Liturgy (Greek: λειτουργία) is the customary public worship performed by a specific religious group, according to its particular beliefs, customs and traditions.
The word, sometimes rendered by its English translation "service", may refer to an elaborate formal ritual such as the Eastern Orthodox Divine Liturgy (Greek: Θεία Λειτουργία), Catholic Mass, the Eucharist or Mass (Anglican Communion) or a daily activity such as the Muslim salah and Jewish services. As a religious phenomenon, liturgy is a communal response to the sacred through activity reflecting praise, thanksgiving, supplication, or repentance. Ritualization may be associated with life events such as birth, coming of age, marriage and death. It thus forms the basis for establishing a relationship with a divine agency, as well as with other participants in the liturgy. Methods of dress, preparation of food, application of cosmetics or other hygienic practices are all considered liturgical activities.
The word liturgy, derived from the technical term in ancient Greek, leitourgia, signifies the often expensive offers of service to the people, and thus to the polis and the state. Through the leitourgia, the rich carried a financial burden and were correspondingly rewarded with honours. The leitourgia became both mandatory and honorific, supporting the patron's standing among the elite. The holder of a Hellenic leitourgia was not taxed a specific sum, but was entrusted with a particular ritual, which could be performed with greater or lesser magnificence. The chief sphere remained that of civic religion, embodied in the festivals: M.I. Finley notes "in Demosthenes' day there were at least 97 liturgical appointments in Athens for the festivals, rising to 118 in a (quadrennial) Panathenaic year." Eventually, under the Roman Empire, such obligations, known as munera, devolved into a competitive and ruinously expensive burden that was avoided when possible.
Liturgy is a Christian term with several meanings:
Liturgy may also refer to:
Untitled (Selections From 12) is a 1997 promotional-only EP from German band The Notwist which was released exclusively in the United States. Though the release of the EP was primarily to promote the band's then-current album 12, it contains one track from their 1992 second record Nook as well as the non-album cover of Robert Palmer's "Johnny and Mary". The version of "Torture Day" on this EP features the vocals of Cindy Dall.
Untitled is the first studio album by the British singer/songwriter Marc Almond's band Marc and the Mambas. It was released by Some Bizzare in September 1982.
Untitled was Almond's first album away from Soft Cell and was made concurrently with the latter's The Art of Falling Apart album. Almond collaborated with a number of artists for this album, including Matt Johnson of The The and Anni Hogan. The album was produced by the band, with assistance from Stephen Short (credited as Steeve Short) and Flood.
Jeremy Reed writes in his biography of Almond, The Last Star, that Untitled was "cheap and starkly recorded". He states that Almond received "little support from Phonogram for the Mambas project, the corporate viewing it as non-commercial and a disquieting pointer to the inevitable split that would occur within Soft Cell". An article in Mojo noted that "from the beginning, Almond and Ball had nurtured sideline projects, though only the former's - the 1982 double 12 inch set Untitled - attracted much attention, most of it disapproving." The article mentions that Almond "who preferred to nail a song in one or two takes" stated that it was all "about feel and spontaneity, otherwise it gets too contrived" when accused of singing flat.<ref name"mojo">Paytress, Mark. "We Are The Village Sleaze Preservation Society". Mojo (September 2014): 69. </ref>
Untitled is an outdoor 1977 stainless steel sculpture by American artist Bruce West, installed in Portland, Oregon, in the United States.
Bruce West's Untitled is installed along Southwest 6th Avenue between Washington and Stark streets in Portland's Transit Mall. It was one of eleven works chosen in 1977 to make the corridor "more people oriented and attractive" as part of the Portland Transit Mall Art Project. The stainless steel sculptures is 7 feet (2.1 m) tall. It was funded by TriMet and the United States Department of Transportation, and is administered by the Regional Arts & Culture Council.