The ܫܚܝܡܐ Shhimo is the prayer book for normal weekdays of the Syrian Orthodox Church and it was officially printed for the first time in Dayro d-Kurkmo (Dayr Al-Zafaran) in 1890 with a printing press that Patriarch Ignatius Peter IV (+ 1894) had received in 1874 thanks to his visit to London and the Anglican Church. Prior to 1890 Shhimo was a diverse tradition expressed with different manuscripts in different monasteries showing a diverse use of different prayers and costumes. The second printing of Shhimo in 1913 and re-printing 1934, by the late Syrian Orthodox Patriarch Ephrem I Barsoum (+ 1957), was a reworked version of 1890 that included several important changes. This thesis will investigate what these changes were and what implications they carry for the understanding of Shhimo and for the Syrian Orthodox Church. In this paper we will also start to investigate the transmission process of the Shhimo and study some of the manuscripts prior to 1890.

The mission of the Church in the Presbyterian Community of Kinshasa is understood in its narrow sense of evangelism and church planting. Moreover the institutional and doctrinal conservatism, the maintenance mindset of the Church and its inadaptability to the challenges of a changing world, are some of the characteristics of the lack of mission awareness and mission spirituality. This dissertation is an attempt to impart mission awareness and mission spirituality within the Presbyterian Community of Kinshasa. The study of mission Dei and mission spirituality helps in understanding the divine origins of missions, the nature and identity of the Church. In addition, it unveils the Christian lifestyle that stems from the relationship with Christ and from the mission consciousness, and that is empowered by the Holy Spirit. Some strategies are proposed with the aim of updating and promoting a holistic, inclusive and integral understanding and practice of mission in the Church. / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

A theology of Church music for worship has been conspicuous by its absence. The need is clearly demonstrated in this thesis, as is the methodology to develop this theology. The Biblical record of musical usage shows that theological principles can be uncovered to guide theuse of music today. The same process can be applied to the use of music for worship in church history. In order for these principles to have practical application, the challenges facing the Methodist of Southern Africa today are examined. Finally, a theology of Worship Music is developed under three headings. The first, Worship Music as Sacred Sound, explores the inherent music making of God, and of humanity. The second heading, Worship Music as Sacred Act, explores the way music is used as part of the Church's worship activity. The third heading, Worship Music as Sacred Word, explains how music can communicate in worship. / Philosophy, Practical & Sytematic Theology / M. Th. (Systematic Theology)

Text in English / This dissertation has examined the University Christian Movement (UCM) over its turbulent five year history from 1967 to 1972 in terms of the original hopes of the sponsoring ecumenical denominations. Contextual factors within the socio-political arena of South Africa as well as broader youth cultural influences are shown to have had a decisive influence. These factors help to explain the negative reaction from the founding churches. While this is not a thesis on Black Consciousness, nevertheless the contribution of the UCM to the rise of Black Consciousness and Black Theology is evaluated. UCM is shown to be a movement well ahead of its time as a forerunner in South Africa of Black Theology, contextual theology, feminism, modem liturgical styles, and intercommunion. As such it was held in suspicion. It suffered repressive action from the government and alienation from the churches. Constant cross referencing to other organisations such as the World Student Christian Federation, the National Union of South African Students, the South African Council of Churches, the Christian Institute, and the Sllldents Christian Association, helps to locate the UCM within the flow of contemporary history. The concluding evaluation differs markedly from the report of the Schlebusch Commission by making both critical and positive judgement from the perspective of the UCM as an ecumenical mission to students. / Christain Spirituality, Church History & Missiology / M.Th. (Missiology)

Worldwide liturgical music finds itself in a crisis. Liturgical music is made the scapegoat for everything that is wrong with liturgy, whereas the problems rather derive from the worship service as a whole, the theological thinking and the cultural environment in which the worship service is performed. Stereotyped liturgical forms, a cognitive verbalism, the demand for intelligibility, the loss of the poetic form of the liturgy, the disregard for symbols and rituals, the absence of visual and other art forms in the liturgy, the influence of the popular music culture and especially the lack of a profound theological reflection with regard to the essential place of music in the liturgy, are all contributing factors that have a negative influence on liturgical music. The worship service is surrounded by a postmodern culture, aspects of which might provide positive opportunities for the liturgy. A broader notion of rationality that includes the affective, non-cognitive dimensions of being human, opens up possibilities for the aesthetic, as well as the religious experience. The recognition of symbols, images, imagination and metaphors opens up new horizons for the worship service as Gesamtkunstwerk. Anti-foundationalistic thinking demands an open canon with regard to the liturgy and liturgical song. Ecumenicity as an expression of the postmodern 'global village' renders a plurality of liturgical and musical possibilities. Aspects that might influence the reception of liturgical songs and songbooks, such as a spirit of anti-authoritarianism must be borne in mind. The liturgical training of ministers of religion, especially with regard to their aesthetic formation must be given due attention. The reflection on liturgy with regard to the role of art and music as communicative acts, based on new theological insights, must come into full swing. Liturgical music can only be fully appreciated where liturgical renewal takes form in a comprehensive way and where theologically the space is opened up for music as a form of art that has the ability to communicate symbolically, especially that which defies clearcut definition - as such being a communicative act serving the gospel. / Liturgiese musiek verkeer wereldwyd in 'n krisis. Kritiek word dikwels slegs voor die deur van die musiek gele, terwyl die probleem verband hou met die erediens as geheel, die teologiese denke en met die kulturele omstandighede waarbinne die erediens plaasvind. Geykte liturgiese vorms, 'n kognitiewe-verbalisme, die oorbeklemtoonde eis om verstaanbaarheid, 'n verlies aan die kunsgestalte van die erediens, 'n miskenning van die simboliese waarde van rituele en handelinge, die gebrek aan visuele en ander kunsvorme, die invloed van die omringende musiekkultuur en veral die gebrek aan 'n grondige teologiese besinning ten opsigte van musiek in die erediens, bring die funksie, aard en wesenlike plek van liturgiese musiek in gedrang. Die erediens staan binne 'n · postmodernistiese denkkultuur waarvan sekere aspekte positiewe moontlikhede ten opsigte van die erediens kan bied. Die breer rasionaliteitsbegrip, wat ruimte open vir die affektiewe en nie-kognitiewe dimensies van menswees, skep nuwe ruimte vir die estetiese ervaring en die rol van ervaring in die geloofsproses. Die erkenning van simbole, simboolwerelde, metafore, beelde en verbeelding, bied nuwe moontlikhede vir die erediens as Gesamtkunstwerk. Die oog vir die heropname van die historiese en die simboliese bied ook geleentheid vir die herstel van die tradisionele lied. 'n Gees van anti-fundamentalisme vereis 'n oop kanon ten opsigte van die liturgie en die liturgiese lied. Ekumenisiteit as vorm van die postmoderne global village bied 'n pluraliteit van liturgiese en musikale moontlikhede. 'n Nie-outoritere tydsgees en die ontkenning van 'n 'kundigheidsgroep' deur die postmodernisme, moet verreken word as faktore wat 'n rol kan speel by die resepsie van liedere en gesangboeke. Die liturgiese opleiding, veral met betrekking tot die estetiese vorming van predikante, moet grondig aandag kry. Die besinning rondom die liturgie met betrekking tot die rol van kuns en musiek as kommunikatiewe handelinge moet op grond van nuwere teologiese insigte tereg kom. Die tese van hierdie studie is dat die kerklied, oud of nuut, eers daar tereg sal kom waar van liturgiese vernuwing in die omvattende sin sprake is en waar teologies die ruimte vir musiek as kunsvorm met die vermoe tot simboliese vergestalting - as sodanig dus kommunikatiewe handeling in diens van die Evangelia - verreken word. / Philosophy, Practical & Systematic Theology / D. Th. (Practical Theory)

The laxity and continuous apathy among some members of the Catholic Church of the Masvingo Diocese in Zimbabwe towards the Sacrament of Confession prompted this study. The claim of Zvaiwa (2009) that confession is disappearing while psychology is being used more, as reflected in the title of his article ―Confession out, psychology in‖, motivated this research. The objective of the study was therefore, to explore the practical therapeutic value of the Sacrament of Confession among members of the Catholic Church in Masvingo Diocese in Zimbabwe. A theoretical and qualitative life narrative study was done from within a practical pastoral therapeutic perspective of practical theology. The sample of the empirical study consisted of 30 priests and laypeople in the five deaneries. A lifeline and semistructured interview instrument was used. A key finding of the study was that the Sacrament of Confession was not threatened by psychological counselling or psychotherapy. Another significant finding was that the Catholic Diocese of Masvingo was experiencing a devaluation of the church‘s pastoral confessional practice among its priests and laypeople. The study confirmed that the Sacrament of Confession has therapeutic value and spiritual meaning in the Church. The Sacrament of Confession and psychological counselling or psychotherapy were found to collaborate as therapeutic disciplines in pastoral therapy. A new model of therapeutic counselling that embraces spiritual direction through psychological counselling and reconciliation is proposed. It is rooted in cultural value; spirituality; private confession followed by prayer and absolution; and change in existential life, to enhance the pastoral role of the Sacrament of Confession in the Diocese of Masvingo, Zimbabwe. This model has interdisciplinary elements borrowed from medical, pastoral, psychological and social research fields. If adopted in the Diocese it would decrease the spiritual indifference amongst the parishioners and prevent them from defecting to other denominations. / Practical Theology / D. Th. (Practical Theology with specialisation in Pastoral Therapy)

This study examines the illustrations that appear at the Office of the Dead in English Books of Hours, and seeks to understand how text and image work together in this thriving culture of commemoration to say something about how the English understood and thought about death in the fourteenth and fifteenth centuries. The Office of the Dead would have been one of the most familiar liturgical rituals in the medieval period, and was recited almost without ceasing at family funerals, gild commemorations, yearly minds, and chantry chapel services. The Placebo and Dirige were texts that many people knew through this constant exposure, and would have been more widely known than other 'death' texts such as the Ars Moriendi. The images that are found in these books reflect wider trends in the piety and devotional practice of the time. The first half of the study discusses the images that appear in these horae, and the relationship between the text and image is explored. The funeral or vigil scene, as the most commonly occurring, is discussed with reference to contemporary funeral practices, and ways of reading a Book of Hours. Other iconographic themes that appear in the Office of the Dead, such as the Roman de Renart, the Pety Job, the Legend of the Three Living and the Three Dead, the story of Lazarus, and the life of Job, are also discussed. The second part of the thesis investigates the musical elaborations of the Office of the Dead as found in English prayer books. The Office of the Dead had a close relationship with music, which is demonstrated through an examination of the popularity of musical funerals and obits, as well as in the occurrence of musical notation for the Office in a book often used by the musically illiterate. The development of the Office of the Dead in conjunction with the development of the Books of Hours is also considered, and places the traditions and ideas that were part of the funeral process in medieval England in a larger historical context.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:48:16Z No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) / Made available in DSpace on 2018-12-04T11:48:16Z (GMT). No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) Previous issue date: 2018-10-11 / According to Sacrosanctum Concilium 13, pious exercises should be recommended, but with determination that there should be harmonization with the liturgy. The Popular Piety can not substitut, in any way, the official liturgical practices of the Church. In this study we make analysis of the current reality, which will be based on ‗Liquid Modernity‘, expression of the Polish Sociologist Zygmunt Bauman. With this expression, Bauman identify the moment we are living, in which everything is predicted to be fleeting, including the human relations. In this context, the harmonization between Liturgy and Popular Piety is impaired, causing a mismatch between liturgical practices, with their stable norms, and popular devotions, prone to change more easily. However, pious exercises should be encouraged, even with the variants of the present time. For this analysis, the theoretical foundations are sought in the Directory on Popular Piety and the Liturgy, documents of the Popes, in the set of works written by Bauman and many others that help in understanding of the relation between the Popular Piety and the Liturgy in this period of history which Bauman classifies as ‗Liquid Modernity / De acordo com a Sacrosanctum Concilium 13, os exercícios piedosos devem ser recomendados, porém com a determinação de que de haja harmonização com a Liturgia. A Piedade Popular não pode substituir, de forma alguma, as práticas litúrgicas oficiais da Igreja. Nesse estudo fazemos uma análise da realidade atual, que será pautada pela ‗Modernidade Líquida‘, expressão do sociólogo polonês Zygmunt Bauman. Com esta expressão, Bauman identifica o momento que estamos vivendo, em que tudo está previsto para ser passageiro e fugaz, inclusive as relações humanas. Neste contexto, a harmonização entre Liturgia e Piedade Popular fica prejudicada, causando um descompasso entre as práticas litúrgicas, com suas normas estáveis, e as devoções populares, propensas a se alterarem mais facilmente. Contudo, os piedosos exercícios devem ser incentivados, mesmo com as variantes do tempo atual. Para esta análise, os fundamentos teóricos são buscados no Diretório sobre a Piedade Popular e a Liturgia, documentos dos papas, no conjunto de obras escritas por Bauman e tantas outras que auxiliam na compreensão da relação entre a Piedade Popular e a Liturgia neste período da história que Bauman classifica como ‗Modernidade Líquida

Text in German with summaries in German and English / Die Masterarbeit untersucht die 20 meist gespielten Hillsong-Lieder aus dem Jahre 2016 in Deutschland. Untersuchte Aspekte sind die Hauptthemen der Liedtexte, die Sänger- / Adressat-Perspektive, die Einordnung in das gesamtbiblische Narrativ sowie die Funktionen der Lieder innerhalb des Gottesdienstes. Anhand dieser Aspekte wird der Kritik, die an die Lieder gerichtet wird, begegnet. Kritisiert wird unter anderem die theologische Substanzlosigkeit der Lieder, das verzerrte Gottesbild, fehlende Themen wie Leid, Klage, Soziale Gerechtigkeit oder die Fokussierung auf das Individuum anstatt auf Gott. Die Arbeit weist nach, dass die Kritik an mangelndem Inhalt gerechtfertigt ist. Die Lieder kommunizieren darüber hinaus ein einseitiges Gottesbild, das Jesus im Fokus hat. Es wird dargestellt, dass die Themen Leid, Klage und Soziale Gerechtigkeit unterrepräsentiert sind. Auf der grammatikalischen Ebene weisen die Lieder einen starken Fokus auf das Individuum auf. Durch die Untersuchung der Funktionen wird jedoch gezeigt, dass die meisten Lieder trotz einer Ich-Perspektive stark gemeinschaftsstiftend sind. Das liegt vor allem an der koinonialen Funktionen sowie der Kombinationen von diakonischer und seelsorgerlicher Funktion mancher Lieder. Neben diesen Funktionen übernehmen die Lieder oft noch die kerygmatische, missionarische und pädagogische Funktion. / The master thesis examines the 20 most played Hillsong songs from 2016 in Germany. Aspects examined are the main themes of the lyrics, the singer-/ addressee perspective, the classification into the biblical narrative as well as the functions of the songs within the worship service. Based on these aspects, the criticism directed at the songs is met. Criticized are, among other things, the theological lack of substance of the songs, the distorted image of God, missing topics like suffering, lamentation, social justice or the focus on the individual instead of God. The work proves that the criticism of lack of content is justified. In addition, the songs communicate a one-sided image of God that strongly focuses on Jesus as an addressee. It shows that the issues of suffering, lamentation and social justice are underrepresented. On the grammatical level, the songs have a strong focus on the individual. Examining the functions, however, shows that most of the songs, despite a first-person perspective, are strongly community-building. This is mainly due to the koinonial function and the combinations of diaconal and pastoral function of some songs. In addition to these functions, the songs often take on the kerygmatic, missionary and pedagogical function / Practical Theology / M. Th. (Practical Theology)

En el contexto del siglo XII europeo, se impone la iconografía del Cristo Luz aureolado por una almendra mística, sosteniendo un libro abierto con inscripciones alusivas a una teología de la luz. La proliferación de la iconografía de la Maiestas Domini se produce en el contexto histórico de la reforma litúrgica canóniga agustiniana, cuyo origen se encuentra en san Rufo de Avignon y san Víctor de Marsella. Cataluña, se hace depositaria de la Regla se san Agustín, que propugna un ideal renovado de belleza mística neoplatónica.La llegada al Principado de manuscritos de la Homilía al Prólogo de Juan, escrita por Juan Escoto Eriúgena, es una prueba, en pleno siglo XII, de la relación entre una iconografía teológica de la luz y una tradición neoplatónica originada en el siglo IX en la corte carolingia. El texto de la Vox spiritualis aquilae representa la recepción de la teología de la luz en la iconografía de la Maiestas Domini y, con ella, una nueva forma de representar a Dios, al hombre y al mundo en el arte. / In the 12th century European context, predominates the iconography of Christ placed in a light mystic mandorla holding an open book containing inscriptions concerning a special theology of light.The Maiestas Domini iconography strongly arises together with the historical fact of the agustinian liturgical movement. The so called agustinian canonigas were originally born in saint Ruph of Avignon and saint Victor of Marseille holding the spirituality of the Rule written by saint Agustin himself and later moved into Cataluña renewing his original idea of neoplatonic mystical beauty. The arrival of collections of manuscripts into Catalonia containing the Homily to the Prologus of saint John by Scotus Eriugena is enough to proof the relationship between the theology of light iconography and the neoplatonic traditions originated in the 9th century Carolingian Court. The text of the Vox Spiritualis Aquilae involves a reception of the Theology of light within the Maiestas Domini iconography. It is a new way of representing God, man and world in art.