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| Preface | |
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| Foreword | |
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| Introduction to the New Edition | |
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| Introduction | |
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| Rivalry or Ultimate Unity? | |
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| What Is the Holy? | |
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| Methodology | |
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| Can Art Be a Holy Act? | |
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| "Primitive" and "Modern" | |
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| Organization | |
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| Beautiful Motion | |
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| The Unity of Dance and Religion | |
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| Circles and Planes | |
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| Dance and Culture | |
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| Prayer, Work, and Dance | |
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| Pantomime | |
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| Ecstasy | |
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| The Dance as the Movement of God | |
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| The Dance and Contemporary Culture | |
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| The Breakup of Unity | |
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| The Dance in the Diversity of Life | |
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| Profane Dance | |
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| Procession | |
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| The Dance of Death | |
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| Labyrinth Dances | |
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| Love Dances | |
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| Enmity Between Dance and Religion | |
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| Hostility | |
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| Dance and Theater | |
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| The Body Cult or Culture? | |
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| Religious Dance: Influences | |
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| The Ancient | |
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| Apollonian Movement | |
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| Dionysiac Movement | |
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| The Human | |
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| Religious Dance: Harmony | |
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| The Heavenly Dance | |
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| The Theological Aesthetics of the Dance | |
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| Movements and Countermovements | |
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| Holy Play | |
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| Dance and Drama | |
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| Drama | |
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| Sacer Ludus | |
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| The Mask | |
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| The Breakup of Unity | |
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| Art Is Not Imitation | |
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| Tipi Fissi (Fixed Types) | |
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| Secularization | |
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| Liturgy | |
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| The Enmity Between Religion and Theater | |
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| The Enmity | |
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| The Nature of the Enmity | |
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| Influences: Harmony | |
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| The Broadening and Deepening of Life | |
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| The Human | |
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| The Theological Aesthetics of the Drama | |
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| Liturgy | |
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| Beautiful Words | |
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| Holy Words | |
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| The Work Song | |
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| Rhythm | |
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| The Image | |
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| The Poet | |
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| Word and Gesture | |
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| "...A God Gave Words to Tell My Suffering" | |
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| The Breakup of Unity | |
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| From Carmen to Literature | |
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| Rain Magic Becomes Poetry | |
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| Poetry Becomes Prose | |
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| The Fairy Tale Becomes the Short Story | |
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| The Rejection of the Word by Religion | |
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| The Forbidden Image | |
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| The Forbidden Word | |
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| Influences Toward Harmony | |
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| The Sublime | |
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| Light | |
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| Silence and Near Silence | |
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| The Human | |
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| Harmony | |
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| The Theological Aesthetics of the Word | |
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| Poet and Prophet | |
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| Inspiration | |
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| The Divine Word | |
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| The Pictorial Arts | |
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| The Fixation of an Idea as a Holy Image | |
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| The Art of Movement and Pictorial Art | |
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| Image Is Not Likeness | |
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| Ornament | |
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| Representation | |
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| Imagination and Representation | |
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| Freezing Motion | |
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| The Image of God | |
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| Complete Stasis | |
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| The Living Image | |
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| Unhindered Pictorial Representation | |
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| Real and Decorative Nakedness | |
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| Expression of the Holy Becomes Expression of Holy Feelings | |
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| Transferences | |
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| Opposition Between Image and Likeness | |
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| Transition | |
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| The Prohibition of Images and the Iconoclastic Controversy | |
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| The Prohibition of Images | |
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| Iconomachy | |
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| The Holy Image: Influences | |
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| Paths and Boundaries | |
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| Fascination | |
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| The Awe-Inspiring | |
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| The Ghostly | |
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| Darkness and Semidarkness | |
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| The Human | |
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| Harmony | |
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| The Theological Aesthetics of the Image | |
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| The House of God and the House of Man | |
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| The Building of the House of God | |
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| The House of God | |
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| Building | |
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| The House of God Becomes a Human House: Alienation and Conflict | |
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| The House Can No Longer Be a Temple | |
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| The Temple Becomes a House | |
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| God Needs a House | |
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| Man Needs a House | |
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| No One Needs a House | |
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| Influences Toward Harmony | |
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| The Massive and Monumental | |
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| Profusion | |
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| Emptiness | |
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| The Theological Aesthetics of Building | |
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| Music and Religion | |
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| Holy Sound | |
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| Powerful Sound | |
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| The Transitional Structure | |
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| Liturgical Music Becomes "Church Music" | |
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| Passion and Oratorio | |
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| Words and Music | |
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| Refrain | |
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| Da Capo | |
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| Imitation | |
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| The Decline of Church Music | |
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| Music and Religion | |
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| Discord | |
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| No Conflict? | |
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| Music, not Tonal Art | |
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| Silence, neither Speaking nor Singing | |
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| Altercations | |
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| Influences | |
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| The Last Defense of External Continuity | |
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| The Sublime | |
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| Light | |
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| Suspension | |
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| The Heavenly | |
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| The Transition | |
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| Darkness and Semidarkness | |
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| Silence and Near Silence | |
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| The Endless | |
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| Objectivity | |
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| Harmony | |
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| The Theological Aesthetics of Music | |
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| Music, the "Telephone of the Beyond"? | |
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| Music Which Leads to the Depths | |
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| Program Music | |
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| In Praise of Opera | |
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| Music as a Game | |
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| The Theology of Music | |
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| Eschatological Music | |
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| Theological Aesthetics | |
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| Paths and Boundaries | |
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| To Seek, Not to Construct | |
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| "Religious Art" | |
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| The Antithetical Structure | |
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| "Artists" | |
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| Style | |
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| L'Art pour l'Art | |
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| Service | |
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| The World of Art | |
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| Absolutism | |
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| Psychological Parallels | |
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| Resistances | |
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| The Republic of the Arts | |
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| Words | |
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| Music | |
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| Conflict | |
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| The Holy Word | |
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| Holy Sound | |
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| Unity of Word and Music | |
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| The Hierarchy of the Arts | |
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| The Image of God | |
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| Phenomenological Component | |
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| Exegetical-Historical Component | |
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| Dogmatic Component | |
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| The Theology of the Arts | |
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| Independence and Interdependence | |
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| Point of Intersection | |
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| Harmony as the Creation of God | |
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| A Metaphysics of Art? | |
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| A Worship of Beauty? | |
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| Incarnation | |
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| Bibliographical Notes | |
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| Index | |