This study arises from a preliminary environmental impact assessment of a proposal by the Natal Parks Board to develop a 200 bed ecotourism facility at Cathedral Peak in the Natal Drakensberg Park. The author of this study was one of a team of five postgraduate students1 from the Department of Environmental and Geographical Science at the University of Cape Town, hereafter referred to as the Masters Group, commissioned to undertake this assessment by the Natal Parks Board (NPB) in January 1995. The preliminary environmental assessment included a scoping exercise to identify all Interested and Affected Parties (I&APs), as well as a socio-economic survey to identify potential positive and negative impacts of the proposed development on neighbouring communities. In addition, this social investigation served to identify opportunities for community involvement in the project, both in the construction and post-construction phases. The complete terms of reference for this preliminary environmental assessment are contained in Attachment 1.

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Le 11 décembre 1481, le roi Louis XI rattachait le comté de Provence souverain au royaume de France. Cela ne s’accomplit pas sans que les grands sanctuaires provençaux reçoivent de sa part des offrandes importantes, tels la chapelle de la Sainte-Baume, le chef-reliquaire d’or de Sainte-Marthe de Tarascon, et, dans une certaine mesure, le tombeau du dernier comte Charles III de Provence dans la cathédrale Saint-Sauveur d’Aix. Mais sa munificence religieuse de quatre décennies en Provence, connut bien d’autres développements (fondations, rentes, privilèges). Cette étude originale est un essai de synchronisation d’une ambitieuse politique de munificence avec son contexte de marche à l’annexion. Pour une vision d’ensemble, la zone étudiée s’élargit aux petits États périphériques du comté de Provence, Avignon et le Comtat Venaissin, la principauté d’Orange, le comté de Nice, la seigneurie de Monaco et le Bas-Dauphiné. Dans ce dernier, à la cathédrale Notre-Dame d’Embrun, au contact du Gapençais provençal, Louis XI a vraisemblablement offert de somptueuses grandes orgues dont plusieurs éléments sont encore visibles. La présence physique du dauphin Louis, puis la forte présence politique du roi Louis XI dans cette « aire provençale », sont révélatrices du grand intérêt que suscite le Midi de la part du royaume de France, selon une tradition remontant aux Capétiens. Les modalités et la croissance de cette convoitise chez Louis XI, ses implications économique et sociale, ses manifestations plastiques, les véhicules de l’idéologie monarchique tels que l’esthétique flamboyante, mais aussi la rivalité inévitable avec l’influent comte René d’Anjou, tiennent ici lieu de problématiques. / On december 11th 1481, the king of France Louis XI achieved the incorporation of sovereign Provence into the kingdom of France. This did not happen without the greatest provençal sanctuaries receiving from him important offerings like the Sainte-Baume chapel, the Sainte-Marthe of Tarascon gold head reliquary, and the last earl Charles III of Provence tomb in the Saint-Sauveur cathedral of Aix. Actually, his four decades religious munificence in Provence spread out with various forms (foundations, annuities, privileges). This original study is an attempt to synchronize an ambitious policy of munificence with its context of an annexation in progress. For a general sight of the situation, the geographical area of the study is extended to the small provençal states surrounding the earldom of Provence, it is to say Avignon and the Comtat Venaissin, the principality of Orange, the earldom of Nice, the lordship of Monaco and the southern Dauphiné. There, in the Notre-Dame cathedral of Embrun, in close contact with the provençal earldom of Gap, Louis XI appears as the donator of the flamboyant organ, still visible in parts. The physical presence of the dauphin Louis, then the strong political presence of king Louis XI, in this “provençal area” reveal the great interest of French kingdom for the south, following an ancient tradition started by the capetian kings. The details and the growth of Louis XI’s covetousness, its economical and social implications, its artistic demonstrations, the medium of the monarchic ideology, as the flamboyant gothic esthetics, but the unavoidable rivalry with the influential earl René d’Anjou as well, are the main issues investigated here.

A collection of music created mainly in the second half of the 18th century and the first half of the 19th century was found at the choir loft of the Cathedral of St Nicholas in Budweis. Jáchym Štěpánovský and J. N. Vocet were two local composers and choir administrators who primarily helped to create this music collection. Jan Nepomuk Vocet who used to work at the choir of St Nicholas Cathedral was a significant person. He belongs to a lesser - known group of composers at the turn of the period of Classicism and Romanticism and that's why I chose him as the main topic of my diploma theses. The aim of this work is to evaluate Vocet's influence in Budweis music scene, to give an idea of his church music, popularize the chosen pieces of his music in edition and analyse it in detail.

Washington National Cathedral sits atop Mt. St. Alban’s hill in Washington, D.C. declaring itself the nation’s cathedral and spiritual home for the nation. The idea of a national church serving national purposes was first envisioned by L’Enfant in the District’s original plan. Left aside in the times of nation building, the idea of a national church slumbered until 1893 when a group of Episcopalians petitioned and received a Congressional charter to begin a church and school in Washington, D.C. The first bishop of Washington, Henry Y. Satterlee, began his bishopric with the understanding that this cathedral being built by the Protestant Episcopal Church Foundation was to be a house of prayer for all people. Using Jasinksi’s constructivist orientation to reveal the one hundred year rhetorical history defining what constitutes a “national cathedral” within the narrative paradigm first established by Walter Fisher, this work utilizes a rhetorical biographical approach to uncover the various discourses of those speaking of and about the Cathedral. This biographical approach claims that Washington National Cathedral possesses an ethos that differentiates the national cathedral from the Cathedral of St. Peter and St. Paul even though the two names refer to the same building. The WNC ethos is one that allows a constant “becoming” of a national cathedral, and this ability to “become” allows for a rhetorical voice of the entity we call Washington National Cathedral. Four loci of rhetorical construction weave through this dissertation in the guiding question of how the Cathedral rhetorically created and how it sustains itself as Washington National Cathedral: rhetoric about the Cathedral, the Cathedral as rhetoric, the Cathedral as context, and Cathedral Dean Francis Sayre, Jr. as synecdoche with the Cathedral. This dissertation is divided into eight rhetorical moments of change that take the idea of a national church from L’Enfant’s 1791 plan of the City through the January 2013 announcement allowing same-sex weddings at the Cathedral and Obama’s second inaugural prayer service. The result of this rhetorical exploration is a more nuanced understanding of the place and how it functions in an otherwise secular society for which there is no precedent for the establishment of a national cathedral completely separated from the national government. The narrative strains that wind through Cathedral discourse create a braid of text, context, and moral imperative that ultimately allows for the unique construction of Washington National Cathedral, a construction of what defines “national” created entirely by the Cathedral.

This study is about the artist Monica Sjoo’s (1938-2005) painting God giving birth (1968) that was accused of being blasphemous and obscene in the early 1970s. God giving birth could have had much in common with Niki de Saint-Phalle’s She – a cathedral (1966), both works suggesting a mother goddess image. The main difference however can be found in the fact that Monica Sjoo’s painting had connection to the women’s movement in the 1970s. Monica Sjoo’s artwork responded to other feminist artwork of that period. Among several feminist artists during the period about 1968-1985, an iconography was in use that focused on vulvar imagery, experience of childbirth and goddess images. In particulary the mother goddess was embraced. The female body in art was re-sacred and invested with meaning connected with women’s cycles of birth-death and rebirth and the earth as a mother goddess.

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« L’union fait la force », dit l’adage : de tout temps, l’être humain a fait jouer le meilleur de son capital social (Putnam 2001) pour s’allier avec d’autres et faire société (Ponthieux 2006). Les groupes ainsi formés, unis par des intérêts communs et selon des géographies variables, se trouvent invariablement confrontés tôt ou tard à d’autres groupes aux objectifs parfois bien différents des leurs. Quel que soit le terme employé ou la théorisation envisagée pour qualifier et modéliser les modalités de cette rencontre, l’interaction force invariablement les groupes impliqués à confronter les habitudes et visions des uns et des autres. Mais que faire lorsqu’une incompatibilité se pose, lorsque les intérêts des uns et des autres ne semblent pas pouvoir se réaliser simultanément ? L’idée défendue dans cette thèse est qu’une intégration maximale des parties dans les processus de gestion du patrimoine accompagnée d’une réforme des systèmes de justice et d’un enseignement de qualité pourra faire du patrimoine un vecteur de développement à part entière. Afin de démontrer la pertinence de cette affirmation, deux cas d’étude bien différents mais néanmoins complémentaires ont fait l’objet d’une recherche approfondie : la mosquée-cathédrale de Cordoue (Espagne) et la mosquée de Babri à Ayodhya (Inde). Toutes deux font l’objet de conflits à géométries variables, entre des groupes politiques et religieux poursuivant des objectifs distincts. A travers une analyse des arguments et des modes d’action des différents acteurs des deux débats, cette thèse aboutit à la conclusion que ces conflits patrimoniaux relèvent directement des droits culturels des groupes concernés. Sans proposer de solution unique, est esquissée à l’issue de cette recherche une approche compréhensive et inclusive faisant du patrimoine et de la culture qui l’inclut un outil de développement pour les sociétés qui l’accueillent.

The PhD thesis concerns the managment of so called communal treasury inside the Prague cathedral chapter. Its purpose was to provide cathedral clergy who was in residence and took part in the services with the additional payment (distributions). The study is based on a unique collection of account records from the years 1358-1418 which were kept by administrators of this section of the chapter economy. Beside a description and characteristics of the preserved account books, special attention is paid to the three particular points related to the role of finances in the everyday operation of the Prague chapter and in the life of its members: 1. administration of various types of possessions belonging to the Prague chapter, followed by comparison with the ways the administration was carried out in England, Germany and Poland; 2. Form and amount of emoluments of various groupes of cathedral clergy; 3. Link between amount of additional payment and the number of canons in residence. An integral part of PhD thesis is a transcription of the researched account books, name and local index and several tabular surveys of the income and expenses of communal teasury. Powered by TCPDF (www.tcpdf.org)

The master thesis describes life of vicars capitular who lived in České Budějovice in the 20th century. It is specially aimed on Msgre Jan Cais and P. Josef Buchta. My thesis presents progress of St. Nicholas cathedral chapter house in České Budějovice. Readers can understand importance of chapter house at the time of validity Canonic Law Codex made in the year 1983. It shows how state intervened in the life of the Church. It also outlines circumstances of beginning this diocese. This diploma paper stands on archival documents as well as on testimonies of witnesses. It presents conclusions of prestigious historical works (historians) as well as less known sources.