abstract: Christina of Markyate, a twelfth-century visionary and prioress, has been frequently seen in scholarship as an outsider at her home institution of St Albans, enduring solely under the protection of its abbot, Geoffrey, her spiritual friend and confidant. This characterization appears incorrect when The Life of Christina of Markyate, St Albans' record of Christina's personal history and religious career, is viewed in its original literary environment. The high volume of extant material from twelfth-century St Albans makes it possible to view Christina's depiction in several original ways: as a textual construction (at least in part) influenced by Bede's narratives of holy women in his widely read Ecclesiastical History; as a portrayal of contemporary devotional prayer in the style of Anselm of Canterbury, a major authority on devotional practices of the time; and as a prominent addition to St Albans' own liturgy, the record of its celebrated saints and local patrons, as an object of devotion herself. The strategy of Christina's endorsement in her Life is also notably different from strategies on display in St Albans materials related to Katherine of Alexandria, an important saint for Abbot Geoffrey, which further suggests he was not her sole promoter at the abbey, if he was involved in the process of her textual production at all. Finally, the historical fact that she was employed as a patron of St Albans before none other than Pope Adrian IV, to whom St Albans was appealing for numerous institutional benefits at the time, shows that the prevailing opinion of Christina at the abbey can not have been entirely negative. Placing the Life within the literary and cultural circumstances of its production thus provides a fresh reading of Christina's institutional and devotional roles at St Albans, medieval views of women's spirituality and its place within the western European Christian tradition, and the compositional process of a major work of medieval hagiographical literature. / Dissertation/Thesis / Ph.D. English 2012

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Uma análise do atual discurso teológico-musical presente no espaço do culto da Igreja Presbiteriana Independente de Botucatu IPIBot é o objeto deste trabalho. Este discurso demonstra aspectos híbridos na estrutura litúrgica desta igreja, aspectos estes oriundos tanto do universo musical quanto teológico, e que entendemos serem característicos da cultura pós-moderna. A presença de outras expressões artísticas, que não somente o canto ou instrumento, como por exemplo, o órgão, neste caso a arte circense e a dança, ambas no espaço do culto, apontam para transformações na cultura litúrgica e talvez em novas formas de expressão da igreja como um todo. A análise destes elementos presentes no culto da IPIBot foi feita por meio de levantamento histórico e litúrgico através de boletins e documentos da igreja, bem como da participação da autora como membro da mesma. A IPIBot assimilou em parte a chamada cultura gospel como forma de sobrevivência diante da multiplicidade de igrejas no universo religioso atual, sem perder o contato com a tradição, seu principal instrumento para conferir a identidade presbiteriana reformada que lhe é peculiar. Desta forma, caracteriza-se o hibridismo como uma estratégia de adaptação à pós-modernidade sem, no entanto, gerar novas formas litúrgicas que se constituam como modelo de igreja. Caracteriza-se o discurso musical como principal elemento catalisador deste hibridismo, formador de um imaginário teológico-musical que sustenta a tradição junto à nova tendência pós-moderna e que confere identidade à IPIBot. Desta forma, esperamos contribuir para a reflexão do papel da música no culto como espaço de múltiplas faces, formador deste imaginário e das transformações pela renovação teológica, averiguando as possibilidades e limites para uma renovação litúrgica brasileira, dentro e fora do âmbito das igrejas de origem reformada. / Defining as hybrid and intrinsic to the post-modernity the question of the current theological-musical speech practiced in the Independent Presbyterian Church of Botucatu IPCBOT, besides being essential to this comprehension, it becomes plausible when revealed to the musical reality in the churches and the theological ways that surround the liturgy in the Christian cult space. As an heiress of the reformation during the XVI century, and in Brazil, consequence of the North-American Presbyterian missions, the Independent Presbyterian Church of Brazil (IPCB) obtained its own identity in 1903, when a schism divided the Presbyterian Church (PC), originating the IPCB. At the first chapter, it is delineated the history of the IPCB and its liturgical structure, as well as the musical groups currently acting in this church. At the second chapter it was aimed to understand the mainly concepts that guide the defense of the hybridism process present in the theological-musical imaginary construction in the IPIBOT. At the third chapter it was developed a brief panorama of the theological and musical movements, which supported by the ideal dialogue of the church with the culture and social reality of the country, culminated in the current liturgical reality of the church, the intimacy with the reformed Presbyterian identity and the gospel culture. At the fourth and last chapter, it was approached, analyzing the theological-musical speech, the possibility of the imaginary that these days confers identity to the IPCBOT as a hybridism result, by the tripartite analysis of the musical work, methodologically supported on the musical semiology propose of Jacques Nattiez and Jean Molino. In this respect, based on the theological-musical speech, it is expected that this research contributes for the reflection of the music mission in a cult as a space of multiple facets, former of this imaginary and the transformations via the theological renovation, inquiring the possibilities and limits for a Brazilian liturgical improvement, inside and outside the reformed churches.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente dissertação visa contribuir com a temática do espaço e lugar de culto cristão, realizando uma ampla pesquisa sobre o espaço e o lugar vivencial e experiencial do ser humano no mundo que ele habita e ocupa. Esta pesquisa encontra-se ancorada dentro da área de pesquisa da teologia prática e da ciência litúrgica, a partir da qual se dará a investigação sobre a relação do ser humano com a liturgia e a arquitetura e sua influência e apreensão para dentro do culto cristão. Para tanto, partimos da discussão e da análise da evolução do conceito de espaço, sobretudo a partir da Idade Média até a atualidade. Analisamos a relação do ser humano com o espaço e o lugar que ela/ele ocupa no mundo, através dos conceitos de espaço vivenciado e experiencial. E através da teologia de Martim Lutero e da pesquisa de Mircea Eliade, sobre o sagrado e o profano, examinamos a relação sagrada e humana que ocorre no espaço sagrado. A partir dessa base, procuramos entender de que maneira ocorre a relação humana no espaço experiencial estrito da igreja (lugar de culto), averiguando de que modo acontece a relação arquiteta/o e obra arquitetônica e o modo com que ela/ele usa sua autonomia para planejar e construir o espaço litúrgico. Averiguaremos as formas com que o ser humano percebe e apreende o espaço e de que forma o corpo e a corporeidade humana relacionam-se no âmbito da igreja. Preocupados com o que se tem nomeado de não lugares, investigaremos se o lugar de culto também apresenta características de não lugar. A partir da temática sacramental e litúrgica no e com o lugar de culto, nosso foco está em entender de que forma o anúncio da Palavra de Deus e os sacramentos batismo e eucaristia são definidores espaciais do lugar de culto, ou seja, da nossa casa no tempo e no espaço. Por fim, analisaremos a relação entre liturgia e arquitetura. Apresentamos e definimos etapas que devem ser observadas quando uma comunidade pretende construir, reformar e/ou adaptar o seu lugar de culto. Além de definirmos princípios e critérios que as comunidades, as/os ministras/os e as/os arquitetas/as devem refletir ao longo da construção e reforma. / This thesis aims to contribute to the theme of the space and place of Christian worship, carrying out a broad research about the living and experiential space and place of the human being in the world which s/he inhabits and occupies. This research is anchored within the research area of practical theology and of liturgical science, on which the investigation of the relation of the human being with liturgy and architecture and its influence and apprehension into Christian worship will be based. For this we begin with the discussion and analysis of the evolution of the concept of space, particularly from the Middle Ages up to the present. We analyze the relation of the human being with the space and place s/he occupies in the world through the concepts of lived and experiential space. And through Martin Luthers theology and from Mircea Eliades research about the sacred and the profane, we examine the sacred and human relation which takes place in the sacred space. Based on this we seek to understand the manner in which the human relation occurs in the experiential space strictly of the church (place of worship), checking out how the architect relates with the architectural work and the way in which s/he uses her/his autonomy to plan and construct the liturgical space. We will check out the ways in which the human being perceives and takes in the space and how the body and human corporeity relate within the church ambiance. Concerned with what has been called non-places we will investigate if the place of worship also presents characteristics of a non-place. Based on the sacramental and liturgical theme within and with the place of worship, our focus is to understand how the announcement of the Word of God and the sacraments Baptism and Eucharist are spatial definers of the place of worship, that is, of our house in time and space. Finally, we will analyze the relation between liturgy and architecture. We present and define stages which should be observed when a congregation intends to build, refurbish and/or adapt its place of worship, besides defining principles and criteria which the congregations, the ministers, and the architects should reflect upon throughout all of the construction and refurbishment.

Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Made available in DSpace on 2016-08-03T12:20:43Z (GMT). No. of bitstreams: 1 Susana Wills.pdf: 406937 bytes, checksum: ee0871cda73dfa446e5f758f645a3cbc (MD5) Previous issue date: 2008-08-06 / What generated this research was curiosity regarding the songs sung by the Charisma Community, and the manner in which these impact persons at individual and collectives levels. The focus of the work is the association of the meaning of the words of the songs in terms of their relation to social transformation, and the work and urban social mission of the Charisma Community. It is well known that music has immense power in terms of emotions and human experience, and that this influence is both individual and collective. As such, to what point music is not alienating, but an instrument to awaken, at individual and collective levels, transformation and social evolvement in the context of the Charisma Community The theological beliefs, worship structure and liturgy were studied, with specific attention paid to songs composed by members of the community, and their impact on individual and collective, in terms of social transformation, within and beyond the Community.(AU) / A curiosidade do que acontece com os cânticos entoados pela comunidade carisma e a maneira com que toca as pessoas, no âmbito individual e no coletivo foi o que gerou essa pesquisa. A associação do significado das letras dos cânticos relacionado à transformação social que acontece dentro do trabalho e missão social urbana da Comunidade Carisma acabou sendo o foco desse trabalho. Sabe-se que a música tem um poder imenso de atuar na área emocional e nas experiências do ser humano, atuando tanto no individual, quanto no coletivo da pessoa. Então, até que ponto, música não é uma alienação, mas sim um instrumento de despertar individual e coletivamente - para a transformação e a aplicabilidade de todo este envolvimento social que a Comunidade Carisma vive? Dentro do que é a base teológica da comunidade, a ordem do culto e toda a sua liturgia, foi feito um levantamento de toda estrutura da mesma. E como se processa o louvor e o significado das letras dos cânticos compostos por membros deste ministério, com a ação que começa no individual, reporta-se ao coletivo e que gera transformação social dentro e fora da comunidade.(AU)

O assunto da dissertação é o fenômeno chamado Culto de Tomé. O primeiro capítulo informa inicialmente a origem do Culto de Tomé na Finlândia. A seguir, apresenta a chegada e a expansão do Culto de Tomé em comunidades da Igreja Evangélica de Confissão Luterana no Brasil e descreve as manifestações litúrgicas atuais do Culto de Tomé dentro do contexto de comunidades da Igreja Evangélica de Confissão Luterana no Brasil. O segundo capítulo versa sobre a relevância do Culto de Tomé para as pessoas que dele participam. Apresenta os principais tópicos, apontados pelas pessoas, da importância do Culto de Tomé. O terceiro capítulo interpreta o fenômeno Culto de Tomé e, por fim, extrai conseqüências para o fazer litúrgico atual. / The subject of the dissertation is the phenomenon called the Liturgy of St. Thomas. The first chapter gives information about the origin of the Liturgy of St. Thomas in Finland. Following this, the arrival and the expansion of the Liturgy of St. Thomas in congregations of the Evangelical Church of the Lutheran Confession in Brazil is presented and the present liturgical manifestations of the Liturgy of St. Thomas within the context of the congregations of the Evangelical Church of the Lutheran in Brazil are described. The second chapter examines the relevance of the Liturgy of St. Thomas for those who participate in it. The principal topics which the participants indicated as important are presented. The third chapter interprets the phenomenon, Liturgy of St. Thomas, and finally, extracts consequences that apply to doing liturgy today.

O canto e a música no contexto ritual da liturgia na Igreja Católica: desafios para a formação de agentes na Diocese de Vacaria/RS. Os sons da natureza, selecionados e combinados, originaram a arte musical. A música faz parte da cultura humana; é constitutiva de sua própria existência. Na abordagem desse assunto, o capítulo primeiro deste trabalho busca uma aproximação histórica da música; investiga a antropologia da música e sua relação ritual com o sagrado, fazendo parte, inclusive, dos ritos cristãos. O Concílio Vaticano II resgatou, na Igreja Católica, o valor da arte musical e ampliou suas possibilidades. A arte musical passa a se inscrever dentre os ritos sacramentais. Mais que cantar na liturgia se nos impõe a necessidade de cantar a própria liturgia. A música passa a ser entendida como veio de participação favorecendo que os fiéis expressem sua fé, seu agradecimento e suas necessidades. Na segunda parte se busca uma aproximação com a realidade litúrgico musical da Diocese de Vacaria/RS. Além da localização histórico-geográfica, apresentam-se significativos elementos obtidos através de uma pesquisa de campo. Tendo-se como ponto referencial o Curso de Canto Litúrgico e Pastoral (CCLP), em execução há três anos, procurase entender a compreensão que as pessoas têm de música e a forma que esta incide em suas vidas. Depois, a pesquisa procura captar a função que a música ritual tem na liturgia, na opinião dos entrevistados. De modo geral os entrevistados demonstram entender que uma celebração bem cantada anima a caminhada e torna viva a Igreja cristã. Há, portanto, a necessidade de preparar os agentes da arte musical para que contribuam na realização de celebrações vivas através de um adequado uso da música e do canto nas celebrações litúrgicas. O terceiro capítulo deste trabalho procura apontar indicativos práticos para a formação dos ministros do canto e da música bem como para a sua atuação nos ritos litúrgicos. Tais indicativos tomam em consideração os passos que já se tornaram realidade a partir da renovação conciliar e, especialmente, as reflexões e exigências que se impõem para a ação evangelizadora sob a ótica da Teologia da Libertação. Esse jeito de refletir e fazer teologia inspirou passos significativos na reinterpretação bíblica e continua a oferecer métodos de análise e reflexão pastoral, inclusive litúrgicos. Aos agentes do canto e da música ritual da Diocese de Vacaria/RS sugere-se agirem considerando-se os fiéis como sujeitos da ação litúrgica, proporcionando-lhes participação ativa e momentos de verdadeira comunicação com seu Criador, através de liturgias bem cantadas. Propõe-se a formação continuada e progressiva em diversos níveis, contando com a colaboração dos sujeitos desse processo, os próprios agentes. / Song and music in the ritual context of the liturgy in the Catholic Church: challenges for the formation of agents in the Diocese of Vacaria/RS. The sounds of nature, selected and combined, gave origin to the musical art. Music belongs to human culture; it is constitutive of its own existence. In the approach of this topic, the first chapter of this work looks for a historical approach to music. It investigates the anthropology of music and its ritual relation to the sacred, also as a part of Christian rites. The II Vatican Council has restored, in the Catholic Church, the value of musical art and increased its possibilities. The musical art begins to be inserted into the sacramental rites. More than singing in the liturgy, there is the need to sing liturgy itself. Music begins to be understood as a means of participation, helping the faithful to express their faith, their gratitude and their needs. In the second part, one looks for an approach to the liturgical-musical reality of the Diocese of Vacaria/RS. Besides the historical-geographical localization, there appear significant elements obtained through a field research. Having as a referencial point the Course of Liturgical and Pastoral Singing (Curso de Canto Litúrgico e Pastoral =CCLP), since three years in function, one tries to perceive what understanding persons have of music and the form by which it influences their lives. Afterwards, the research tries to capture the function of ritual music in liturgy in the opinion of the persons interviewed. In a general way, the persons interviewed show their understanding that a well-song celebration animates the journey and makes the Christian Church to be alive. There is, therefore, the need to prepare the agents of musical art, in order that they contribute to perform living celebrations through an appropriate use of music and song in the liturgical celebrations. The third chapter of the present work tries to point out practical indications for the formation of ministers of song and music, as well as for acting in liturgical rites. Such indications take into consideration the steps which already became reality since the conciliar renewal, especially the reflections and requirements necessary for the evangelizing action from the point of view of the Theology of Liberation. This way of reflecting and making theology has inspired significant steps in the biblical reinterpretation and continues to offer methods of pastoral analysis and reflection, including liturgical ones. To the agents of song and musical ritual of the Diocese of Vacaria/RS, it is suggested to act by taking into consideration the faithful as subjects of the liturgical action, offering them active participation and moments of true communication with their Creator, through wellsong liturgies. The suggestion is the continued and progressive formation on various levels, counting on the collaboration of the subjects of this process, namely, the agents themselves.

Pour saisir ce qui fut et demeure en question dans la vie liturgique au Togo, nous avons pris appui sur le concept fondamental de participation. Le renouveau liturgique a été déclenché au Togo dès la fin du dix-neuvième siècle, marqué par un foisonnement créatif visant au rapprochement de la nef et du chœur ainsi que par la recherche de souplesse dans le culte, sous l’impulsion des missionnaires successifs, aidés des pasteurs locaux. Les traductions en langue vernaculaire, la construction d’espaces liturgiques en harmonie avec la foi sont constitutifs de ce mouvement. Au lendemain du Concile, cet effort s’est poursuivi par la mise en application progressive des directives magistérielles. Dès lors, les acteurs de la liturgie se mobilisent davantage et de façon décomplexée pour une adaptation plus large des rites aux situations et mentalités locales, par un retour au réel, c’est-à-dire aux fondamentaux anthropologiques qui traduisent l’ « authenticité ». Si l’on ne voit pas l’inculturation comme un soutien de la participation effective, l’idéal risque d’être biaisé. Adaptation, inculturation, participation, tel est le triptyque qu’il faut pour desserrer l’étau qui limitait durablement l’expression de l’identité culturelle. Sa mise en œuvre nécessite un investissement profond. / To grasp what was and remains a question in the liturgical life in Togo, we firmly rely on the fundamental concept of participation. The liturgical renewal was initiated in Togo since the late nineteenth century, marked by a creative explosion aiming to reconcile the nave and the choir, as well as looking for flexibility in worship, under the direction of the successive missionaries, helped by local pastors. Translations into local languages, building churches in harmony with faith are constitutive of this movement. In the wake of the Council, this effort has continued with the gradual implementation of the magisterial guidelines. Therefore, the actors of the liturgy are more mobilized in an uninhibited way for a wider adaptation of rites to local situations and mentalities with a return to the reality, that is to say, the fundamental anthropological reflecting « authenticity ». If one does not see inculturation as a support to an effective participation, the ideal may be biased. Adaptation, inculturation, participation, such is the triptych necessary to loosen the grip that permanently restricted the expression of cultural identity. It’s implementation requires a deep investment.

Collegiate churches were founded for two essential aims: the augmentation of divine worship, and the salvation of souls. This thesis brings to light just how important material and aesthetic enrichments were in regards to these functions. The vast majority of collegiate churches in Scotland were substantially augmented around the time of their foundation. Patrons undertook significant building programmes and provided a variety of furnishings and ornaments to facilitate and enrich the services their body of clergy performed. Precise statutes were laid down in order to ensure that clergy were skilled singers and organists. Many founders also made provision for their burial within their collegiate churches so that they could garner the maximum spiritual benefit from the organisations that they had founded. To the author's knowledge, this is the first in-depth account of the art and architecture of Scottish medieval colleges. This thesis looks closely at the architecture, furnishings, rituals, music, imagery, and commemorative functions of the forty-nine collegiate churches founded in Scotland. A close concentration on this institutional form has meant that buildings, artworks, and practices which have hitherto not received significant scholarly attention have been carefully scrutinised. Furthermore, by looking at so many aspects of collegiate churches, the present study enriches an understanding of these institutions by providing a more holistic picture of their functions and significance. Ultimately this thesis examines why physical and aesthetic enrichment went hand in hand with the founding of a college, and what role this material culture had in regards to how collegiate churches functioned.

Misinterpretations of John Calvin's theology are legion. It is hoped that this thesis does not add to their number. The basis for this lies in the fact that the task of writing on the subject has of course compelled the writer to do his utmost to comprehend what Calvin had to say concerning the Sacraments both in the Institutions and in the Scriptural Commentaries ... .The attempt has been made to refract Calvin's thought on the Sacrament, using certain key-concepts as prisms, and from the results thus obtained, to draw certain conclusions from which, it is hoped, will not be unprofitable to the life of the Holy Catholic Church. It is thus to be reagrded as an essay in historical theology rather than a whole-hearted attempt to reconstruct Calvin's exposition of the sacrament in the light of what has been revealed to us in the intervening years.