]PATTEMORE, Stephen. On The Relevance of Translation Theory . In: Review and Exhibitor . No.: 108, Spring 2011. p.268.
[216] Book of Concord . Arnaldo Schuler, trans. 4 ed. Porto Alegre, Sinodal/Concórdia, 1993, p.66.
[217]PENNINGTON, Chester. In: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.14
[218]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.29
[219]Id.Ibid, p.29
[220]ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.15
[221]ROSSOW, Justin P. Preaching the Story Behind the Image: A Narrative Approach to Metaphor for Preaching. Ph.D. diss., Concordia Seminary, 2008., p.15
[222]FREEMAN, Harold. IN: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.144
[223]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.48
[224]ID Ibid, p.60 On page 50, Jagnow had already defined his definition of creativity, which would be: a skill , an attitude and a process . And he tells pastor readers, “You are a creative person and you can improve your creativity.”
[225] RAMOS, Luiz Carlos. Homiletical Persuasion in the Middle Ages. Contemporary preaching and the mass media . Available at: http://www.metodista.br/ppc/caminhando/caminhando-15/caminhando-15/persuasao-homiletica-na-idade-midia-a-pregacao-contemporanea-e-os-meios-de-comunicacao -de-mass Accessed on May 26, 2015
[226]PRIETO, Ely. Communication skills for postmodern challenges . San Antonio; 2003, Work presented in the classroom for a graduate course., p.3
[227]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[228]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[229]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[230]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).
[231]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[232]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).
[233]GURGEL, Rich. A Lutheran Theology of Preaching . A brief essay to spark discussion originally prepared for the faculty of Wisconsin Lutheran Seminary presented with some minor changes for the National Conference on Worship, Music & the Arts Available at: https://connect.wels.net/AOM/ps/worship/ _layouts/mobile/mWord.aspx?doc=%2FAOM%2Fps%2Fworship%2F2008%20Conference%20Presentations%2FAlternate%20Styles%20of%20Preaching-Readings%2Edoc&s=1&source=%2FAOM%2Fps%2Fworship%2F_layouts%2Fmobile%2Fview% 2Easpx%3FList%3Da4b5726b-b798-478c-b70a-945df2b4ad19%26View%3D312ea540-3c72-4120-9428-8d8da2a9ec59%26CurrentPage%3D1&i=0 Accessed: 29 June 2015
[234] ROSIN, Robert. The medium shapes the message. In : Luther and communication: the use of the media in the proclamation of the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.37
[235]ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.38
[236]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[237]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).
[238]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[239]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).
[240]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[241]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[242]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).
[243]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[244]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.17.
[245] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.66
[246] JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.66
[247]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).
[248]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[249]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).
[250]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[251]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[252]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).
[253]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[254]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[255]KNOCHE, Gerald. In: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.66
[256]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.67
[257]ID Ibid, p.66
[258]KOLB, Robert. Communicating the Gospel Today . Translated by Dieter Joel Jagnow. Porto Alegre, Concordia, 2009, p.16.
[259]JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.69
[260]KNOCHE, Gerald. In: JAGNOW, Dieter Joel. Creative Preaching . Porto Alegre, Concordia, 2010, p.69. Jagnow, on p.69-70, cites some measures suggested by Fred Craddock to remain especially creative in the use of language: - Remember the importance and power of words when reading Scripture and secular authors; - read 15 to 20 minutes daily and try to vary the type of reading; -every five or six weeks, review the sermons to assess how words and phrases were used; - try to see how people talk to each other in public places; - Talk to young children.
[261]BORDINHAO, Fernanda Chacon. Master's Interview . March 2015. (Communication via email).
[262]SILVA, Fabiano Ribeiro da. Master's Interview. March 2015. (Communication via email).
[263]NUCCI, Tatiana. Master's Interview . March 2015. (Communication via email).
[264]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[265]BRUM, Paulo CF. Interview for my dissertation . June 2015. (Communication via email).
[266]ALBRECHT, Lucas André. Interview for my dissertation . May 2015. (Report via email).
[267]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[268]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[269]ALBRECHT, Tiago J. Interview for my dissertation . May 2015. (Communication via email).
[270]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[271]RIES, Walter Trescher Junior. Interview for my dissertation . May 2015. (Communication via email).
[272]GRASEL, Gerhard. Audio interview for dissertation . June 2015. [Audio recorded on cell phone].
[273]REGIANI, Herivelton. Interview for my dissertation . June 2015. (Communication via email).
[275]ELICKER, Angelo Naor. Interview for my dissertation . June 2015. (Communication via email).
[276]SCHMIDT, Marcos. Interview for my dissertation . May 2015. (Communication via email).
[277]ALBRECHT, Tiago José. Interview for my dissertation . May 2015. (Communication via email).
[278] ROSIN, Robert. The medium shapes the message. In: Luther and Communication: The Use of the Media in Proclaiming the Gospel. Organized by Paulo W. Buss. Nilo Waccolz, ed. Porto Alegre, Concordia, 2015, p.42
__________________
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WEBSITES
IMDb
http://www.imdb.com/name/nm4529907/
SECOM
communication manual
http://www12.senado.leg.br/manualdecomunicacao/glossario/retranca
ULBRA
Pastoral http://ulbra.br/pastoral/culto-toque-de-vida/
www.ulbra.br/pastoral
First Film
http://www.primeirofilme.com.br/site/o-livro/enquadramentos-planos-e-angulos/
Portal R7
Available
at: http://entretenimento.r7.com/cinema/glossario/glossario-1.html
.
ULBRA TV
http://www.ulbratv.com.br/historico/
http://www.ulbratv.com.br/toque-de-vida/
Methodist
University of São Paulo. Jornal da Metodista, Glossary
http://jornal.metodista.br/tele/manual/glossario.htm
Pastoral Channel
on Youtube
www.youtube.com/pastoralulbra
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