Made available in DSpace on 2016-04-29T14:27:20Z (GMT). No. of bitstreams: 1 Marcelo Froes de Matos.pdf: 675340 bytes, checksum: 15708035411d0f38b934170d25924827 (MD5) Previous issue date: 2011-10-25 / By the look of liturgical science, we try to provide subsidies on the relationship between the Paschal Mystery and the homily and its contribution to the community through the liturgy of the word. At which point the people of God mystagogical makes the experience of the mystery celebrated. Initially defended the hypothesis that the homiletic discourse must be based on the lecture announcement kerygmatic rooted in the Paschal Mystery of Christ. The scientific methodology was developed based on look biographical readings, texts, reflections and found that the homily is still an area of construction and reconstruction of the "ethos" and worldview. The speech by the priest during the homily is the door through which the laity mystagogical will lecture on the ad kerygmatic of experience in the mystery of Christ, a fact that is evident in the first chapter, which shows the epistemological categories that emerged in the research. Find that the Paschal Mystery has a tremendous power of persuasion through its symbols, rites, and especially in celebrations. In the second chapter, we in the homily of the kerygma ethics and pastoral practice: communication, language, aesthetics of oratory. In the third chapter demonstrate some aspects of the homily that lead to a perfect conversion and how the Word read and updated becomes theological foundation (not line) showing why the homily is made during the Liturgy of the Word and as a constituent part of liturgy of the Word, explaining that the Paschal Mystery celebrated in the Word and who celebrates is the keyword for the homiletic discourse is considered effective by the faithful that the legitimate faith / Pelo olhar da ciência litúrgica, buscaremos apresentar subsídios sobre a relação entre o Mistério Pascal e homilia e a sua contribuição à comunidade por meio da liturgia da Palavra. Momento este em que o povo de Deus faz a experiência mistagógica do mistério celebrado. Inicialmente defenderemos a hipótese de que o discurso homilético deve ter como base de preleção o anúncio querigmático enraizado no Mistério Pascal de Cristo. A metodologia científica foi desenvolvida com base em um olhar biográfico de leituras, textos, reflexões e constatamos que a homilia ainda é um espaço de construção e re-construção do ethos e visão de mundo. O discurso do padre durante a homilia é a porta mistagógica por onde os leigos farão a leitura pelo anúncio querigmático da vivência no Mistério de Cristo, fato que será evidenciado no primeiro capítulo, no qual demonstraremos as categorias epistemológicas que surgiram na pesquisa. Verificaremos que o Mistério Pascal exerce um enorme poder de persuasão por meio de seus símbolos, ritos e sobretudo nas celebrações. No segundo capítulo, conheceremos a homilia sob a ética do querigma e na ação pastoral prática: comunicação, linguagem, estética da oratória. No terceiro capítulo demonstraremos alguns aspectos da homilia que levam a uma perfeita conversão e como a Palavra lida e atualizada torna-se fundamento teológico (e não rubrica) mostrando o motivo pelo qual a homilia é feita durante a Liturgia da Palavra e como parte constitutiva da Liturgia da Palavra, esclarecendo que o Mistério Pascal na Palavra celebrada e de quem celebra é a palavra-chave para que o discurso homilético seja considerado eficaz por parte dos fiéis que o legitimam pela fé

Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de discours. Décorant d’abord des fondations byzantines prestigieuses à la fin du XIIIe siècle, le motif ne tarde pas à apparaître dans les églises serbes peintes dans l’entourage du Kralj Milutin, avant de devenir courant dans des monuments plus modestes. Le cycle est envisagé dans sa globalité et non image par image, à l’aide des outils traditionnels de l’iconographie mais aussi de la narratologie, ce qui a permis de mettre en évidence sa structure narrative. Dans une troisième partie, le fonctionnement liturgique du cycle est détaillé, révélant un discours eucharistique et mystagogique qui n’est pas tant superposé au récit en images, qu’il n’est au contraire produit par lui. / This doctoral thesis addresses the narrative images of the Passion of Christ in Late Byzantine mural paintings, their place and their ritual function. This cycle, which takes place under the Dodekaorton, has a clear sequence. Going around the nave and generally passing through the sanctuary space, it participated in the construction of the worship space. A study of the images used shows that such the narrative form given to these cycles, far from being accidental, is a carrier of meaning and discourse. Firstly decorating prestigious Byzantine foundations in the late thirteenth century, this kind cycle soon appeared in Serbian churches painted in the Kralj Milutin’s milieu and then became common in more modest monuments. In this study, the cycle is considered as a whole, using the traditional tools of iconography but also narratology, which helped to highlight its narrative structure. At last, the liturgical function of the cycle is explored, revealing a Eucharistic and mystagogic discours produced by the narrative.

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média. / Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média. / Still little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.

Made available in DSpace on 2016-03-15T19:48:31Z (GMT). No. of bitstreams: 1 Agnaldo dos Santos Mota.pdf: 1042378 bytes, checksum: c256240667ce51de61e941bacfd706b2 (MD5) Previous issue date: 2014-08-08 / Instituto Presbiteriano Mackenzie / This dissertation presents a study of the theology of worship proposed by John Calvin, seeking to highlight the aspects that foster the preponderance of the community as opposed to the individuality seen in contemporary worship, and, whenever possible, pointing out the reasons why the Reformer excelled in the emphasis of the collective. The research moves between two fields of knowledge, Religious Studies and Theology. The text, in principle, focuses on the Religious Reformed Movement of the sixteenth century, describing the synthesis in Calvin s thought, especially his understanding of worship. We also make an examination of the evolution, or modification, of Calvin's theology of worship, particularly in England, Scotland and the USA, together with a comparative analysis of the Genevan Calvinist Worship and Puritan Worship, showing that the second, with its individualistic theological nuances, modified the first, and thus significantly gave special contribution to individualism seen in the liturgy of the contemporary Calvinist worship, and influenced in building the social imaginary of the followers of this branch of Calvinism and its heirs. / Essa dissertação apresenta um estudo sobre a teologia do culto proposta por João Calvino, buscando ressaltar os aspectos que salientem a preponderância da coletividade em relação a individualidade vista no culto contemporâneo, e, sempre que possível, pontuando as razões pelas quais o reformador primou por enfase no coletivo. A pesquisa transita entre dois campos do conhecimento, o das ciências da religião e o da teologia. O texto, em princípio, retroage ao movimento de Reforma do século XVI, definindo em Calvino a síntese do pensamento reformado, especialmente seu entendimento de culto. Também é feito um exame sobre a evolução, e modificação, da teologia do culto de Calvino, particularmente na Inglaterra, Escócia e EUA. Faz-se, também, uma analise comparativa dos cultos calvinistas puritano e genebrino, mostrando que o primeiro, com suas nuances teológicas individualistas, modificou o segundo e, assim, contribiu significativamente para o individualismo visto na liturgia do culto calvinista contemporâneo, bem como influenciou na construção do imaginário social dos seguidores desse ramo do calvinismo e dos seus herdeiros.

Made available in DSpace on 2016-03-15T19:48:44Z (GMT). No. of bitstreams: 1 Edson Dias.pdf: 1020283 bytes, checksum: 549bbfcb2a78ee9c8ff5b49f02e82a1d (MD5) Previous issue date: 2006-12-06 / Instituto Presbiteriano Mackenzie / This thesis presents a study of Reformed Theology thought as reflected in the Piratininga Presbytery (Presbitério Piratininga, São Paulo of the Igreja Presbiteriana do Brasil) assessing how this thought is manifested in its worship practices. It begins going back to the 16th Century Reformation Movement, considering Calvin as the synthesis of Reformed thought, especially in his understanding of worship. An examination of how this Reformed thought was developed in North American churches, is also presented, until, further on, it arrived in Brazil, especially in the sphere of influence of the Piratininga Presbytery. This is followed by an analysis of statements about worship services produced by the Piratininga Presbytery and by Rev. Boanerges Ribeiro. Finally, there is an analysis of liturgical practices in churches of this presbytery, from the standpoint of Reformed thought, verifying what has been preserved from a Reformed thought heritage, and what has been lost. Within this context the Brazilian Presbyterian Church is presented as being a confessional church of Reformed identity, which should express its faith through its worship services, being permanently careful about eventually incoming distortions. / Esta dissertação apresenta um estudo do pensamento reformado no Presbitério de Piratininga, fazendo uma leitura desse pensamento por meio de sua expressão de culto. O texto, inicialmente, retroage ao movimento da Reforma do século XVI, definindo em Calvino a síntese do pensamento reformado, particularmente seu entendimento de culto. Também é feito um exame de como o pensamento reformado foi desenvolvido nas Igrejas norte americanas para, posteriormente, chegar ao Brasil, especialmente no âmbito do Presbitério de Piratininga. Segue, apresentando, uma análise dos posicionamentos sobre o culto do Presbitério de Piratininga e do Rev. Boanerges Ribeiro. Finalmente, analisa-se a liturgia praticada nas Igrejas do Presbitério à luz do pensamento reformado, ressaltando o que foi preservado da herança reformada e o que se perdeu. Dentro deste contexto, a Igreja Presbiteriana do Brasil é apresentada como sendo uma Igreja confessional de identidade reformada, que deve expressar a sua fé por meio de seus cultos, renovando a cada dia seus cuidados com possíveis distorções.

This thesis offers an assessment of the Edwardian Reformation and its significance for the wider development of English Protestantism by examining the liturgical reforms of the period. The central question that this thesis grapples with is, how did Edwardian reformers apply their theological concept of the 'church' as an invisible spiritual body of believers to the task of reforming the visible temporal institution of Tudor England? The overarching argument of this study is that, in the eyes of the reformers, the formal liturgy of the Church of England, as defined by the Prayer Book, formed a nexus between the temporal and spiritual realms so that the invisible Church was given visible expression in public worship. This meant that Tudor men and women could actively participate in the spiritual communion of saints through the tangible experience of church services, especially through the sacraments and by observing the Sabbath. The examination of the relationship of mid-Tudor evangelical ecclesiology and liturgical reform presented in this thesis allows us to understand the Edwardian Church on its own terms. It challenges some long-held assumptions about the figures and events of the period, and their combined effect on later developments in English Protestantism, which continue to colour historiography. By taking a fresh approach to seemingly well-known texts, such as the Book of Common Prayer, this thesis argues that the relationship of ecclesiology and liturgical reform was a central feature of the Edwardian Reformation, an aspect of the period that has not been widely acknowledged in recent scholarship. A different ecclesiological theme is investigated through the lens of liturgical reform in each chapter to show how significant the doctrine of the church was to mid-Tudor reformers' goals in terms of ecclesiastical structure and practical ministry.

O objetivo desta pesquisa é discutir o processo de abertura da Igreja Católica às religiões afrobrasileiras, tendo como foco a liturgia das missas inculturadas (ou missa afro) nas quais elementos das religiões afro-brasileiras (principalmente do candomblé) são adotados. Em São Paulo, por exemplo, o ícone dessas celebrações é a missa da mãe negra\", ocorrida em torno do terceiro domingo de maio, que aproxima imaginários católicos (como a de Nossa Senhora Aparecida) e heranças da leitura da mãe e da mulher na escravidão (uma leitura do tipo Gilberto Freyre). Afora a problemática em torno desse imaginário, sobre o qual há bastante material disponível, procura-se saber como esse catolicismo faz a aproximação no âmbito dos conceitos teológicos e litúrgicos (tanto do ponto de vista de sacerdotes católicos e afrobrasileiros e de adeptos de ambos os sistemas). A pesquisa foi realizada na cidade de São Paulo, especificamente em duas igrejas: Nossa Senhora do Rosário dos Homens Pretos, no Largo do Paissandu e Nossa Senhora Achiropita, na Bela Vista, onde são realizados rituais inculturados (missa, batismo e casamento). Estas igrejas são emblemáticas: a primeira representaria a apropriação do catolicismo pelo negro e a segunda a apropriação das religiões afro-brasileiras pelo catolicismo. Assim, a Igreja Católica estaria dando continuidade no espaço litúrgico e teológico da igreja a um processo de \"culturalização\" destas religiões, o qual se verifica na sociedade nacional de um modo mais amplo. / The objective of this research is to discuss the broadening of the Catholic Church to include the Afro- Brazilian religions, having in focus the inculturated masses liturgy (or Afromasses) in which elements from Afro- Brazilian religions (mainly from candomblé) are adopted. In São Paulo, for example, the icon of those celebrations is the Black Mother Mass, one that happens around the third Sunday of May and that approximates catholic imaginaries (such as that of Nossa Senhora Aparecida) and the heritage of readings of the mother and the women during slavery (a reading made by Gilberto Freyre). Besides the problems associated with this imaginary, about which there exists a good number of material available, this research turns to the question about how this Catholicism approximates itself, in the range of theological and liturgical concepts (in as much from the point of view of Catholic and Afro- Brazilian priests as that of believers of both systems). This research was done in the city of São Paulo, specifically in two churches: Nossa Senhora do Rosário dos Homens Pretos, at the Largo do Paissandu and Nossa Senhora Achiropita, at Bela Vista, where are performed inculturated rituals (masses, baptisms, marriages). These churches are emblematic: the first one, may represent the appropriation of Catholicism by the black; and the second one, the appropriation of the Afro- Brazilian religions by the Catholicism. In such a way the Catholic Church would be giving continuity in the theological and liturgical space of the church to a process of culturalization of these religions. A process that is verified in the national society in a wider mode.

<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>

Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2005.