The topic of the diploma thesis is the design of the Roman Catholic Church of the Descent of the Holy Spirit in Brno Líšeň. The building will complement the needs of the Salesian community, which has been operating in the nearby Salesko youth house for almost 30 years and focuses on educating young people using methods from Don Bosco. The design of the church also envisages the construction of facilities for parishioners and accommodation for Salesians. It should also serve not only the current community, but also the general public. The design offers a solution how to modernize a building of these dimensions into an urban complex such as a housing estate in modern times. All this with an emphasis on minimizing the negative impacts on existing residents who use the surrounding areas for recreation. The building will consist of two functional units. The first will consist of a church building with a capacity of 300 seated and 100 standing parishioners. The second part will be a parish center with a community hall for 100 people. There will also be apartments for priests, a hobby workshop and parish offices.

The principle purpose of the study was to investigate the role of women in the mission and ministry of The Lutheran Church in Southern Africa (LCSA). The researcher raised the question of why women are viewed as inferior within the LCSA, and whether this is Biblically supported. I investigated the distinction between men and women with regard to the church culture, tradition, pastoral office, priesthood, and authority within the LCSA. As a general theoretical framework, I used two theories in church mission: (1) The unity of the Church and apostolic practice as propounded by Schenk in 1983. (2) Paradigm shifts in theology: mission as ministry by the whole people of God as propounded by Bosch in 1991. These theories explain the mission of proclaiming the Gospel of God as belonging to everyone (both male and female) as His servants in the Church. To obtain people’s views and interpretations of Scriptures, culture, church practice, and the social reality of women’s roles in the LCSA, focus-group and individual interviews were used to gather qualitative data from 525 respondents. The data was collected and analyzed using the descriptive qualitative research approach. Based on the research findings in Chapter 2 (pages 37-42), Chapter 6 (page140) presents proposals for the involvement of women in the LCSA. The findings show that participants were concerned about the topic and those women’s rights and voices are not yet acknowledged in many societies in Southern Africa. However, the scope of the study is limited to the LCSA, and its findings cannot be generalized. Valuable insights were gained into the church’s traditional construction of women’s roles in the LCSA, not allowing women to preach the Gospel and to administer the Sacraments in the Church mission work. From a missiological study perspective, the researcher recommended that women should be allowed to participate fully in the Church mission work. Therefore, the Involvement of Women in Mission in LCSA was an important dissertation research topic, affecting women in Southern Africa particularly, and potentially, in the African continent at large. / Dissertation (MA Theol)--University of Pretoria, 2013. / gm2014 / Science of Religion and Missiology / unrestricted

The thesis deals with the Czech Christmas spiritual music, wants to point out and pick up her beauty, popularity and popularity across the public and in the circles of the Church and in the wider public. The method is the research the available literature and handouts for this topic, which is evident in the Division of the individual chapters. The introduction will include music and history of music. In the next part we will spend Christmas spiritual music, we close its emergence, history, Christian context, familiar carols and songs and their lyrics with a spiritual focus, some of the selected authors and their works both from the past and from the present. We also in our surroundings, to learn more about the Christmas music of our neighbors, or some European countries. In the next part of the main chapters refer to the positive influence of the Christmas music on the evangelization of pastoration and also on Ecumenism - attitude to Christmas music in some churches, and on its place in the broader public. The conclusion should answer the question of why is Christmas music and in particular the Czech Christmas music so much popular and popular among both artists and in the Christian churches and the public, with an interference fit and why it appears almost as a phenomenon. Keywords Christmas,...

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The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a “holy field”, or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni’s Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern’s clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar—both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.

The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a "holy field", or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni's Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern's clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar--both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.

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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.

[pt] A presente pesquisa sobre a escuta na experiência litúrgico-cristã é um diálogo entre a ciência teológica e outras áreas das ciências humanas, perfazendo um caminho interdisciplinar. O texto foi construído a partir do binômio Palavrarito e intuído com base na celebração do culto cristão. A questão levantada como hipótese para este trabalho é: se a Escritura tem seu primado no culto cristão, por que se constatam tantos obstáculos em escutá-la e compreendê-la nas celebrações litúrgicas? E quais são as consequências disso para o processo de iniciação e amadurecimento dos cristãos, no que se refere à experiência de fé e, por conseguinte, ao seu testemunho? Indagações e inquietações como estas marcaram profundamente o percurso desta pesquisa de reflexão teológico-litúrgica e pastoral. O cenário apresentado a partir das questões elencadas revela como a Igreja do século anterior se viu provocada pelos movimentos de renovação bíblica e litúrgica, os quais desaguaram no Concílio Ecumênico Vaticano II e, particularmente, nas constituições Sacrosanctum Concilium e Dei Verbum, marcadamente por propostas teológico-pastorais. Nelas percebemos como os Padres conciliares viram a urgência de considerar a excelência da escuta e da resposta da Escritura na liturgia e na vida cristã. Portanto, a Igreja, provocada a educar-se à escuta, é incentivada a um permanente e constante processo de conversão pastoral, pois esse novo cenário requer dela novos métodos. Um deles é o processo de iniciação à Escritura e à liturgia, em vista do itinerário à vida cristã. Esse caminho tão urgente e necessário para a Igreja hoje potencializa a via possível para a pessoa chegar ao encontro pessoal e comunitário com Jesus Cristo. Esse encontro é vivenciado mediante uma consistente experiência de fé conduzida pelo itinerário catequético, o qual orienta e conduz o iniciante a testemunhar Cristo no seu cotidiano. Assim, a pesquisa parte da fundamentação antropológica e bíblica da escuta, com o objetivo de preparar o alicerce para a compreensão da escuta litúrgica da Escritura, à luz da Sacrosanctum Concilium, para depois trabalhar as perspectivas pastorais em vista de uma renovada expressão da escuta litúrgica da Escritura. / [en] The present research on listening in the liturgical-Christian experience is a dialogue between theological science and other areas of the human sciences, making an interdisciplinary path. The text was constructed from the binomial Spirit-Word and intituded on the basis of the celebration of Christian worship. The question raised as a hypothesis for this work is: if Scripture has its primacy in Christian worship, why are there so many obstacles in listening to it and understanding it in liturgical celebrations? And what are the consequences of this for the process of initiation and maturation of Christians, with regard to the experience of faith and, therefore, their witness? Questions and concerns such as these have deeply marked the course of this research of theological-liturgical and pastoral reflection. The scenario presented from the questions listed reveals how the Church of the previous century was provoked by the movements of biblical and liturgical renewal, which came at the Second Vatican Ecumenical Council and, particularly, in the constitutions Sacrosanctum Concilium and Dei Verbum, marked by theological-pastoral proposals. In them we perceive how the Council Fathers saw the urgency of considering the excellence of listening and the response of Scripture in the liturgy and in Christian life. Therefore, the Church, provoked to educate oneself to listen, is encouraged to a permanent and constant process of pastoral conversion, because this new scenario requires new methods from her. One of them is the process of initiation into Scripture and the liturgy, in view of the journey to Christian life. This urgent and necessary path for the Church today enhances the possible way for the person to reach a personal and community encounter with Jesus Christ. This encounter is experienced through a consistent experience of faith conducted by the catechetical itinerary, which guides and leads the beginner to witness to Christ in his daily life. Thus, the research is based on the anthropological and biblical foundation of listening, with the aim of laying the foundation for the understanding of the liturgical listening of Scripture, in the light of the Sacrosanctum Concilium, and then working on pastoral perspectives in view of a renewed expression of the liturgical listening of Scripture.