Este trabalho procura pôr em diálogo a sociologia de Pierre Bourdieu e sua crítica às instituições, que simbolicamente propiciam e fomentam relações de dominação, e o culto cristão. No primeiro capítulo se procura agrupar diversos conceitos de Pierre Bourdieu em torno daquilo que se denominou gênese das relações de dominação. Após um pequeno esforço por aproximar Bourdieu e teologia, formula-se, a partir de elementos dispersos de sua obra, uma idéia do modo através do qual surgiriam e se reproduziriam relações sociais de dominação. As relações de gênero são apresentadas como exemplo onde se verifica a tese de Bourdieu. Posteriormente se aponta para as instituições que promovem este processo, indicadas no percurso pelo próprio Bourdieu: a família, a igreja, a escola e o Estado. O segundo capítulo traz uma aproximação à história de vida de Pierre Bourdieu. Constata-se que seu caráter parece aproximá-lo à teologia. A parte conclusiva deste capítulo reúne elementos da obra de Bourdieu que permanecem como um saldo crítico a ser contabilizado pela teologia. O terceiro capítulo aproxima aspectos da obra de Pierre Bourdieu ao culto cristão. Neste trajeto, faz-se uso do conceito de performance. Trata-se de uma tentativa de construir uma ponte, que coloque na mesma sintonia a reflexão crítica de Pierre Bourdieu e as discussões sobre o culto e a liturgia. O último capítulo concentra-se em reunir argumentos a favor de um culto que seja essencialmente contestador de uma ordem social baseada em relações de dominação. Busca-se oferecer uma idéia de culto que tome conscientemente seu aspecto sócio-político de construção da sociedade e o utilize com a finalidade de transformá-la em uma outra, livre de relações de dominação. / This work tries to bring into dialogue the sociology of Pierre Bourdieu and his critique about the institutions, which symbolically provide and promote relations of domination, and Christian worship. The first chapter tries to group various concepts of Pierre Bourdieu around that what is called genesis of the relations of domination. After a small effort to approximate Bourdieu and theology, will be offered an idea, from scattered elements of his work, of the way in which social relations of domination arise and are reproduced. The relations of gender are presented as an example where will be verified the view of Bourdieu. After this, it will be pointed to the institutions that promote this process, indicated in his work: the family, church, school and State. The second chapter provides an approach to the life story of Pierre Bourdieu. It seems that his character bring him closer to theology. The concluding part of this chapter brings together elements of the work of Bourdieu that remain as a critical balance to be accounted for by theology. The third chapter brings aspects of the work of Pierre Bourdieu to Christian worship. In this way, the concept of performance is used. This is an attempt to build a bridge, which puts on the same line the critical reflection of Pierre Bourdieu and discussions on worship and liturgy. The final chapter focuses on gathering fundaments for a worship that is essentially refuter of a social order based on relations of domination. Seeks to provide an idea of worship that consciously take its socio-political aspect of building the society and use it in order to transform it into another, free of relations of domination.

The musical notation of the northern Italian Benedictine abbey of St Sylvester in Nonantola has hitherto been neglected by most scholarship on early music scripts, mainly because of the paucity of surviving music manuscripts and their limited geographical diffusion. A new study was needed in order to develop a full understanding of the abbey’s role and importance in the first phases of development of the writing of music in the early Middle Ages. A Lombard foundation, Nonantola acquired much of its prestige from the links with the Carolingian court as early as the late eighth century. From the first decades after its foundation, the Po Valley abbey also benefited from an active scriptorium; this shaped a local type of text script that endured until after the fall of the Carolingian empire, when the abbey, including most of its library, was destroyed by the Hungarian invasion in 899 (§1). The study of the earliest surviving notated liturgical manuscripts revealed that, by the late ninth century, Nonantola already developed an institutional type of musical notation, making it the earliest known music script ever to be written in the Italic peninsula and, thus, among the earliest in Carolingian Europe (§§2–3). The unique design and use of musical signs showed that this northern Italic notation developed, for the most part, independently from a basic repertory of graphs derived from grammatical accents (§4). Finally, observations of the influences of the central Italic nota romana, which this study only began to explore, opened up the possibility that Nonantolan notation may preserve the oldest traces of graphic conventions for the representation of sound that can be associated with the city of Rome (§5). Placed between the northern and southern fringes of the Carolingian empire, the Benedictine abbey of Nonantola played an important role in the early history of music writing, and this study contributes to the breaking of new ground for further explorations.

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.

L’image du germe, du développement organique, est très importante dans l’œuvre poétique et dramatique de Claudel. Dans ses écrits en prose qui constituent la seconde partie de son œuvre, et sont principalement consacrés à l’étude de la Bible et de ses mystères, cette métaphore devient centrale. Elle est le vecteur privilégié de l’interrogation du poète sur la vocation de l’homme, le sens de sa vie, les réalités spirituelles qui le déterminent souterrainement. La semence devient plus largement le symbole d’un monde dynamique, divinement orienté vers un achèvement parfait tout en restant acteur de son développement et ainsi véritablement créateur. À travers le travail sur cette métaphore, le poète atteint ainsi un équilibre entre la valorisation de la vitalité qu’il admire et célèbre, et la recherche d’une forme parfaite, liée à la reconnaissance d’un Dieu créateur. La mise au point de ce nouvel « art poétique » passe par un travail poétique sur les images et les motifs rencontrés dans la Bible, autour notamment de l’annonce de l’Incarnation. Pour les interpréter, Claudel puise dans la Tradition chrétienne, reçue à travers la liturgie, mais aussi par la lecture des Pères de l’Église ou de théologiens comme saint Augustin et saint Thomas. Mais il exploite également les découvertes scientifiques les plus récentes, et dialogue avec des philosophies plus modernes. L’insistance sur le mouvement et la prise en compte de la spontanéité du vivant et des obscurités de l’homme qu’exprime la métaphore séminale permettent ainsi de rapprocher Claudel, malgré son apparent isolement, de ses contemporains. / The symbol of the germ, and the model of the organic development, play a very important role in Paul Claudel’s poetical and dramatical works. When the poet devoted himself to the study and the poetic commentary of the Bible in the last part of his life, this metaphor becomes central. Claudel uses it particularly in questions such as the meaning of human life and its links with spiritual realities. More broadly speaking, the image expresses the energy and the power of development contained in a world that aims at its complete achievement. Through this image, Claudel celebrates the vigor he admires in nature, and, at the same time, the perfection of a divine realisation. The reading of the Bible leads him to renew his approach of these themes. We also have to consider the influence on him of other sources, especially the Fathers of the Church, great theologists as Thomas Aquinas or Saint Augustine and other spiritual books which he frequently refers to. Nevertheless, we should not forget that he exploits as well the more recent scientific discoveries and discusses contemporary issues. The image of the germ allows Claudel to stress the dynamism of the world, the spontaneity of living things and to illustrate the mystery of man; thus, it is at the heart of his poetical world.

Le présent texte propose de questionner le postulat couramment admis selon lequel l'émergence des intellectuels nationalistes au XIXe siècle est parallèle à une déchristianisation de la vie sociale et culturelle, en se focalisant sur l’ensemble des littérateurs norvégiens publiant dans la période 1811-1869. C'est plus spécifiquement les rapports entre Belles-lettres, construction nationale et sécularisation qui constituent le cœur de cette enquête, avec une attention portée sur la principale arène de la vie scientifique norvégienne : l’université de Christiania. Après avoir recensé les contraintes matérielles, politiques et religieuses qui conditionnent le développement de la vie culturelle dans la capitale du jeune royaume, l'auteur propose une analyse socio-historique systématique de tous les littérateurs norvégiens, ainsi qu'un échantillonnage des auteurs les plus productifs afin de déterminer l'évolution des rapports des écrivains, amateurs de Belles-lettres, nationalistes ou scandinavistes, avec le fait religieux et l'Église d'État norvégienne. La notion de "pratique littéraire" permet d'aborder la littérature comme un phénomène social multiforme, au croisement entre l'histoire de l'éducation, histoire des idées, histoire religieuse et sociologie de la littérature, et permet de comprendre les mutations essentielles et les ambigüités indépassables de l’identité sociale des intellectuels contemporains / This paper proposes to question the common assumption according to which the emergence of nationalist intellectuals in the 19th century is parallel to a secularization of the social and cultural life. To do so the author focuses on all Norwegian authors who published between 1811 and 1869. It is specifically the relationship between fine literature, nation-building and church life which is the core of this investigation, with a particular attention towards the main arena of scientific life in Norway: the University of Christiania. The first step has consisted in identifying the material, political and religious constraints which enabled or prevented the development of a literary social field in the capital of the newly restored kingdom. The author proposes then a systematic socio-historical analysis of all Norwegian writers, and a sampling of the most productive among them, in order to determine the evolution of the relations between nationalist or Scandinavist poets, academic authorities and the life of the Norwegian State Church. The notion of "literary practice" can address the literature as a multifaceted social phenomenon at the intersection between the history of education, history of ideas, religious history and sociology of literature, and to understand essential changes and unavoidable ambiguities of the social identity of late-modern intellectuals.

Partant de l’apparent conflit entre le geste rituel et l’acte musical dans la liturgie catholique, la thèse se propose de faire l’étude du munus ministeriale de la musique sacrée tel qu’il apparaît dans la constitution conciliaire de Vatican II sur la liturgie (SC 112). Le syntagme, un hapax dans l’ensemble du Concile, jamais encore appliqué à la musique et n’ayant à ce jour fait l’objet d’une étude approfondie, interroge. Il convient donc d’en explorer les éventuels antécédents historiques, d’en saisir le contexte pour mieux en appréhender la signification. La démarche proposée, à la fois proprement d’investigation historique et de réflexion théologique, suit celle de Sacrosanctum Concilium en questionnant tour à tour les Pères de l’Eglise et l’enseignement des pontifes, au rang desquels Pie X tient une place déterminante, avant de scruter l’élaboration du texte conciliaire lui-même. L’étude s’intéresse en outre à l’emploi et à la portée des munus et ministeriale dans l’ensemble des documents de Vatican II afin d’en dégager l’implication théologique pour la musique sacrée. Il apparaît que cette dernière acquiert le statut de lieu théologique fondé sur la notion de médiation et enraciné dans une succession de médiations. Par son munus ministeriale qui en fait dès lors sa spécificité, la musique sacrée participe bien d’un ordre sacramentel, à la fois expression de sa fonction mais aussi de sa charge programmatique dans le culte divin. / Starting from the apparent conflict between the ritual move and the musical act in Catholic liturgy, this thesis sets out to study the munus ministeriale of sacred music as it appears in the conciliar constitution of Vatican II (SC112). This phrase, a hapax legomenon in the whole council, which was never applied to music until then and hasn't been thoroughly studied up to now, is worth considering. That's why it would be appropriate to search for its possible historical antecedents, to grasp its context so as to better apprehend its meaning. The processes suggested here, not only a pure matter of historical investigation but also a piece of theological reflection, follow that of Sacrosanctum Concilium by questioning in turn the Church Fathers, the teaching of the Popes, among whom Pius X holds a fundamental position, before examining the elaboration of the conciliar text itself. Moreover, this study focuses on the use and import of the munus and ministeriale in all the documents from Vatican II so as to bring out their theological significance for sacred music. It appears that the latter gets the status of theological place founded on the notion of mediation, and rooted in a succession of mediations. Through its munus ministeriale which then makes it specific, sacred music really is part of a sacramental order, which expresses its function but also its programmatic role in divine cult.

The main goal of this project is trying to understand how a modern church looks like. If it follows the same principles like traditional churches and or weather the new liturgy needs new idea of nowadays signs. What affects the religious architecture, weather it's designed in a context of a intense housing developement.

The Spirit tradition is a fairly new tradition with its essential focus on experiencing the Holy Spirit. This tradition has made its latest and most influential appearance during the Azusa street revival in Los Angeles at the start of the 1900s. This has started a new wave or move if you want across the earth andhas made inroads into most other existing traditions. It is a tradition fashioned by the needs of believers and the reality of experiencing the Holy Spirit. Worship is a vital part of any Charismatic church service. Upbeat music with talented bands is up front and ready to lead people into passionate and expressive worship. Their worship stretches further than just music. They attempt to fashion their lives as a worship offering to God. Within the Charismatic tradition, the word Liturgy is unheard of, even though it is part of their service. Part of this worship includes the celebration of Communion. Communion is celebrated all over the world in most Christian churches. It has been one of the most sacred sacraments of the church through the centuries. With it came many feuds over doctrine and challenges regarding the form, meaning, presence, elements and so forth. It has been thecenter of many debates. But it still remains central to any believer. The researcher has looked at the history of the Spirit tradition within chapter 2 with its main focus on liturgical rituals of healing, exorcism and speaking in tongues. These rituals are researched and traced all through history. The rituals are present and active in every era the researcher looked at. The Theology of the spirit tradition was also explored. She then went on to look at the history of the Eucharist. The changes and forms were noted. A deeper understanding of the celebration of the Eucharist was realized and the Theology depicted the differences in opinion. No current day practical theological research is complete without Empirical research. This made the researcher more involved. By participatory observation and questionnaires, essential information was gathered regarding how believers in Charismatic churches appropriate their participation during the celebration of Communion. New insights were gained. Based on this research the researcher came to the conclusion that the Meal-and the Spirit worship traditions can come together in a more meaningful way. The true meaning needs to be taught to believers so that a deeper knowledge of the truth of Communion can be gained. Communion cannot remain watered-down and enter as an afterthought during a service. It has the potential to be an incredible experience by any Christian believer. When the Spirit and the Meal can be brought together in a more meaningful way, it has the potential to become the future of Charismatic worship. This conclusion is worked out in some detail in the final chapter. / Dissertation (MA Theol)--University of Pretoria, 2013. / gm2014 / Practical Theology / unrestricted

The beginning of the 20th century saw an emergence of new ideals for and ways of living a Christian life in Church of Sweden. As a consequence of both a revival for Sweden’s own medieval heritage as well as intensified ecumenical contacts with, principally the Church of England, several Christian communities took similar form to that of “Third orders”, but without any canonical status. This present study focuses such an order, Sodailitium Sancti Christofori,(Fraternity of Saint Christopher), founded in the university town of Uppsala in 1921 by students of theology studying for the priesthood in Church of Sweden. The fraternity’s work is outlined during its complete lifespan, approximately 20 years. A total of 19 men were received as novices, 17 of these went on to become brothers. Some of these became profiled churchmen in Church of Sweden, for example Gustaf Adolf and Sven Danell, dean of Växjö and bishop of Skara respectively, Bengt Sundkler, bishop of Bukoba as well as professor of missiology at Uppsala university, and Harry Ljungar, long-time vicar of Moheda, diocese of Växjö. They were influenced by the Youth Church movement, the emerging High Church movement, as well as likeminded groups in Denmark, England and Germany. As time went on, the brothers were ordained and sent out to different parts of Sweden and new brothers were received, keeping in touch through extensive letter correspondence. Sometime during the 1930s, activity in the fraternity went down drastically, and the last sign of life within the fraternity is a chronicle of a general chapter in 1939.

The diploma thesis presents Tarsicius, a Czech magazine for altar servers, in comparison with its German counterpart MINIPOST. It comes with an analysis of the content of both periodicals - with a focus on individual sections and on the graphic aspect. On the basis of partial analyses and comparations it describes and evaluates the pastoral significance of both magazines for the formation of altar servers.