Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2001. / Abstract.

Thesis (Ph. D.)--University of California, Los Angeles, 1984. / Includes bibliographical references (p. 171-183).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2001. / Abstract.

Th. Etat--Musicologie--Paris-4, 1998. / La couv. porte le titre en français : "La chapelle musicale de la cathédrale de Malte au XVIIe et XVIIIe siècle" [sic]. Catalogue des manuscrits (vol. 2) conservés à Mdina p. 4-124. Incipit musicaux p. 125-291. Dépouillement des archives de Mdina p. 3-178. Bibliogr. (vol.1) p. 314-324. Index.

Thesis (MScFor)--Stellenbosch University, 1980. / No Abstract Available

Durant la première moitié du XIIe siècle, la sculpture romane navarraise connaît un développement important doublé d’un renouvellement du répertoire ornemental qui donnent lieu à la réalisation de sculptures considérées comme de véritables chefs-d’œuvre, principalement au sein du chantier de la cathédrale Sainte-Marie de Pampelune. C’est autour de 1100 que se poursuivent l’essentiel des travaux de reconstruction de l’édifice navarrais entrepris, un peu plus d’une décennie plus tôt, par Pierre d'Andouque, moine français devenu évêque de Pampelune. Sur ce chantier interviennent plusieurs sculpteurs de talent, principalement dans le cloître, ainsi qu’un opifex, Esteban, identifié par un texte comme maître d’œuvre du prestigieux chantier de Saint-Jacques-de-Compostelle. Généralement considérée comme la création majeure de cette époque dans le Royaume, placée par plusieurs auteurs au centre de toute la production architecturale mais surtout sculptée de la Navarre durant la première moitié du XIIe siècle, la cathédrale romane reste encore à ce jour, malgré les nombreux travaux qui lui ont été consacrés et les débats historiographiques qu’elle a suscité depuis les années 1930, exempte de toute étude monographique. Ce constat s’explique certainement par les vestiges très réduits sauvés suite à la destruction complète de l’édifice à la fin du XVIIIe siècle : de simples fondations mises au jour en 1993 lors de fouilles archéologiques ainsi qu’un corpus d’une vingtaine d’œuvres sculptées seulement, aujourd’hui conservées au Musée de Navarre. La présente thèse vise à combler ce manque en menant une étude exhaustive de ce monument. S’appuyant sur le dépouillement d’archives, sur un catalogue détaillé de chaque sculpture provenant de la cathédrale ainsi que sur des fiches monographiques des églises navarraises de la première moitié du XIIe siècle, cette étude se propose de reprendre les questions relatives au contexte historique, artistique et humain du chantier de la cathédrale romane Sainte-Marie de Pampelune et de (ré)interroger l’« influence » qui lui a été a prêté au sein de la production navarraise. Il s’agira ainsi de mieux comprendre la gestion du chantier, les modalités de la commande artistique - qui mettent en exergue le rôle essentiel de l’évêque - mais aussi d’interroger les processus de production des œuvres sculptées en étudiant les origines et les sources qui ont nourri les créations des différents sculpteurs, entre Navarre, Aragon, Midi toulousain et Gascogne notamment. Ceci mènera à préciser l’impact de la cathédrale dans le renouveau ornemental des chantiers navarrais de la première moitié du XIIe siècle. / During the first half of the XIIth century, the Navarrian Romanesque sculpture saw an important development added to a renewal of the decorative repertory which gave rise to the realization of sculptures considered as real masterpieces, mainly within the construction site of the cathedral of saint-Marie de Pampeluna. Around 1100, the main part of the alteration works of the Navarrian building took place; they had been undertaken, a little more than a decade earlier, by Pierre d'Andouque, the French monk who became the bishop of Pampeluna. Several talented sculptors took part in this construction mainly in the cloisters. As well as an “opifex”, Esteban, who is mentioned in a text as a project manager of the prestigious construction site of Santiago de Compostela. Generally considered as the major creation of this time in the Kingdom, regarded by several authors as occupying a central position in Navarre architecture and above all Navarre sculpture during the first half of the XIIth century, the Romanesque cathedral remains to this day, in spite of the numerous works which were dedicated to it and the historiographical debates that it has aroused since the 1930s, without its monographic study. This can certainly be partly explained by the scarcity of remains that could be saved after the complete destruction of the building at the end of the XVIIIth century: mere foundations that were brought to light in 1993 during archaeological excavations as well as a corpus of only about twenty sculptured works, which are kept in the Museum of Navarre today. The present thesis aims at filling this lack by leading a comprehensive survey of this monument. Based on the analysis from the archives, on a detailed catalogue of every sculpture coming from the cathedral as well as on monographic index cards of the Navarrian churches of the first half of the XIIth century, this study examines questions relative to the historic, artistic and human context of the construction site of the Romanesque cathedral Sainte-Marie de Pampeluna and explores the question of its alleged "influence" on the Navarrian production. The aim of this study is also to better understand the management of the construction site, the methods of the artistic talent - which will highlight the essential role of the bishop - but also to question the processes of production of the sculptured works by studying the origins and the sources which influenced the creations of the various sculptors, between Navarre, Aragon, Toulousian South and Gascony in particular. This will lead on to specifying the impact of the cathedral in the decorative revival of the Navarrian construction sites of the first half of the XIIth century.

From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."

Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1821), and the documents from the Archivo General de Indias revealed new biographic data, which is confronted with a review of the existing biography. Additionally, the music catalogue in New Spain is included with the repertoire of the archives of Cathedrals from Puebla, Morelia, and Oaxaca, two parishes, and the Basílica de Santa María de Guadalupe.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-08T15:13:50Z No. of bitstreams: 1 rachelfilgueiraspaschoalin.pdf: 2201627 bytes, checksum: a7428966772abd9719e2e3b3b9347f3e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:34:21Z (GMT) No. of bitstreams: 1 rachelfilgueiraspaschoalin.pdf: 2201627 bytes, checksum: a7428966772abd9719e2e3b3b9347f3e (MD5) / Made available in DSpace on 2016-07-13T16:34:21Z (GMT). No. of bitstreams: 1 rachelfilgueiraspaschoalin.pdf: 2201627 bytes, checksum: a7428966772abd9719e2e3b3b9347f3e (MD5) Previous issue date: 2012-12-14 / A trajetória do patrimônio cultural está em constante transformação à medida que a sociedade é exposta a novas problemáticas e são necessários novos questionamentos e soluções. A conservação da arquitetura moderna apresenta-se como um grande desafio na atualidade, já que o modernismo rompe as relações com o passado tradicional e cria uma linguagem arquitetônica nova. A Catedral de Brasília, objeto de estudo desse trabalho, apresenta características como: funcionalismo, novos materiais, novas tecnologias, sistemas de infraestrutura que são inseridos como desafios para o pensamento contemporâneo. Nesse caso, a questão de “como avaliar e intervir” nesses bens decorre pela falta de critérios específicos que norteiem essa atividade. Este trabalho objetiva efetuar uma análise crítica das obras de restauração, efetuadas até o momento, na Catedral de Brasília, bem como avaliar os principais critérios de intervenção que foram e devem ser aplicados, tanto no campo teórico quanto prático. Pretende-se também, investigar se os princípios adotados na intervenção se baseiam nas questões de sustentabilidade. Sendo assim, é ressaltada a importância do debate sobre os conceitos e desafios da arquitetura moderna a partir de uma perspectiva mais ampla, apoiando as decisões práticas em documentações, a partir da análise histórica e experiências acumuladas. / The path of cultural heritage is constantly changing as society is exposed to new problems so new solutions are needed. The restoration of modern architecture presents a great challenge today, since modernism breaks relations with the traditional past and creates a new architectural language. The Cathedral of Brasilia, with characteristics such as: functionalism, new materials, new technologies, infrastructure systems that are placed as challenges for contemporary thinking, emerging the main issue of how to evaluate and intervene in these architecture, if there is not a well-defined criteria that guide these activities. This paper aims to make a critical analysis of the work done so far in the Cathedral of Brasilia, as well as evaluate the main intervention criteria that have been and should be applied in both theoretical and practical. The aim is also to investigate whether the principles adopted in the intervention are based on sustainability issues. Therefore, it is stressed the importance of the debate about the concepts and challenges of the modern architecture from a broader perspective, supporting decisions on documentation practices from the historical analysis and accumulated experiences.

Der Beitrag beschreibt kurz die Baugeschichte der Kathedrale mit besonderer Betonung der Hängekuppel der Kirchenschiffe. Ihr Bau hat eine große Verbindung mit einigen geometrischen Aufgaben für den Steinschnitt, welche Alonso de Vandelvira, der Sohn des Dommeisters Andrés de Vandelvira, in seinem Traktat „Libro de traças de cortes de piedras“ erklärt.