The focus of this project is the exploration of notions of the sacred through the study of functional, unadorned forms and the processes by which I translate them into drawn images. My objective is to observe and represent what I see as visually essential to objects such as bowl, egg and rag. My intention is to engage aspects of archetypal simplicity, providing a visual starting-point for contemplation in the viewer. Detached from specific liturgical contexts, the notion of 'sacredness' is not anchored by traditional icons. The logic behind the austerity of my 'generic' subject matter is to make a visual connection to the otherwise formless concept of a primal imprint of human consciousness, to anchor my exploration of the sacred. I aim to discover a position between figuration and abstraction that can communicate what I see as elemental to the subject of each drawing, concentrating the arena for contemplation within the bounds of the form depicted. By subduing contextual narrative in this way, I intend to amplify the tiny events of light, line and texture within the drawn form.

The purpose of this study is to provide a conductor's resource for preparation of the Missa Dona Nobis Pacem of Ernst Pepping (1901-1981). While research on the organ works has been done, there is no English language resource on the sacred choral works of Pepping. This paper provides a collection of information on Pepping's life, musical characteristics, and the composition of the Missa Dona Nobis Pacem. Following an introductory first chapter, Chapter Two is a biographical sketch of the composer with emphasis on compositional periods and important historical figures, and it places Pepping's works into this context. The third chapter is a brief description of Pepping's musical language and places the Mass in historical compositional context through a discussion of the Vier letzte Lieder of Richard Strauss (1869-1949) and the Cinq rechants of Olivier Messiaen (1908-1992), two vocal works also written in 1948. Chapter Four is an overview of the Mass. The fifth chapter gives an analysis of the Missa Dona Nobis Pacem and provides musical examples. The sixth and final chapter provides further insight into the works for a cappella choir by Ernst Pepping with a discussion of two major examples from the same compositional period, Heut und ewig (1948) and the Passionsbericht des Matthaus (1949-1950). The Appendices are a chronological list of the choral compositions of Ernst Pepping, and a chronology.

This thesis explores how religion is being represented, interpreted, and discussed in Canadian museums. It draws from a sample of thirty-one semi-structured interviews with curators and museum professionals and from the author’s own observations of fifty-one museums in eleven provinces and territories across Canada to explore the themes of space, power, and identity as they relate to religion in Canadian museums. Using the theories of sacred space created by Knott, this thesis explores how Canadian museums are capable of becoming sacred spaces based on their ability to give visitors numinous experiences, to act as contested spaces, and to serve as a location of religion. Canadian museums are powerful, as argued by Bourdieu and Foucault, by their very nature as places that produce and define knowledge, through claims to objectivity and an emphasis on a progress narrative, giving museums (and curators) power to define what is and is not religious by deciding whether and how to discuss the religious aspects of an artefact, object, or culture. Within the context of these two themes, museums enact Ricoeur’s theory of narrative identity by telling stories about different groups in order to create and communicate their identities. Some museums present a homogenous Canadian identity based on white mainline Christian identity while others explore the complexity of Canadian identity by telling the stories of non-mainstream religious or ethnic groups and their participation in Canadian history. Aboriginal peoples in Canada have become involved in the display of their traditions in larger museums and have started creating their own museums and cultural centres where their voices can take precedence.

Even in our secular age, the sacred continues to be a powerful cognitive space in the landscape of the imagination. I am a Roman Catholic and amongst those who struggle to exist both in the structured universe of the sacred, and the contemporary plurality of the city. The mystery of the incarnation provides a theological argument for the indwelling of the Spirit in creation through time. With the advent of secularism however, it is possible to conceive of a time outside the sacred. Tension within theology in academia, faith in politics, or religion in a pluralistic society, reveals a boundary between our beliefs and our public face which becomes a rigid barrier – distinct as the private and public. Conflicting temporal structures of the sacred and secular give definition to this divide. Architecture has historically placed itself as interlocutor, negotiating complex thresholds in order to engage meaning. Contemporary sacred architecture, however, has avoided confrontation with the public realm. Thick edges distinguish the realms of the sacred and the quotidian. This thesis engages the border between the sacred and the secular. An analysis of the temporal structures of contemporary sacred space and its civic environment opens up an exploration of one such border around St. Basil’s Church in Toronto. The definition of a threshold at this edge challenges our contemporary divide by exploring potential transitions. Between the church and the street, architecture inhabits the edge, expanding and articulating connections. Methods are explored for constructing built forms which promote a transition between, and interaction of, sacred and secular temporalities. At this threshold, individual creativity provides metaphors for ontology. Crossing this threshold creates opportunities for overlap between the time of the sacred and the time of the secular. These transitions challenge how we imagine both the church and the city in contemporary architecture.

Even in our secular age, the sacred continues to be a powerful cognitive space in the landscape of the imagination. I am a Roman Catholic and amongst those who struggle to exist both in the structured universe of the sacred, and the contemporary plurality of the city. The mystery of the incarnation provides a theological argument for the indwelling of the Spirit in creation through time. With the advent of secularism however, it is possible to conceive of a time outside the sacred. Tension within theology in academia, faith in politics, or religion in a pluralistic society, reveals a boundary between our beliefs and our public face which becomes a rigid barrier – distinct as the private and public. Conflicting temporal structures of the sacred and secular give definition to this divide. Architecture has historically placed itself as interlocutor, negotiating complex thresholds in order to engage meaning. Contemporary sacred architecture, however, has avoided confrontation with the public realm. Thick edges distinguish the realms of the sacred and the quotidian. This thesis engages the border between the sacred and the secular. An analysis of the temporal structures of contemporary sacred space and its civic environment opens up an exploration of one such border around St. Basil’s Church in Toronto. The definition of a threshold at this edge challenges our contemporary divide by exploring potential transitions. Between the church and the street, architecture inhabits the edge, expanding and articulating connections. Methods are explored for constructing built forms which promote a transition between, and interaction of, sacred and secular temporalities. At this threshold, individual creativity provides metaphors for ontology. Crossing this threshold creates opportunities for overlap between the time of the sacred and the time of the secular. These transitions challenge how we imagine both the church and the city in contemporary architecture.

This study aims to investigate the changes and trend for the official policies, celebration activities, and ceremonies of national holidays¡¦ in Taiwan over the period of 1950 to 2004. The interactions and confrontations among competing authorities in defining the time and space for national holidays, and the process by which they influence Taiwanese people¡¦s collective memory are further studied. The method applied is literature review and historical analysis. The findings show that the formation and development of Taiwanese national holidays¡¦ are the outcomes of a love story and sometime struggles between political and other social powers. Utilizing the uniqueness and the special sphere of time and space, politicians and other groups co-construct a collective memory that serves their own interests. There are affinities between national holidays and religions, as the legitimacy of their existence, activities and ceremonies both come from the ¡§sacred canopy¡¨ provided by the belief system. The later grants the national holidays with sacred values, and thus made the existence, activities and ceremonies of the former possible. However, while the making of national holiday¡¦s collective memory is dominated by political authorities, they have their limitations. As we shall present in the study, there are competing forces in the pursuit of legitimacy. These interventional and balancing factors include economic factors, ideologies of confronting political parties as well as leisure culture. They are actually the most important factors in the changes and development of national holidays. They come from and also reflect on the social change. It is also clear that the ¡§the holiday overset phenomenon¡¨ has started since the Lee Deng Huei period.

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Die folgenden Ausführungen dienen dazu, zunächst unabhängig von dem von Bach hinterlassenen Oeuvre die Regelungen zur hamburgischen Kirchenmusik zu skizzieren. Ausgangspunkt der Darstellung bilden neu aufgefundene Zeitungsdokumente. Ferner soll geschildert werden, mit welchem Repertoire und auf welche Weise Bach die Gottesdienstmusik bestritt, bevor ein vorläufiger Aufführungskalender für die Jahre 1775 und 1788 abschließend diskutiert wird.

Thesis (Ph. D.)--University of North Texas, 2003. / Narrators perform the roles of Moses and Apostle John. Duration: 24:00. Includes bibliographical references (p. lxxvi-lxxvii).

Thesis (M.M.)--University of North Texas, 2003. / Chamber piece in oratorio style; chorus (TTBB). Text from Daniel 9:4-19. Duration: ca. 30:00. Includes bibliographical references (p. 43-45).