No description available.

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.

No description available.

No description available.

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.

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.

Bien que plusieurs études aient été consacrées aux Libri memoriales, à l’exemplaire de Brescia et au monastère San Salvatore/Santa Giulia, aucune monographie n’a replacé le Liber memorialis au cœur de l’histoire de la communauté monastique qui l’a créé. Cette thèse propose d’utiliser ce manuscrit, conçu en 856 et composé de listes de noms et de textes liturgiques, pour analyser les réseaux et la liturgie entre 750 (décennie de la fondation du monastère) et 1000 (l’emprise des Ottoniens sur l’Italie). Les listes de noms témoignent des relations des moniales au sein de leur propre communauté et avec les institutions de la cité épiscopale de Brescia : l’évêque et le clergé de la cathédrale. Ces listes illustrent également le réseau des moniales à l’extérieur de la ville — au niveau local, transalpin et impérial — et avec divers groupes : les parents des moniales, les nobles, les clercs, les évêques, les moines et les moniales et enfin, les pèlerins. L’objectif est aussi de s’interroger sur le rôle de la liturgie comme créatrice de liens entre ces divers groupes et sur l’agentivité des moniales dans la mise en place et la pérennisation de ces réseaux de même que dans la pratique de la liturgie. Outre le Liber memorialis, une grande variété de sources liées ou produites par les moniales de San Salvatore/Santa Giulia a été mobilisée dans cette recherche : des sources diplomatiques (diplômes, chartes et privilèges), des sources hagiographiques et des hymnes, des sources liturgiques de la seconde moitié du Moyen Âge (Psautier-Collectaire et Ordinaire) ainsi que des sources matérielles. L’ensemble de ces ouvrages permet d’appréhender comment les moniales concevaient leur communauté. Ma recherche souhaite également développer une réflexion sur le rôle du Liber memorialis au sein de la communauté de moniales et pour les gens qui y faisaient inscrire leur nom de même que sur le caractère distinct de l’exemplaire de Brescia par rapport aux autres Libri memoriales. Mon hypothèse est que le manuscrit de Brescia représentait une communauté imaginée dont le socle était les moniales de San Salvatore/Santa Giulia, caractère accentué dans le Liber memorialis de Brescia par le regroupement de listes de noms et de textes liturgiques dans un même codex. / Although several studies have been devoted to the Libri memoriales, the Brescia manuscript, and the San Salvatore/Santa Giulia monastery, no monograph has centered the Liber memorialis at the heart of the monastic community’s history that created it. This thesis’ purpose is to use this manuscript, conceived in 856 and composed of lists of names and liturgical texts, to analyze networks and liturgy between 750 (the decade of the monastery’s foundation) and 1000 (the Ottonian control over Italy). The lists of names testify to the nuns’ relationships within their own community and with the institutions of the episcopal city of Brescia: the bishop and the cathedral clergy. These lists also illustrate the nuns’ network outside the city — at local, transalpine and imperial levels — and with various groups: the nuns’ relatives, nobles, clerics, bishops, monks and nuns, and finally, pilgrims. The aim is also to examine the role of liturgy in creating links between these various groups, and the nuns' agency in establishing and perpetuating these networks, as well as in the practice of liturgy. In addition to the Liber memorialis, a wide variety of sources related to or produced by the nuns of San Salvatore/Santa Giulia were put together in this research: diplomatic sources (diplomas, charters and privileges), hagiographic sources and hymns, liturgical sources from the second half of the Middle Ages (Psalter-Collectary and Ordinary) as well as material sources. Taken as a whole, these works provide an insight into how the nuns conceived their community. My research also aims to foster a reflection on the role of the Liber memorialis within the community of nuns and for the people who had their names inscribed in it, as well as on the distinctiveness of Brescia’s manuscript in relation to the other Libri memoriales. My hypothesis is that the Brescia manuscript represented an imagined community whose foundation was the nuns of San Salvatore/Santa Giulia, aspect accentuated in the Brescia Liber memorialis by the grouping of lists of names and liturgical texts in a single codex.

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)