This work attempts to bring the information about St. John Chrysostom liturgy. It deals with its formation, evolution and with the way it is used in the practice of the Exarchate of Greek-Catholic Church in the Czech Republic. It speaks also about the Exarchate as such and about traditions it is based on. Using St. John Chrysostom liturgy this work shows the richness of the Catholic Church rite, unity in diversity.

L’ordre du Temple et celui de l’Hôpital de Saint-Jean de Jérusalem se sont implantés dans les diocèses de Cahors, de Rodez et d’Albi dès la première moitié du XIIe siècle. Leur installation résulte d’une politique volontariste d’insertion locale et du développement de rapports étroits noués avec les élites laïques et religieuses méridionales, largement réceptives à la nouvelle spiritualité promue au sein du monachisme militaire. Les Templiers et les Hospitaliers ont ainsi fondé un réseau de commanderies rurales et urbaines. La toile tissée révèle une conception propre de l’espace au sein de ces trois diocèses et témoigne d’une pratique particulière de ces territoires par les frères des ordres militaires. À l’image de leur propositum vitae, la domus, lieu de vie de ces communautés religieuses, mêle différents espaces et différentes fonctions, dont la traduction matérielle emprunte autant au vocabulaire architectural religieux que castral. Ces édifices qui évoluent tout au long du XIIe et du XIIIe siècle en même temps que les communautés régulières qu’ils abritent, participent, d’une certaine façon, de la construction identitaire du monachisme militaire. / The order of the Temple and that of the Hospital of St. Jean of Jerusalem were established in the French dioceses of Cahors, Rodez and Albi in the first half of the twelfth century. Their foundation resulted from a conscious policy to integrate into the local community and to develop close relationships with lay and religious elites in southern France, who were considerably receptive to the new form of spirituality promoted by military monasticism. The Templars and the Hospitalers thus founded a network of rural and urban commanderies. This network reveals a particular conceptualization of space within these three dioceses and evidences practices specific to these territories by the brothers of the military orders. As a reflection of their propositum vitae, the domus, the focal point of these religious communities’ daily life, blends together different kinds of spaces and different functions, whose material objects were named borrowing terms both from religious architecture as well as castra. These buildings, which evolved throughout the twelfth and thirteenth centuries along with the regular communities they housed, participated in the construction of the identity of military monasticism.

This study examines selected works by four white female Zimbabwean writers: Alexandra Fuller, Lauren Liebenberg, Bryony Rheam and Lauren St John, in light of the controversy over the spate of white memoirs which followed the violent confiscation of white farms in Zimbabwe from 2000 onwards. The controversy hinges on the notion that white memoir writers exploit the perceived victimhood of white Zimbabweans in the international sphere, and nostalgically recall a time of belonging – as children in Rhodesia – which fails to address the fraught colonial history which is directly related to the current political climate of the country. I argue that such critiques are too generalised, and I regard the selected texts as primarily critical of the values and lifestyles of white Rhodesians/Zimbabweans. The texts I have selected include a range of autobiographical and fictional writing, or memoirs and pseudo-memoirs, and I focus on form as a medium enabling an exploration of identity. The ways in which these authors conform to and adapt particular narratives of becoming is examined in each chapter, with a particular focus on the transition from innocence to experience, the autobiography, and the Bildungsroman. Gender is a recurring point of interest: in each case the female selves/protagonists are situated in terms of the family, which, in reflecting social values, is a key site of conflict. In regard to trends in white African writing, I explore the white African (farm) childhood memoir and the confessional mode. Ultimately I maintain that while the texts may be classified as white writing, as they are fundamentally concerned with white identity, and therefore evince certain limitations of perspective and form, including clichéd tendencies, all the writers interrogate white identity and the fictional texts more self-reflexively deconstruct tropes of white writing.

Verbal Expressions of Reverence for St. John of Nepomuk in Vilém Bitnar's Saint-John- Questionnaire The goal of this thesis is a description of verbal expressions of reverence (legends, songs, prayers etc.) for St. John of Nepomuk in the Czech lands, which were collected by Výbor svatojanský in the questionnaire edited by Vilém Bitnar. This questionnaire was sent out to Czech and Moravian parishes at the occasion of the 200th anniversary of canonization of St. John of Nepomuk in 1929 and now it is deposited in the Literary Archive of the Museum of Czech Literature in Bitnar's estate. The mutual points in the questionnaire are seeked as well as regional specifics. These are situated into context of trends in religious life in the Czech lands in 1920s in general and also of relationship between contemporary Czech society and the Roman Catholic Church with reverence for St. John of Nepomuk. Bitnar's questionnaire is also situated into context of other Bitnar's scientific and publication activities. Keywords Hagiography; hymnology; St. John of Nepomuk; Vilém Bitnar; religiousness; legend; religious song; First Czechoslovak Republic

<p> The "B" horizon at Tilt Cove occurs in subaqueous mafic volcanics near the base of the Silurian Cape St. John Group. It is 3 metres below a well-banded oxide iron formation ("A" horizon). </p> <p> Mineralization in the "B" horizon is analogous to that of the East Mine in that it is volcanogenic and has resulted in extensive chloritization of the footwall rocks, and in the deposition of banded sulphides or the replacement of the existing mafic volcanics by sulphides. There are differences in the geochemistry mineral textures and mineral types. The East Mine host volcanics are alkali depleted basaltic komatiites to magnesium theleiites. The horizon host volcanics are spillitized magnesium tholeiites. Samples of ore from the East Mine show well-developed colloform and framboidal textures. Pyrite, magnetite, hematite and chalcopyrite are the dominant minerals with minor sphalerite and accessory covellite. Samples from the horizon show relict colloform textures and framboids with less internal structure due to overgrowths. Atoll textures indicating extensive replacement are common. Pyrite is the dominant sulphide followed by sphalerite, chalcopyrite, accessory covellite and gold. The chalcopyrite occurs both as replacement of pyrite and exsolution in sphalerite. The most significant difference between samples from the East Mine and "B" horizon is the greater abundance of gold in the "B" horizon and its correlation with sphalerite. </p> / Thesis / Bachelor of Science (BSc)

Medieval Mural Paintings in Southwest Bohemia (Districts Klatovy, Prachatice, Strakonice) ABSTRACT The thesis focuses on medieval mural paintings preserved in the forty five monuments in the region of southwest Bohemia, i.e. in the three main districts: Klatovy, Prachatice and Strakonice. The core of the thesis is an extensive catologue of the paintings covering the period from the 13th to the 16th centuries which represents first comprehensive treatment of the matter of the region in question. The main focus of the thesis is description of the paintings, their art historical evaluation and complex reconsideration of the literature to the subject including revision of the older proposals. In addition, an introduction of so far neglected, wrongly interpreted and newly discovered paintings contribute to the wide art-historical discussion. Keywords Gothic art, mural paintings, church, castle, chapel, southwest Bohemia, Prácheň region, donor, Bavors of Strakonice, Švihovský of Rýzmberk, Rosenbergs, Knights Hospitallers of St John, Knights of St. John Commendam in Strakonice

Part I of this thesis has been written with a view to exploring the relevance a text over 2500 years old has for contemporary ars poetica. From a detailed study of ‘The Book of Job’ I highlight three main tropes, ‘cognitive dissonance’, ‘tĕšuvah’, and ‘dark saying’, and demonstrate how these might inform the working methods of the contemporary poet. In the introduction I define these tropes in their theological and historical context. Chapter one provides a detailed examination of ‘Job’, its antecedents and its influence on literature. In chapters two and three I examine in detail techniques of Classical Hebrew poetry employed in ‘Job’ and argue for a confluence between literary technique and Jobian cosmology. Stylistically, the rest of the thesis is a critical meditation on how the main tropes of ‘Job’ can be mapped onto contemporary ars poetica. In chapter four I initiate an exploration into varying responses to cognitive dissonance, suggesting how the false comforters and Job represent different approaches to, and stages of, poetic composition. A critique of an essay by David Daiches is followed by a detailed study of Seamus Heaney. In chapter five I map the trope of tĕšuvah onto contemporary ars poetica with reference to the poetry of Pilinszky, Popa, and to the poems and critical work of Ted Hughes. The chapter concludes with a brief exploration into the common ground shared between the terms tĕšuvah and versus as a means of highlighting the importance of proper maturation of the work. Chapter six consists of a discussion of how the kind of ‘dark saying’ found in ‘Job’ 38-41 impacts on an understanding of poetic language and its capacity to accelerate our comprehension of reality. I support this notion with excerpts from Joseph Brodsky and a close reading of Montale’s ‘L’anguilla’. Chapter seven further develops the notion of poetry as a means of propulsion beyond the familiar, the predictable or the clichéd, by examining the function of metaphor and what I term ‘quick thinking’, and by referring to two recently published poems by John Burnside and Don Paterson. In chapter eight I draw out the overall motif implied by a close reading of ‘Job’, that of the weathering of an ordeal, and map this onto ars poetica, looking at two aspects of labour, which I identify as ‘endurance’ and ‘letting go’, crucial for the proper maturation of a poem or body of poems. The concluding chapter develops the theme of the temple first discussed in chapter one. I argue for a connection between Job as a temple initiate, who has the capacity to atone for the false comforters, and poetry as a form of ‘at-one-ment’. This notion is supported by reference to Geoffrey Hill and Rilke. Part II of the thesis consists of a selection of my own poems, titled ‘Bedrock’.

An examination of Teresa of Avila and John of the Cross, applying modern theories of gender and sexuality to the textual analysis of a selection of primary written works and biographical works, in order to determine the roles that they play, not only in the case of these two saints of the Catholic Church, but also within the mystical tradition as a whole.

The thesis deals with the concept of diaconate and the diacon's service in the Byzantine tradition. The first part deals with the diaconate in the New Testament. The second part focuses on the historical development of the Byzantine rite as well as of the diaconate from the charitable, administrative and liturgical perspektive where the liturgical aspekt begins to dominate. The third part introduces the Liturgies (Masses)in the Byzantine tradition with consideration for the Liturgy of St. John Chrysostom and stresses his irreplaceable role.

Le Venezuela est un pays d'une grande diversité culturelle. La population a des origines indigènes, africaines et européennes. Cette diversité a longtemps été ignorée. Depuis le début des années 2000, et dans le contexte du processus politique de la Révolution Bolivarienne d'Hugo Chávez, la diversité culturelle du peuple vénézuélien est mise en valeur. En effet, l'objectif est de définir et consolider l'identité nationale à partir de cette diversité.Les Afro-vénézuéliens ont longtemps souffert d'une certaine discrimination. Au début du XXe siècle, de nombreux descendants d'esclaves africains, originaires des campagnes migrent vers Caracas. La majorité s'installe dans les quartiers populaires (barrios) et se retrouve dans une situation d'exclusion et de marginalisation. A cela il faut ajouter une certaine perte des repères. Au début des années 80, la culture populaire et les traditions afro-vénézuéliennes apparaissent comme une manière de construire une nouvelle identité. Des groupes culturels afro-vénézuéliens décident de réinterpréter une fête populaire traditionnelle dans ces barrios, la fête de la Saint Jean. A partir de l'étude de cette fête de 2006 à 2012, nous avons essayé de déterminer dans quelles mesures les actions de ces groupes culturels afro-vénézuéliens peuvent contribuer à l'affirmation et la reconnaissance de l'identité afro-vénézuélienne et permettre une meilleure cohésion sociale et intégration de la population de ces quartiers. / Venezuela is a country with an important cultural diversity. The population has Indigenous, African and European origins, though this diversity has long been ignored. Since the beginning of the 2000's, within the political process of the Bolivarian Revolution led by President Hugo Chavez, the cultural diversity of Venezuelans has begun to be recognized. The objective has been to define and reinforce national identity based on cultural diversity. Afro-Venezuelans have been victims of discrimination. At the beginning of the twentieth century, many descendants of African slaves migrated from the countryside to urban Caracas. The great majority settled in barrios and lived in a situation of exclusion and marginalization and, in addition, lost a great deal of their references. At the beginning of the eighties, popular culture and Afro-Venezuelan traditions appeared as a way to construct a new identity. Afro-Venezuelan cultural groups decided to reinterpret a traditional popular festival in these barrios, the Festival of San Juan. By the study of this festival, from 2006 to 2012, we studied how the actions of Afro-Venezuelan cultural groups can contribute to affirm and recognize Afro-Venezuelan identity and lead to an increase in social cohesion and integration of the population in these barrios.