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Ce mémoire est une introduction à l'étude de l'articulation entre la théologie et l'anthropologie dans l’oeuvre liturgique du théologien français Louis Bouyer (1913-2004). La période couverte est celle précédant le concile Vatican II. Ce travail est en trois parties : (I)-Louis Bouyer et le Mouvement liturgique, (II)-Louis Bouyer et l'intelligence de la liturgie et (III)-Louis Bouyer et l'anthropologie de la religion. Dans la première partie, nous analysons le point de vue de L. Bouyer sur le Mouvement liturgique. Dans la deuxième partie, nous précisons ce qu'il entends par intelligence de la liturgie à partir de son centre, le Mystère Pascal, et la notion de Mystère héritée de O. Casel. Dans la troisième partie, nous exposons les perspectives anthropologiques de L. Bouyer à partir d'un de ses ouvrages de référence : Le rite et l'homme. / This master's thesis is an introduction to the study of the relationship between theology and anthropology in the liturgical work of the French theologian Louis Bouyer (1913-2004). We restrain ourselves to the period prior to the Second Vatican Council. This work is in three parts: (I)-Louis Bouyer and Liturgical Movement, (II)-Louis Bouyer and the intelligence of liturgy (III)-Louis Bouyer and anthropology of religion. In the first part, we analyze the view of L. Bouyer on the Liturgical Movement. In the second part, we specify what he means by intelligence of liturgy, from its center : the Paschal Mystery, and the concept of Mystery inherited from O. Casel. In the third part, we present the anthropological perspective of L. Bouyer based on one of its reference books: Rite and man.

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

L’enluminure insulaire, d’origine irlandaise et anglo-saxonne, illustrant des évangiles des VIIe et VIIIe siècles, est caractérisée par des pages-tapis et des pages d’initiales aux ornements abstraits. L’étude essaye de comprendre cette enluminure d’après les conceptions du monde de la civilisation insulaire et s’appuie pour cela sur l’analyse des textes. Le programme d’enluminures des pages-tapis reflète l’existence d’un enseignement exégétique remontant au IVe siècle, qui met l’accent sur la royauté du Christ et sur les quatre évangélistes qui établissent l'église universelle dans le monde. L’exégèse trouve une fondation solide dans les anciennes conceptions celtes de l’espace clos sacré, marqué aux points cardinaux et régi par le roi. Le passage de l’une à l’autre conception est particulièrement marqué dans l’utilisation qui est faite du fidchell, le jeu de damier celtique où le roi au centre doit gagner les quatre coins et étendre sa domination à toute la terre. L’analyse liturgique des pages d’initiales les met en relation avec les symboles des évangélistes, traduisant la cérémonie baptismale de l’apertio aurium, qui remonte à l’exégèse du IVe siècle. On y trouve aussi la trace de l’utilisation de l’exégèse de saint Irénée au IIe siècle. Ces éléments se retrouvent dans un sacramentaire du sud-est de la Gaule écrit fin VIIe-début VIIIe siècle. Le va-et-vient ancien des influences entre l’Irlande, la Bretagne et le continent est aussi illustré par un texte sur l’origine des liturgies, écrit au début du VIIIe siècle dans un monastère colombanien du continent, qui permet de replacer l’enluminure insulaire dans son contexte historique et liturgique. / Insular illumination, of Irish and Anglo-Saxon origin, illustrating Gospels of 7th and 8th centuries, is characterized by carpet-pages and pages of initials with abstract ornaments. The study tries to understand this illumination according to the conceptions of the world of insular civilization and leans for it on the analysis of the texts. The program of illuminations of the carpet-pages reflects the existence of an exegetic teaching going back to the 4th century, which stresses the kingship of Christ and the four evangelists who establish the universal Church in the world. The exegesis finds a solid foundation in the old Celtic conceptions of the sacred closed space, marked at the cardinal points and governed by the king. The passage from one conception to the other is particularly marked in the use which is made of the fidchell, the Celtic draughtboard game, where the king in the center has to gain the four corners and extend his domination to the whole earth. A liturgical analysis of the pages of initials puts them in connection with the symbols of the evangelists, translating the baptismal ceremony of the apertio aurium, which goes back up to the exegesis of the 4th century. We find there also the trace of the use of saint Irenaeus’s exegesis of the 2th century. These elements meet in a sacramentary of southeastern Gaul written in the late 7th or early 8th century. Ancient comings and goings of influences between Ireland, Brittany and the continent is also illustrated by a text on the origin of liturgies, written in the early 8th century in a Columbanian monastery of the continent, which allows to replace insular illumination in its historic and liturgical context.

Title: Liturgical Music as Curriculum in Primary School Author: Bc. Lenka Jelínková Supervisor: PhDr. Leona Saláková, Ph.D. Department: Department of Music Education, Charles University in Prague Abstract: This thesis speaks about the liturgical music taught in Czech primary schools. Firstly, the meaning of liturgical music is explained, we focus at the liturgy and its forms, then we present the survey results about teaching liturgical music, thirdly the textbooks are analyzed - we look for liturgical music as curriculum here, and in the end, there is our owns project for teaching the liturgical music. Project is about the Passion. The main goal of this work is to chart how is liturgical music in textbooks and at school approached and to give some ideas for working with liturgical music during music lessons in primary schools. Keywords: liturgy, liturgical music, music textbooks, liturgical music in primary school, spiritual music in primary school

Presented work has in its first part tried to evaluate both textual and theological development of the liturgy in the Czechoslovak (Hussite) church. It has focused on Farsky's translation of the Roman Mass from 1919, first liturgical reforms of the young church, liturgical diversification and unifiction in newly conceived liturgy by Karel Farsky in 1923. The work further follows development of such liturgy, especially its revision in 1939 and attempts of liturgical renewal in seventies and eighties of the twentieth century. The final conclusion of the thesis resides in stating that revision was crucial for blurring certain parts of Farsky's liturgy. It was not conciliated with Učení, official doctrinal document of the Church, and also didn't stay in line with its origin. The main part of the work is focused on analysis of singular parts of Second Liturgy s it was adopted by Assembly in 1991. We attempt to compare this liturgy with earlier versions as mentioned above. This thesis particularly states, that recent version of the Second Liturgy presents two parts of the liturgy of the Word,when the first reading is sharply distinguished from the rest. Furthermore, Opening antiphon (Introit) and Communium antiphon (Communio) are misleadingly placed. In fact, only Offertory antiphon (Offertorium) is located...

Le XVIIe siècle est généralement considéré comme un moment de romanisation des liturgies diocésaines françaises, sur le modèle des ouvrages romains réformés à la fin du XVIe siècle par Pie V (le nouveau Bréviaire romain est imprimé en 1568). Toutefois, force est de constater que chaque diocèse conserve une certaine marge de manœuvre, notamment pour la conservation d’usages particuliers s’ils sont en pratique depuis deux cents ans, ainsi que le prévoit la bulle Quod a Nobis.Ce travail s’intéresse, par le prisme des calendriers liturgiques diocésains et des livres qui les contiennent, aux conséquences de ce mouvement de romanisation sur les cultes et l’identité des diocèses. Pour l’essentiel, la méthode choisie consiste à saisir cent trente-cinq calendriers, imprimés entre 1570 et 1680 par soixante-dix diocèses, sous la forme d’une base de données et à les interroger en série. Plus particulièrement, les calendriers sont l’objet dans les premières années du XVIIe siècle de profondes réformes, tant dans leur structure que dans leur contenu. Ainsi, le calendrier romain et les offices de saints contenus dans le Bréviaire ne sont pas adoptés de la même manière dans l’ensemble des diocèses du royaume de France. Il est alors possible de construire une cartographie des différents degrés d’adoption du modèle romain et d’identifier des espaces. De même, tous les diocèses ne font pas état d’autant d’usages propres les uns que les autres, notamment au regard du nombre de saints.Enfin, ces cultes particuliers peuvent également être partagés entre plusieurs diocèses, dessinant alors de nouveaux espaces de dévotions à certains saints, à l’échelle de la France / Usually, the seventeenth century is considered as a time of romanisation of dioceses liturgy, following the model of Roman works that were reformed at the end of the 16th century by the pope Pie V (Roman breviary is printed in 1568). However, one has to come to the conclusion that each diocese keeps a certain margin especially concerning the conservation of particular uses if they had been in use for two hundred years, as scheduled by the bull Quod a Nobis.This study choses to show the consequences of the Roman reform on the identity and the worship of diocese through the prism of diocesan liturgic calendars and the books that contain them. Foremost, the chosen method consists in entering one hundred and thirty-five calendars, printed between 1570 and 1680 by seventy dioceses, in a data base and questionning them in series.More particularly, the calendars are the object in the early seventeenth century of deep reforms, in their structure as well as in their content. Hence, the Roman calendar and the saints services contained in the Breviary have not been adopted in the same way in all the dioceses of the French relm. It is then possible to build a cartography of the different degrees of adoption of the Roman model and identify spaces. In the same way, every diocese didn't mention as many particular uses as the others, especially in regard to the number of their own saints.Finally, these particular worships can be shared by several dioceses, defining new spaces of devotion to specific saints, on the French scale.

The diploma thesis consists of three parts. The first one describes the historical role of psalms during masses from their origin until presence. It illuminates the new role of psalms in the Cathlolic liturgy after the second Vatican council and outlines how these liturgical changes projected into Czech Catholic enviroments. The second part introduces significant Czech psalters and their authors. The psalters were created for liturgical needs and in reaction to the conclusions of the 2VC for liturgical needs. The third, main part of the thesis consists of detailed analysis of 1992 Karel Sklenička's psalter Responsoriální žalmy pro neděle a významné dny liturgického roku. The analysis of harmonic and melodic procedures of individual tones serves as a basis for the practival part of the thesis which is an extension of existing Sklenička's psalter to all days of liturgical year. The new psalter preserves the music component composed by Karel Sklenička and also preserves the way of work with the liturgical text in new psalms following the pattern of Karel Sklenička. The new psalter keeps strictly to the liturgically prescribed texts for individual liturgical occasions like the psalter from 1992.

La thèse a pour objet la culture juive à Candie au cours des XIVe-XVIe siècles et, en particulier, l’influence exercée par la culture et les traditions des juifs sépharades et ashkénazes, qui s’établirent sur l’île dès la moitié du quatorzième siècle. La thèse se base d’un côté sur des sources administratives et notariales et, de l’autre, sur les manuscrits hébreux produits à Candie ou apportés là-bas par les immigrés pendant la période considérée. Le premier chapitre porte sur la communauté juive de Candie dans la première moitié du XVIe siècle, et fournit de nouvelles informations à l’égard de la situation du quartier juif, de ses synagogues, de sa composition sociale, de sa démographie et de la biographie d’Élie Capsali, qui représentait la principale autorité spirituelle à cette époque. Le deuxième chapitre rassemble les informations disponibles concernant l’immigration juive à Candie des siècles XIV-XV. Le troisième chapitre examine certaines particularités de la liturgie synagogale élaborée par les Juifs de Candie sous l’impulsion de la tradition française et ashkénaze. Le quatrième chapitre analyse deux listes de livres religieux et médicaux: les deux listes, qui remontent à la deuxième moitié du quinzième siècle, sont ici interprétées comme un indice de la diffusion de la culture médicale sépharade à Candie, qui se vérifia par le moyen des immigrés catalans. Le cinquième chapitre est dédié à Mosheh ben Yehudah Galiano, un médecin, philosophe et astronome de Constantinople qui séjourna à Candie de 1526/27 jusqu’à1543. Le dernier chapitre porte sur les effets provoqués dans le quartier juif par l’épidémie de peste qui s’abattit sur Candie en 1592. / The thesis investigates the culture of the Cretan Jews in the XIV-XVI centuries and concentrates on how the Sephardi and Ashkenazi immigrants who began to settle on the island around mid-XIV century contributed in shaping a shared culture. The thesis is based both on the administrative and notarial documents preserved in the State Archive in Venice and on the Hebrew manuscripts produced by Candiote Jews or brought there by the new settlers. The first chapter offers a reconnaissance of the Jewish community of Candia in the early XVI century and brings new information on the geography of the zudeca, its administration, its social composition, the amount of its population, and the biography of its main leader at the time: Elijah Capsali (d. 1550). The third chapter illustrates some of the peculiarities that the Candiote synagogal liturgy developed under the influence of Ashkenazi settlers. The fourth chapter deals with two lists of books found in a manuscript preserved in the University Library of Bologna, and shows how they can be viewed as a testimony of the role played by Catalonian immigrants in the spread of Sephardi medical lore among Candiote Jews. The fifth chapter is dedicated to Mosheh ben Judah Galiano, a physician, philosopher and astronomer who settled in Candia in the late ’20s of the Sixteenth century and left the island on 1543. The sixth chapter offers an examination of the plague that struck Candia in 1592 and its impact on the Jewish community.