The dissertation examines how medieval poetic tradition was reactivated in the production of poetry from the period between the two world wars—the Polish interwar period, defined here as one of literary transition. The positioning in regard to certain literary conventions and the quest for a new normativity that is so prevalent in interwar poetry is also reflected in the era’s poetry on the theme of Mary. Marian lyrics, owing to their strong position in Polish literature (but also by dint of their role in Polish piety and national identity), serve as an indicator in identifying and defining certain poetic processes. Central to this are the respective relationships of Marian themes to tradition and to the poetic norms of the era: is a given poem located along the traditional axis (if so, which), does it run counter to it, or is it an innovation? The poems analysed—Julian Przyboś’ Heavenly Blue, Jerzy Liebert’s Litany to the Virgin Mary, Tytus Czyżewski’s De profundis, Maria Pawlikowska-Jasnorzewska’s The Black Portrait, Józef Czechowicz’ pious rhymes—represent disparate poetic models: the Krakow Avant-garde, Catholic literature, formism/futurism, the circle of Skamander, the Poetics of the Third Sphere in the Second Avant-garde. Reflected here is the broad spectrum of the period’s poetic trends, tendencies, and constellations—as are the historical and literary events of the era. Despite important differences in the poetic/aesthetic models, in these poems it is possible to identify shared characteristics relevant to this study, that is, elements of medieval poetry. The identifying criterion for these elements here is the concept of dogmatic formal language. In the poems medieval poetics are transformed into their own modern form and integrated into the respective poetic models. No other literary epoch offers what the poets are seeking better than poetic formal language modelled on medieval liturgical language. The five poets all participate in what has been called the interwar paradigm shift in Polish poetry—a parameter that only indirectly relates to modernism. The term high modernism (in the sense of the culmination of Polish poetic modernism) can serve to summarize the historical and literary delimitations and definitions in the study. As interwar poetry is indeed part of the definitive emergence and full expansion of modernism in Polish literature, serving as a link between tradition and innovation, such a study of the influence of high modernism and Marian lyrics on each other aspires to reflect general processes in the poetry of the time.

El presente artículo, inserto en el marco de los estudios cidianos, se propone señalar la existencia de una fuerte impronta del culto a la Virgen María en el Poema de Mio Cid (PMC), a partir del cual se articulan las escenas bélicas del poema y que se presenta como una proyección de las intenciones expansionistas de Castilla en el contexto de las guerras de reconquista española. Asimismo, se pretende demostrar la marcada influencia francesa en el culto mariano, que se puede apreciar a lo largo del texto, y su adopción por parte de la religiosidad peninsular, en particular, en relación con la ideología de cruzada que coincide con la cambiante noción de reconquista y se constituye como uno de los motores del poema. / This paper, inserted in the framework of the Cid studies, aims to identify the existence of a strong presence of the cult to the Virgin Mary in the Poema de Mio Cid (PMC), which articulates the battle scenes of the poem and is presented as a projection of Castile’s expansionist intentions in the context of the wars of Spanish reconquest. Likewise, it seeks to demonstrate the strong French influence in the Marian cult, which can be seen throughout the text, and its adoption by the religious Peninsula, particularly in relation to the ideology of crusade that matches the changing notion of reconquest and constitutes one of the main motives of the poem.

Esta dissertação realiza um exame da devoção à Maria na cultura brasileira, levando em consideração os cânticos, a partir dos quais focalizam-se aspectos dos epítetos que prevalecem nesses textos. Trata-se de um estudo baseado nos critérios de análises interpretativas, que buscam oferecer subsídios para o entendimento dos hinos marianos na atualidade, visto que a bibliografia que trata do assunto é muito moderada. A análise é feita classificando os tipos dos epítetos identificados. A partir da investigação, é possível perceber que o conceito de uma Maria libertadora é bastante exposto no desenvolvimento dos hinos, já que verificamos uma grande parcela de poemas com o sentido libertador. Maria é indicada como uma verdadeira protetora dos povos; os autores dos cantos pesquisados desenvolveram seus trabalhos colocando em evidência uma santa que está mais próxima dos problemas enfrentados pela sociedade atual. As dificuldades que os humildes enfrentam atualmente são evidentemente lembradas e, na maioria das vezes, focalizadas nos textos mariais com o auxílio dos epítetos apresentados. / This dissertation presents an examination of the devotion to Mary in the Brazilian culture, by analyzing aspects of epithets that prevail on songs of praise. This study is based on the criteria of interpretative analysis aimed at contributing to the understanding of Marian hymns of the present, as not many researches on her epithets can be found in scientific literature. The analysis is done through the classification of the types of epithets identified. From this investigation, it is possible to realize that the concept of a liberating Mary is greatly exposed in the hymns created along the time, as a great amount of poems of a liberating sense were verified. Mary is quoted as a real protector of the people in the songs analyzed, and the authors of these songs of praise refer to a saint who is closer to current problems faced by society. The epithets make clear that difficulties that the humble people face at the present are obviously remembered and mostly focused in the Marian texts with the aid of the epithets presented.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-01T18:22:03Z No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:06:00Z (GMT) No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) / Made available in DSpace on 2016-07-13T16:06:00Z (GMT). No. of bitstreams: 1 mariagorettilanna.pdf: 3587586 bytes, checksum: 014a30d67b1c218bf36c6af9b71339ee (MD5) Previous issue date: 2012-02-28 / A construção do Santuário da Santa Montanha e do povoado onde este se localiza se originou a partir dos relatos das aparições de Nossa Senhora Aparecida por três crianças na zona rural da cidade de Guiricema, no interior de Minas Gerais, nos anos 1960. Este mundo religioso, baseado estritamente no catolicismo, foi criado por moradores ao redor da montanha, que se uniram, rompendo com a comunidade onde se inseriam e deram início à criação de um mundo/cosmos regido diretamente por Nossa Senhora e pelo Menino Jesus. O presente estudo analisa a construção deste mundo peculiar, tendo por base a teoria da construção social da realidade como proposta por Peter Berger e Thomas Luckmann, abordando-a como um processo da atividade humana que permite desenvolver e construir um mundo, mantendo-o em funcionamento. / The idea of creating Santa Montanha’s Sanctuary, and the village where it is located, originates from narratives about Saint Mary’s apparitions, based on reports of three children from Guiricema – a town located on the countryside of Minas Gerais state – in the nineteen sixties. This religious world, strictly based on Catholicism, was created by the people who lived in the surroundings of the hill where the sanctuary was built. Together, they left their homes and formed a new community, creating a world/cosmos ruled directly by Saint Mary and Baby Jesus themselves. This study analyses the construction of this peculiar world, based on Peter Berger and Thomas Luckman´s theory of the social construction of reality, considering it a process of human activity that allows us to develop and create a world, keeping it functional.

This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her. The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.

(in English): The thesis focuses on the Loreto litany in Loreto Prague in the 17th and 18th centuries. In the first part, it explores the Loreto litany in its involvement in the liturgy and puts it in context with the reflection of Marian spirituality. The second part examines Loreto litany from the Prague Loreto music collection from the property of Capuchin Order and from the property of the Lobkowicz family. Because some litany have a reduced setting, it extends the view of rural style analysis by examining printed collections of 18th century rural music.

This thesis examines the spatial distribution of monuments across public spaces in Prague. Its goal is to determine how these monuments, with diverse symbolisms, are arranged in the public space, how they interact with this space and the conflicts they generate. Because the symbolic meaning of a monument is so important, this paper explores the monuments' significance at the time they were built compared to their contemporary meaning. Based on field research and data collection, categories of monuments were created, mapped in ArcGIS software and then analysed in more detail. The paper considers the spatial distribution of monuments in the so-called Greater Prague, investigating the factors that have influenced their location supported by evidence from literature. This thesis also examines contentious monuments, particularly the Marian column and the statue of Marshal Konev, why they are perceived as problematic from the perspective of collective memory and how that is reflected in the city's spaces. The results of the analysis demonstrate that the function of a monument changes over time and society places great emphasis on its symbolic meaning. Contemporarily, the most common monuments are those depicting the tragic events of the World Wars, and these can be found across the entire area in scope....

This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.

This thesis engages in the Marian cult in Bohemia in the second half of the 17th century. The first, general part is the characteristic of the Marian devotion with the secondary literature, followed by a chapter on Czech prints with the Marian theme (1650-1750). The base of the thesis is the analysis of the work of J. I. Dlouhoveský (1638-1701). The analysis focuses on some forms of the Marian cult: pilgrimage, cult of saints (especially of Bohemian patrons), Marian devotion in the Habsburg dynasty and a folk piety. The last chapter deals with the literary self-presentation of Dlouhoveský (example of the Marian devotee). The appendix consists of the inventory of all works of Dlouhoveský, and of the graphs that summarize information about the Marian prints (1650-1750).

Realizamos neste trabalho uma análise das aparições de Nossa Senhora no Brasil, buscando compreender o processo social e simbólico que sustenta a formação de convicções coletivas em torno das aparições que sempre tem seu início em testemunhos pessoais sobre visões de Nossa Senhora. Para isso partimos do estudo de caso realizado nas aparições de Maria na cidade de Jacareí, interior de São Paulo. Demonstramos o processo de construção destas manifestações, em que fatores de diferente ordem se mostraram fundamentais. Entre eles destacamos: as relações e conexões estabelecidas entre os atores e grupos envolvidos inserindo a aparição numa rede de manifestações marianas -; a peregrinação entre elas; a centralidade do movimento católica Renovação Carismática na organização dos eventos, disseminação de idéias e práticas e na modelagem simbólica dos fenômenos -; o papel desempenhado pela Igreja Católica na produção de idéias e crenças que servem como fonte de legitimidade para as aparições -; a modelagem simbólica das aparições fundamental para a atribuição de legitimidade ao fenômeno -, e a presença de elementos simbólicos de longa duração. Cada um desses temas foi desenvolvido ao longo dos quatro capítulos que compõem essa tese. / The thesis analyses Our Ladys appearances in Brazil, trying to understand the social and symbolic process supporting the creation of collective beliefs about these appearances, a process that always start with personal witness about the appearances of Our Lady. In order to analyze that, we realize a case study in the city of Jacareí, São Paulo state. The thesis reveals the process in which these appearances occur, where different factors are fundamental. Among them we shall focus: 1) the relations and connections involving individuals and groups, inserting the apparitions in a net of Mary´s demonstrations, like pilgrimages; 2) the Catholic Church role in the production of ideas and beliefs which give legitimacy to the appearances; 3) the symbolic molding of theses appearances, which are fundamental to that legitimacy; 4) the presence of long terms symbolic elements. Each one of these topics was developed in a separate chapter.