Thesis (doctoral)--Université Aix-Marseille I, 2005. / Includes bibliographical references (p. 202-211).

Thesis (doctoral) -- Université Aix-Marseille I, 2005. / Includes bibliographical references (p. 202-211).

The first Bishop of Truro, Edward White Benson, saw the building of a Cathedral as the centre piece of his vision for Cornwall. The foundation stones were laid in May 1880, only three years after his enthronement. The building itself, the ability to raise money for it in impoverished Cornwall and the use of Cathedral Canons for training, education and mission for the whole diocese were intended to inspire faith and make the Cathedral the mother church for all Christians in Cornwall. The Cathedral revived an imagined vibrant medieval Church in Cornwall, some of whose saints were named in the Canons’ stalls and whose bishops, Benson believed, were his predecessors. Benson failed to unify Cornish people around this vision. Methodism was far too strong in Cornwall and remained so for many decades after he left Cornwall in 1883 to become Archbishop of Canterbury. Here Benson was no more successful implementing the vision on a wider stage. The state, not the church, became the umbrella organisation that started to reach everyone at local and national level. Nevertheless, Anglicanism in Cornwall did revive in Benson’s time and disagreements between Anglicans over styles of worship and other matters were partially sorted out by Benson, both as Bishop of Truro and as Archbishop of Canterbury. Benson’s interest in history further encouraged Cornwall’s interest in its Celtic past. An increasingly pluralistic culture enabled a reviving Anglicanism to take its place alongside Methodism in Cornwall, without ever coming close to replacing it. Shortly before Benson arrived in Cornwall, a Baptist minister suggested that the sturdy non-conformist people of Cornwall needed a Bishop no more than a duck needed an umbrella. Cornish people appreciated Bishop Benson and the Cathedral he helped to inspire. By and large they chose not to shelter under the umbrella of the Church of England. In the words of Edward Fish in a letter to the Royal Cornwall Gazette published on the 5 January 1877: “Looking around on this great Non-conformist county we did not need a bishop any more than a duck needs an umbrella. My statement as a Non-conformist is this, and I do but echo the opinion of thousands in the county, we do not need a bishop.”

Philosophical Expression of Cathedrals by Bc. Martin Slavík The dissertation is devoted to the topic of the sacral gothic architecture, namely the construction of medieval cathedrals, in which architecture seeks the deeper philosophical and theological context of the period spirituality, cosmology and the perception of correspondences of man and the world. The research dives in sacred geometry and architecture of the golden number that corresponds to the Pythagorean mysticism of numbers. The work is based on a broad theoretical base, which includes philosophy, theology, psychology ( especially Jung and by him affected the current archetypal psychology, further daseinpsychology and psychological sphere influenced by philosophical reference of Martin Heidegger ). The work is multidisciplinary, although its centerpiece are always cathedrals in the context of the medieval world. The work also mentions specific status of the cathedral in a broad spectrum of sacral architecture and on this basis reveals the spiritual interconnection of medieval and ancient world. Contents: Cathedral in the context of medieval society Formation of the cathedrals St. Vitus Cathedral Saints in the context of St. Vitus cathedral Medieval man in the context of his world and thinking Pilgrimages and pilgrimage in the medieval Word...

Este estudo pretende demonstrar a relação entre os meios visuais e a transmissão de conhecimento por meio da linguagem visual. A partir de uma análise feita em diversos vitrais existentes em Catedrais da Idade Média nota-se que a linguagem visual ocupou um papel especial no ensino do homem medievo. Serão estudadas as diversas figuras simbólicas existentes nos vitrais e como se tornaram instrumento para a transmissão de conceitos históricos, sociais e religiosos, no ambiente medieval das catedrais. Considera-se a história do período compreendido entre o final da Alta idade média e durante a Baixa idade média no que diz respeito ao ambiente religioso e sua importância na transmissão de conhecimento ao homem medieval. A história dos vitrais, sua origem, seus usos e como vieram a ser incorporados às construções das Catedrais Medievais, estudando um caso específico: Os Vitrais da Catedral de York um dos maiores acervos de vitrais em catedrais medievais. O propósito da pesquisa é relacionar elementos artísticos da arquitetura, no caso os vitrais, com o processo de transmissão de conhecimento no ambiente medieval, isto com o auxílio da História como interface principal. Objetiva-se também o estudo onomástico e toponímico do espaço da Catedral, importante para a compreensão do estudo dos vitrais como meio linguístico. / This study aims to demonstrate the relationship between visual media and transmission of knowledge through visual language. From an analysis of several existing windows in cathedrals of the Middle Ages is noted that the visual language has occupied a special role in the teaching of medieval man. Will be studied several existing symbolic figures in the windows and how to become an instrument for the transmission of historical concepts, social and religious environment of medieval cathedrals. This research analyzes the story of the period between the end of the High Middle Ages and during the Low Middle Ages with regard to the religious environment and its importance in the transmission of knowledge to the medieval man. The history of stained glass, its origin, its uses and how they came to be incorporated into the buildings of the Medieval Cathedrals, studying a specific case: \"The stained glass of York Minster\" one of the largest collections of stained glass in medieval Cathedrals. The purpose of the research is to relate the artistic elements of architecture, where the stained glass windows, with the process of transmission of knowledge in medieval environment with the aid of history as the main interface. It also aims to study the onomastic and toponymic space of the cathedral, important for understanding the study of stained glass as a medium language.

Este estudo pretende demonstrar a relação entre os meios visuais e a transmissão de conhecimento por meio da linguagem visual. A partir de uma análise feita em diversos vitrais existentes em Catedrais da Idade Média nota-se que a linguagem visual ocupou um papel especial no ensino do homem medievo. Serão estudadas as diversas figuras simbólicas existentes nos vitrais e como se tornaram instrumento para a transmissão de conceitos históricos, sociais e religiosos, no ambiente medieval das catedrais. Considera-se a história do período compreendido entre o final da Alta idade média e durante a Baixa idade média no que diz respeito ao ambiente religioso e sua importância na transmissão de conhecimento ao homem medieval. A história dos vitrais, sua origem, seus usos e como vieram a ser incorporados às construções das Catedrais Medievais, estudando um caso específico: Os Vitrais da Catedral de York um dos maiores acervos de vitrais em catedrais medievais. O propósito da pesquisa é relacionar elementos artísticos da arquitetura, no caso os vitrais, com o processo de transmissão de conhecimento no ambiente medieval, isto com o auxílio da História como interface principal. Objetiva-se também o estudo onomástico e toponímico do espaço da Catedral, importante para a compreensão do estudo dos vitrais como meio linguístico. / This study aims to demonstrate the relationship between visual media and transmission of knowledge through visual language. From an analysis of several existing windows in cathedrals of the Middle Ages is noted that the visual language has occupied a special role in the teaching of medieval man. Will be studied several existing symbolic figures in the windows and how to become an instrument for the transmission of historical concepts, social and religious environment of medieval cathedrals. This research analyzes the story of the period between the end of the High Middle Ages and during the Low Middle Ages with regard to the religious environment and its importance in the transmission of knowledge to the medieval man. The history of stained glass, its origin, its uses and how they came to be incorporated into the buildings of the Medieval Cathedrals, studying a specific case: \"The stained glass of York Minster\" one of the largest collections of stained glass in medieval Cathedrals. The purpose of the research is to relate the artistic elements of architecture, where the stained glass windows, with the process of transmission of knowledge in medieval environment with the aid of history as the main interface. It also aims to study the onomastic and toponymic space of the cathedral, important for understanding the study of stained glass as a medium language.

Tesi--Paris, 1998--Paris IV-Sorbonne. / Sources et bibliogr. p. 319-331.

In this thesis I examine the Holy Grave monument located in the St. Catherine chapel of Strasbourg cathedral, erected by Bishop Berthold von Bucheck sometime between 1346 and 1348. This sculptural sarcophagus currently exists in fragmented form in the Musée de l'Oeuvre Notre-Dame; only the four relief panels of the sleeping guardians, the gisant of Christ, and some fragments of the baldachin remain of the original monument. Scholars have been able to ascertain the placement and probable appearance of the Holy Grave based on traces of three lancet bays, wall paint, and bolt holes discovered along the west wall of the chapel during twentieth-century excavations. The numerous copies that the St. Catherine Holy Grave inspired throughout Strasbourg and the surrounding area attests to the significance of the monument within the larger Holy Grave tradition. The Strasbourg Holy Grave functioned liturgically as a prop used by the clergy to reenact the drama of the resurrection during Holy Week. I argue, however, that the monument's permanence, relative accessibility, and pathos-inspiring imagery suggest its use on a more frequent basis. Through its isolation of scenes from the biblical narrative and its visualization of complex mystical metaphors, the Holy Grave at Strasbourg cathedral--and thus also the numerous copies it inspired--reveals its use as an object for personal devotion, much like the group of Rhenish Andachtsbilder that also flourished at this time. The changing beliefs concerning Christ's Passion, the nature of the Eucharist, and the understanding of death and the afterlife are reflected in the style, iconography, and didactic message of the Holy Grave monument. The influence that the mendicant orders and Rhenish mystics had on the spiritual instruction of the laity in Strasbourg points to the understanding of this monument as a tool to aid the faithful in achieving union with God. The popularity of Holy Graves in and around Strasbourg ultimately illustrates the medieval desire for proximity to the divine. As the emphasis on Christ's suffering and death grew throughout the devotional practices of the fourteenth century, art forms like the Holy Grave monument at Strasbourg cathedral increasingly focused on engendering pathos in the medieval devout. The Strasbourg Holy Grave's liturgical, devotional, and anagogical functions coalesce to create a monument that's fundamental purpose consisted of aiding the faithful in their journey toward salvation. / text

The purpose of this study is to make Ignacio de Jerusalem's Los Maitines de Nuestra Senora de la Concepcion (The Matins for Our Lady of the Conception), composed in 1768 for the Mexico City Cathedral, accessible to modern choral and orchestral ensembles through the creation of a historically informed edition of the work that incorporates the latest scholarship on editorial and performing practices of the Mexican Baroque. Jerusalem's manuscript is housed in the Mexico City Cathedral archive and on microfilm in the Biblioteca Nacional de Antropologia e Historia of Mexico, D.F. The Matins has not been performed since the nineteenth century, and never outside of Mexico, nor has it been the subject of scholarly research. Set for choir and chamber orchestra with arias, recitatives, and choral movements, the work represents the most elaborate of Jerusalem's compositions. This document provides background information and a discussion of performance practice and editorial protocol based on research and the performance of the Invitatory and First Nocturn of The Matins by the University of Arizona Collegium Musicum. The document culminates with a performance edition of the Invitatory and First Nocturn of Los Maitines de Nuestra Senora de la Concepcion.

Thesis (J.C.L.)--Catholic University of America, 1993. / Includes bibliographical references (leaves 59-66).