This thesis analyzes the current religious tourism in Italy. It charts the world and the Italian pilgrimage sites and their religious significance. It describes tourism in Italy with a focus on cultural tourism, UNESCO, financing cultural tourism and Italian bureaucracy. The first part describes the different forms of tourism in Italy, methods of promotion of tourism and the benefit of UNESCO. The following chapter is about the phenomenon of pilgrimage, especially its history and different types of motivation. The third chapter describes the care of monuments in Italy. The last part examines tourism in a significant pilgrimage Italian city of Assisi, focusing on some of the economic indicators.

This dissertation is devoted to the preparation and process of the Fifth Crusade, i.e. the stage from 1213, when it was declared by The Pope Innocent III. to 1221. It investigates the way of recruiting crusaders and the attitudes of the official representatives of the Church structures during the Crusade in relation to secular rulers. Their actions confronts with activities of other actors - from the Christian perspective primarily with the actions of Francis of Assisi. The dissertation evaluates benefit of his activities for the Crusade movement and for the future of the Franciscan order. The dissertation is also attempting to demonstrate the characteristic of the crusade given a Muslim environment including the Muslim perspective of Francis's actions and sermon. The epiloque describes the Crusade of Frederick II as the continuity of the Fifth Crusade. In the end there is a valorization of the results of the Crusade movement.

La bibliothèque du couvent franciscain médiéval d'Assise a été inventorié par frère Jean de Iolo en 1381. Jean a aussi collé des étiquettes dans le plat postérieur de chaque manuscrit, portant l’indication du nom de l'auteur et de l'oeuvre ainsi que l’emplacement dans la bibliothèque. Dans l'inventaire du 1381 il décrit environ 700 livres, dont il s’est avéré l’existant d’environ 540, desquels la majorité est encore conservées dans la bibliothèque d'Assise. Des restants, une centaine, ont migré vers d'autres bibliothèques italiennes et étrangères. L'inventaire montre aussi que la collection de livres avait été divisée en deux bibliothèques, une nommé libraria publica, dans laquelle les livres ont été enchaînés aux bancs, une nommé libraria secreta, dans laquelle les livres étaient enfermés dans un armarium et disponibles au prêt.J'ai essayé d'étudier cette collection de livres d'un point de vue codicologique, que je pense jusqu'iciinexploré. Il n'était pas question d'étudier les manuscrits individuellement, peut-être le plus important pour leurs contenu ou leurs histoire, chose qui avait été faite dans le passé, mais de combiner les données tirées des manuscrits franciscains d'Assise connus, les saisir dans des bases des données et permettre aux données eux-mêmes d’apporter des informations.La première partie de ce travail se concentrera sur l'histoire de la bibliothèque médiévale, mais même dans ces paragraphes je fais souvent référence à des éléments codicologiques. La partie centrale cherche à mettre en évidence le caractère unique de la collection de la bibliothèque d’Assise, tels que Jean de Iolo l’a « photographié » en 1381.La dernière partie est plus spécifiquement de nature codicologique, dans laquelle j’ai mis en évidence les facteurs liés à la fabrication et à l'écriture des manuscrits. / So far, the oldest description that we have of the Franciscan Library of Assisi is an inventory made in 1381 by the friar John of Iolo. Friar John also labelled the manuscripts with strips of paper put on the covers and bearing the name of the author, the title and a call number of the manuscript.The inventory describes about 700 manuscripts; so far 540 have been identified, the majority of which are preserved in the Assisi Library. Among the ones which are not in Assisi, about 100 have been found in libraries either in Italy and in other countries. From the inventory one can infer that the Library was divided in two: the libraria publica, where the books were chained to the benches; and the libraria secreta, where the books were closed in the armarium and the books were available to be borrowed.I aimed to study this book collection from a codicological point of view, which had not had been investigated until now.I preferred not to focus on each manuscript and its content. Rather, I aimed to look at the library as a whole; therefore I gathered the general data by taking them from the descriptions of the manuscripts and then I combined those data within a new database; by doing this I was able to draw out new information about the collection itself.The first section of this work is focused on the history of the library, where I often referred to codicological elements. The central section aims to evidence the wholeness of the Assisi library, the way it was « pictured » by John of Iolo in 1381.Finally, the third section clearly highlights the codicological aspect of this research; here I tried to underline all the factors related to the book making and the writing of the manuscripts. / La biblioteca del convento francescano medievale di Assisi è stata inventariata da fr. Giovanni di Iolo nel 1381. Gianni ha anche preparato le etichette, con l’indicazione dell’autore e del titolo dell’opera e la lettera di collocazione, per il piatto posteriore di ogni manoscritto. Nell’inventario del 1381 descrive circa 700 libri, dei quali ne sono stati identificati circa 540, la maggior parte conservata ancora nella biblioteca di Assisi. Dei restanti, circa un centinaio, è migrato verso altre biblioteche italiane e straniere. L’inventario mostra anche che la collezione dei libri era stata divisa in due biblioteche, una denominata libraria publica, nella quale i libri erano incatenati ai plutei, un’altra denominata libraria secreta, nella quale i libri erano conservati in un armarium e disponibili per il prestito. Ho cercato di studiare questa collezione di libri da un punto di vista codicologico, prospettiva secondo me inesplorata. Non si è trattato di studiare solo alcuni manoscritti, i più importanti per il contenuto o la loro storia, cosa già fatta in passato, ma di raccogliere dati ottenuti da tutti i manoscritti francescani di Assisi identificati, inserirli in banche dati e permettere ai dati stessi di fornire informazioni.La prima parte di questo lavoro si concentrerà sulla storia della biblioteca medievale, ma anche in questi paragrafi si farà spesso riferimento a elementi codicologici. La parte centrale cercherà di mettere in evidenza il carattere unico della collezione della biblioteca di Assisi, come Giovanni di Iolo la “fotografò” nel 1381. L’ultima parte è di natura più specificamente codicologica, in questa io ho messo in evidenza i fattori legati alla fabbricazione e alla scritturare dei manoscritti

Saint Francis' quest for the Crucified through the San Damiano Cross Abstract The encounter with the Crucified is the constitutive element of the spirituality of Saint Francis of Assisi. The objective of my thesis is finding the deeper understanding of Francis' perception of the cross. The topic should be elucidated by the San Damiano Cross Icon and other moments of the Saint of Assisi's life. The study of Francis' relation to the cross will be put into an appropriate context: the theology of the cross is mainly ingrained in the Jesus Christ's Mystery of Easter. This knowledge is deepened in life of the Early Church and, through the enriching epoch-making interposition even the "poor little" of Assisi may experience its fruits. In the fundamental part of the text I will organize the key materials for the study of Francis' relation to the crucified Christ contained in the franciscan sources with the help of the newest literature. Therefore the thesis will offer a complex view to one of the crucial moments of Francis' conversion. Keywords Saint Francis of Assisi, San Damiano, icon, cross, theology of the cross, The Crucified, history of the cross, speaking cross, franciscan sources, St. Paul, St. Bonaventure

No description available.

No description available.

In this doctoral thesis, The Spirituality and Mysticism of Nature in the Early Franciscan Tradition, I have begun with an attempt to clarify the notions of spirituality and mysticism. The former, was seen as an approach to God embodied in outlook, practice and lifestyle, and the latter, mysticism, was defined as a felt awareness and knowledge of the presence of God. My hypothesis is that nature played a very important part in both the spirituality and mysticism of Saint Francis of Assisi, and in the spirituality of the movement he founded. In a systematic attempt to investigate my theme, I began with a study of the chief places associated with Francis. They present a kind of mirror of his soul and reveal, I believe, a good deal about his outlook and way of living. They tend to be remote and solitary places, often high in the mountains or near water, often desolate and harsh and usually beautiful, and what was later to become known as `romantic'. I turned then to the world of nature, beginning with the celestial bodies, sun, moon and the stars, and the elements of the sub-lunar world. The world of living things, fruits and flowers, animals, wild beasts and tame, fish and birds was examined. Nearly all the evidence here came from that collection of Franciscan stories and anecdotes which forms one of the great treasuries of stories in world literature. The fourth chapter was devoted to the poetry of Francis, above all to the Praises of God and The Canticle of the Creatures. After examining the circumstances of its composition, I took the stanzas one by one and examined them in the light of what they reveal of Francis spirituality and mysticism. The purpose of chapter five was to gather the fruits of my research and evaluate the hypothesis I proposed. I concluded that Francis, incorporated nature into his spirituality and mysticism in a very original way. I hold that Francis was a great nature mystic, and that his nature spirituality is still full of vigor and potential for the future. / Christian Spirituality, Church History and Missiology / (D.Th. (Christian Spirituality))

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Vers 1296, la jeune communauté des Franciscains engage un artiste pour peindre un cycle commémoratif de la vie de saint François, leur saint patron, dans leur monument religieux d'Assise, érigé à partir de 1228. L'attribution giottesque de cette peinture de vingt-huit fresques est l'objet d'une polémique d'attribution depuis la fin du 18e siècle. L'objectif de notre ménoire est d'analyser les méthodes d'attribution utilisées dans ce débat. Les partisans giottesques considèrent que l'interprétation des documents d'archives et les commentaires des contemporains constituent une preuve suffisante d'attribution à Giotto, ce à quoi s'opposent leurs détracteurs. D'autres auteurs ont appliqué diverses méthodes d'analyse stylistique à l'ensemble de ces fresques et à un corpus qui lui est rattaché et émettent des hypothèses d'attribution contradictoires. Enfin, la technologie des restaurateurs et la découverte récente de la fresque d'un contemporain de Giotto introduisent des arguments qui remettent en question les hypothèses d'attribution traditionnelles. Nous explorerons tour à tour les trois domaines d'attribution concernés par cette polémique. Nous verrons comment a fonctionné l'attribution fondée sur les documents d'archives. Nous jetterons un regard sur les méthodes d'analyses stylistiques et sur les auteurs qui ont marqué cette question d'attribution. Puis, nous discuterons des nouvelles méthodes d'attribution où un restaurateur justifie son hypothèse d'attribution à partir d'éléments de la production de l'objet d'art. / Around 1296, the young Franciscan Brotherhood hired an artist to paint a commemorative cycle of the life of St. Francis, their saint Patron, for their religious monument of Assisi, erected in 1228. The attribution to Giotto of this cycle of twenty-eight frescoes has been the object of a debate since the eighteenth-century. This thesis presents the methods used to discuss this attribution. The partisans of Giotto feel that the interpretation of archives and the commentaries by the contemporaries of the painter Giotto are sufficient to justify this attribution, which their opponents however contest. Other critics have applied various methods of analysis to the stylistic aspect of the frescoes and to a corpus attached to it and have come up with contradictory attributions. Finally, the advanced restoration technology and the recent discovery of a fresco attributed to a contemporary of Giotto have challenged even further the traditional attribution hypothesis. We will look at each area of attribution discussed in this debate. We will consider the method of the attribution based on documents. We will also reflect on the stylistic methods of attribution and on the authors who made distinctive remarks on our subject. In the end, we will study the new methods of attribution used by the restorers as they attempt to come up with an attribution based on material data drawn from the genetic study of the art object.

Vers 1296, la jeune communauté des Franciscains engage un artiste pour peindre un cycle commémoratif de la vie de saint François, leur saint patron, dans leur monument religieux d'Assise, érigé à partir de 1228. L'attribution giottesque de cette peinture de vingt-huit fresques est l'objet d'une polémique d'attribution depuis la fin du 18e siècle. L'objectif de notre ménoire est d'analyser les méthodes d'attribution utilisées dans ce débat. Les partisans giottesques considèrent que l'interprétation des documents d'archives et les commentaires des contemporains constituent une preuve suffisante d'attribution à Giotto, ce à quoi s'opposent leurs détracteurs. D'autres auteurs ont appliqué diverses méthodes d'analyse stylistique à l'ensemble de ces fresques et à un corpus qui lui est rattaché et émettent des hypothèses d'attribution contradictoires. Enfin, la technologie des restaurateurs et la découverte récente de la fresque d'un contemporain de Giotto introduisent des arguments qui remettent en question les hypothèses d'attribution traditionnelles. Nous explorerons tour à tour les trois domaines d'attribution concernés par cette polémique. Nous verrons comment a fonctionné l'attribution fondée sur les documents d'archives. Nous jetterons un regard sur les méthodes d'analyses stylistiques et sur les auteurs qui ont marqué cette question d'attribution. Puis, nous discuterons des nouvelles méthodes d'attribution où un restaurateur justifie son hypothèse d'attribution à partir d'éléments de la production de l'objet d'art. / Around 1296, the young Franciscan Brotherhood hired an artist to paint a commemorative cycle of the life of St. Francis, their saint Patron, for their religious monument of Assisi, erected in 1228. The attribution to Giotto of this cycle of twenty-eight frescoes has been the object of a debate since the eighteenth-century. This thesis presents the methods used to discuss this attribution. The partisans of Giotto feel that the interpretation of archives and the commentaries by the contemporaries of the painter Giotto are sufficient to justify this attribution, which their opponents however contest. Other critics have applied various methods of analysis to the stylistic aspect of the frescoes and to a corpus attached to it and have come up with contradictory attributions. Finally, the advanced restoration technology and the recent discovery of a fresco attributed to a contemporary of Giotto have challenged even further the traditional attribution hypothesis. We will look at each area of attribution discussed in this debate. We will consider the method of the attribution based on documents. We will also reflect on the stylistic methods of attribution and on the authors who made distinctive remarks on our subject. In the end, we will study the new methods of attribution used by the restorers as they attempt to come up with an attribution based on material data drawn from the genetic study of the art object. / Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

In this doctoral thesis, The Spirituality and Mysticism of Nature in the Early Franciscan Tradition, I have begun with an attempt to clarify the notions of spirituality and mysticism. The former, was seen as an approach to God embodied in outlook, practice and lifestyle, and the latter, mysticism, was defined as a felt awareness and knowledge of the presence of God. My hypothesis is that nature played a very important part in both the spirituality and mysticism of Saint Francis of Assisi, and in the spirituality of the movement he founded. In a systematic attempt to investigate my theme, I began with a study of the chief places associated with Francis. They present a kind of mirror of his soul and reveal, I believe, a good deal about his outlook and way of living. They tend to be remote and solitary places, often high in the mountains or near water, often desolate and harsh and usually beautiful, and what was later to become known as `romantic'. I turned then to the world of nature, beginning with the celestial bodies, sun, moon and the stars, and the elements of the sub-lunar world. The world of living things, fruits and flowers, animals, wild beasts and tame, fish and birds was examined. Nearly all the evidence here came from that collection of Franciscan stories and anecdotes which forms one of the great treasuries of stories in world literature. The fourth chapter was devoted to the poetry of Francis, above all to the Praises of God and The Canticle of the Creatures. After examining the circumstances of its composition, I took the stanzas one by one and examined them in the light of what they reveal of Francis spirituality and mysticism. The purpose of chapter five was to gather the fruits of my research and evaluate the hypothesis I proposed. I concluded that Francis, incorporated nature into his spirituality and mysticism in a very original way. I hold that Francis was a great nature mystic, and that his nature spirituality is still full of vigor and potential for the future. / Christian Spirituality, Church History and Missiology / (D.Th. (Christian Spirituality))