With the collapse of the Visigothic kingdom, the judges of Catalonia and southern France worked to keep the region’s traditional judicial system operable. Drawing on records of judicial proceedings and church dedications from the ninth century to the end of the eleventh, this dissertation explores how judges devised a liturgically-influenced court strategy to invigorate rulings. They transformed churches into courtrooms. In these spaces, changed by merit of the consecration rite, community awe for the power infused within sacred space could be utilized to achieve consensus around the legitimacy of dispute outcomes. At the height of a tribunal, judges brought litigants and witnesses to altars, believed to be thresholds of Heaven, and compelled them to authenticate their testimony before God and his saints. Thus, officials supplemented human means of enforcement with the supernatural powers permeating sanctuaries. This strategy constitutes a hybridization of codified law and the belief in churches as real sacred spaces, a conception that emerged from the Carolingian liturgical reforms of the ninth century. In practice, it provided courts with a means to enact the mandates from the Visigothic Code and to foster stability. The result was a flexible synthesis of law, liturgy, and sacred space that was in many cases capable of harnessing spiritual and community pressure in legal proceedings.

In the thesis "Karel Stádník and Sacred Art" we start by a general rendering of the role, changes and development of sacred art not only in Bohemia. This introduction creates an overall context for the following description of the personality and work of the academic sculptor, restorer and permanent deacon Karel Stádník. As the author remains largely unnoticed in art history research and publications, in the thesis we provide new facts revealed during interviews with the artist's family. Thus - inter alia - we were able to extend the chapter dedicated to the artist's life and to elaborate the list of sacred works of the author. Close attention is paid to the general development and characteristic features of the author's work focusing mainly on the most important projects implemented in churches, including examples of conservation work. The next parts of the text are dedicated to selected artists with a major impact on Czech sacred art. These include architect Jan Sokol, painter Mikuláš Medek and all-round artist Ludvík Kolek. For each artist, details are provided regarding their life, personality and artistic development - again focusing mainly on the most important works for churches. The individual chapters result in comparing their sacred art with work of Karel Stádník, searching for...

Melodram für Sprecher und Orgel, Musik: Matthias Drude (2005), Text: Dietrich Mendt; Informationen zum Komponisten: www.drude.info

Melodram für Sprecher und Orgel; Musik: Matthias Drude (2005); Text: Dietrich Mendt

In the Maya region, covering architecture and human remains in white marl has traditionally been interpreted as an act of defacement that accompanied some termination rituals. Recently, researchers have shown that such covering was a form of ritualized wrapping or sealing and could occur in the absence of other signs of desecration, as a part reverential termination. Here, I build on this work to argue that such sealing is not necessarily part of termination rites at all and could occur independently in mortuary contexts. I also suggest that such sealing is a distinct subset of other types of mortuary wrapping. Decoupling sealing from termination and exploring its relationship to other forms of wrapping helps refine our understanding of mortuary and ritual categories in the Maya area.

Mémoire en recherche-création / Useless Magic mélange des éléments visuels variés allant de la note manuscrite au « doodling », en passant par le collage et la photographie, cohabitation d’éléments hétérogènes en appelle à une étude intermédiale susceptible de rendre justice aux interférences entre l’écrit et le pictural. L’ouvrage repose aussi sur le syncrétisme des sources d’inspiration, de manière à faire coexister une pluralité d’images servant la démarche d’autoreprésentation de Florence Welch. L’analyse thématique des réseaux de symboles visuels et textuels permet de dégager le propos d’un « je » (« I ») énonciateur qui explore des postures d’autoreprésentation au service de la figuration d’un soi sacré. Je veux la sauge le feu et toi se réapproprie la démarche intermédiale et l’idée d’un syncrétisme-hénothéiste pour décliner la figure de la sorcière comme moyen d’autoproclamer un féminin sacré et monstrueux quoique beau, symbole à la fois historique et mythique est synonyme d’empowerment féministe. Trois visages de la sorcière retiendront mon intérêt poétique et visuel : la prêtresse, l’empoisonneuse et l’enchanteresse. Elles seront réinvesties sous forme d’un carnet d’artiste, dispositif inspiré d’Useless Magic (2018) de Florence Welch. Composé de poèmes et d’images (dessins, photos, aquarelles et collages), le carnet me permettra, comme à plusieurs artistes contemporains de réécrire et redessiner la figure de la sorcière selon des enjeux d’émancipation du féminin. Il s’agira pour moi de construire, par le Verbe poétique et diverses formes d’expression visuelles, un lieu de culte propice à accueillir une invocation ensorcelante. / Useless Magic combines multiple visual elements from hand scripted notes to doodling, including collage and photography. This heterogenous combination calls for an intermedial study in order to render well the interference between the text and the visual. This book also relies on syncretism pulling together diverse sources of inspiration. By doing so, it enables the coexistence of a plurality of images which serve Florence Welch’s process of self-representation. The analysis of the themes by the intricate system of symbols will allow the clarification of self-representative postures, which will reveal how the subject expressed here is dedicated to revealing a sacred self. I Want Sage Fire and You follows a similar intermedial and syncretic approach in order to utilize the cultural figure of the witch as a way to self-proclaim a sacred and monstrous yet beautiful feminine subject. This poetry collection paints the witch as a historical and mythical figure of feminist empowerment. This figure is declined in three phases, which will be expressed poetically and visually: the priestess, the poison-mistress and the enchantress. All three will appear in the form of an artist sketchbook inspired by Useless Magic. This sketchbook will allow me to re-write, re-build and re-member the witch according to questions of feminine emancipation. This collection will use poetry and visual expressions as tools to build a temple-like space where a bewitching invocation can resonate.

Diversity of today´s castles and its lucid establishment in tradition or on the other hand the unique of its forms calls up questions, the need to look back and the need of reflection. This contribution is focused on phenomenon of sacral space from the point of view of certain type - opened and closed - especially on co-influencing of light and glass as one of themost important attributes of these archepypes influencing the creation of liturgics area composition.

京都大学 / 0048 / 新制・課程博士 / 博士(地球環境学) / 甲第20745号 / 地環博第168号 / 新制||地環||34(附属図書館) / 京都大学大学院地球環境学舎環境マネジメント専攻 / (主査)准教授 深町 加津枝, 教授 柴田 昌三, 准教授 小林 広英 / 学位規則第4条第1項該当 / Doctor of Global Environmental Studies / Kyoto University / DFAM

The paper follows and compares the narratives around sacred bread in four religious communities within the multicultural Transylvanian area of Brasov: Orthodox Christianity, Lutheran Christianity, Romano-Catholic, and Judaic. Information regarding the practice of bread making during key religious celebrations was gathered via six semi-structured interviews and analysed by interpretative phenomenology analysis (IPA), thus providing a summary of what unites and what distinguishes the four religious communities and also indicating a few directions for the common ground in building an inclusive multi-narrative perspective.  The study approaches a field less scrutinized, that of comparative studies regarding similarities, differences, and influences between various religious communities in basic life situations – like food and symbolism associated with religious celebrations.

This thesis aims to study the Capacocha, which is an Inca ritual where children were offered to their gods in the sacred places called Huacas (places of origin) and offered artefacts together with the children links to the Inca's sacred symbol, the Chakana, which in turn it is the life philosophy of the Inca culture. This thesis uses this philosophy to understand the phenomenon and the elements that define Huacas and the Capacocha ritual. Furthermore, a hermeneutic approach with phenomenology and phenomenology of landscape theory is applied to understand the symbolism and meaning from the Inca's cultural perspective. For this thesis, three specific case studies are analysed: the children from Llullaillaco, Chuscha and Cerro El Plomo, all situated at high altitudes (5200 - 6739 m) in the Andes. These selected places by the Incas were Huacas. The analysis is built on a comprehensive study of the cultural value and the symbolic meaning of the Capacocha ritual in relation to the Huacas and the Incas' perspective (Chakana) since previous studies concerning the Capacocha ritual, and Huacas did not consider the Chakana philosophy in their interpretations. The aim is to narrow the gap in understanding the Inca worldview to contribute with academic knowledge and understanding of the phenomenon that defines Huacas and the Capacocha ritual from the Incas' perspective. The study shows that the Incas had a holistic perspective where everything is entangled through time and space, and this demonstrates that the children were not just offered to the Inca gods. Instead, the children lived among the gods because they became gods through the Capacocha ritual, a transformation process. / Denna uppsats syftar till att studera Inkaritualen Capacocha, där barn offrades tillsammans med andra offergåvor till sina gudar på de heliga platserna som kallas Huacas (ursprungsplatser) och barnen och offergåvorna hänger samman med Inkafolkets heliga symbol, Chakana, som är inkakulturens livsfilosofi. Denna studie använder denna filosofi för att förstå fenomenet och de element som definierar Huacas och Capacocha-ritualen. Vidare tillämpas ett hermeneutiskt förhållningssätt med fenomenologi och fenomenologi inom landskapsteorin för att förstå symboliken och innebörden ur inkafolkets kulturella perspektiv. I denna uppsats analyseras tre specifika fallstudier: barnen från Llullaillaco, Chuscha och Cerro El Plomo och alla är belägna på hög höjd (5200 - 6739 m) i Anderna. Dessa utvalda platser av inkafolket var Huacas. Analysen bygger på en omfattande studie av det kulturella värdet och den symboliska innebörden av Capacocha-ritualen i relation till Huacas och inka perspektivet (Chakana) sedan tidigare studier angående Capacocha-ritualen, och Huacas beaktade inte Chakana-filosofin i sina tolkningar. Syftet är att minska klyftan i förståelsen av inkavärldsbilden för att bidra med akademisk kunskap och förståelse för det fenomen som definierar Huacas och Capacocharitualen ur inkafolkets perspektiv. Studien visar att inkafolket hade ett holistiskt perspektiv där allt är sammanflätat i tid och rum, och detta visar att barnen inte bara offrades till inkagudarna. Istället levde barnen bland gudarna eftersom de själva blev gudar genom Capacocharitualen, som står för en förvandlingsprocess. / Esta tesis tiene como objetivo estudiar el ritual de Capacocha, el cual es un ritual inca donde se ofrecían niños junto con artefactos a sus dioses en los lugares sagrados llamados Huacas (lugares de origen), los cuales estaban vinculados al símbolo sagrado de los Incas, el Chakana, que en a su vez es la filosofía de vida de la cultura Inca. Esta tesis utiliza esta filosofía para comprender el fenómeno y los elementos que definen a las Huacas y el ritual de la Capacocha, aplicando un enfoque hermenéutico con la fenomenología y la fenomenología de la teoría del paisaje para comprender el simbolismo y el significado desde la perspectiva cultural de los incas. Para esta tesis se analizan tres casos de estudio específicos: los niños de Llullaillaco, Chuscha y Cerro El Plomo, todos ellos situados a gran altura (5200 - 6739 m). Estos lugares seleccionados por los Incas fueron las Huacas. El análisis se construye a partir de un estudio integral del valor cultural y el significado simbólico del ritual Capacocha en relación con las Huacas y la perspectiva de los Incas (Chakana). El estudio derivó debido a que estudios previos sobre el ritual Capacocha, y Huacas no consideraron la filosofía Chakana durante sus interpretaciones, lo cual dejó una brecha de entendimiento del ritual y los lugares, ya que el Chakana está conectado al ritual y los lugares, misma que es una filosofía de vida que rige mucho la perspectiva de los Incas. Al ignorar esta filosofía, muchas de las interpretaciones de los estudios previos son incompletas o sesgadas debido a la influencia de la perspectiva occidental. Por ello, el objetivo de mi tesis es acortar la brecha en la comprensión de la cultura Inca y para contribuir con el conocimiento académico y la comprensión del fenómeno que define a Huacas y el ritual Capacocha desde una perspectiva más cercana a su origen, los Incas y el Chakana.   Como resultado, el estudio demostró que los incas tenían una perspectiva holística donde todo se entrelaza a través del tiempo y el espacio, y demostrando que los niños no solo eran ofrecidos a los dioses incas. En cambio, los niños vivieron entre los dioses porque se convirtieron en dioses a través del ritual Capacocha, un proceso de transformación influenciado por la filosofía del Chakana. El resultado, también mostró que la filosofía del Chakana influenció todo el proceso, y que para los Incas, no hubo sacrificios; ellos dieron ofrendas a sus dioses. Y que en realidad, desde su perspectiva, los niños no murieron, sino que tomaron otra forma de vida para formar parte de un vínculo a través de los mundos de los Incas.