Thesis (S.T.M.)--Yale Divinity School, 2005. / Includes bibliographical references (leaves [122-124]).

Thesis (S.T.L.)--Catholic University of America, 1985. / Typescript. Includes bibliographical references (leaves 202-208).

This dissertation is an investigation into how the Hebrew Bible is used in (Rabbinic) Jewish and Christian liturgical settings, and how this impacts biblical scholars. I argue against the neglect of liturgy and ritual in reception studies and make the case that liturgy is one of the major influential forms of biblical reception. I do this by taking Isa. 6:3 as my example. My liturgical material is the qedushah liturgies in Ashkenazi Judaism and the Sanctus in three church traditions; (pre-1969) Roman Catholicism, Anglicanism (the Church of England) and Lutheranism (Martin Luther, and the Church of Sweden). As my focus is lived liturgy I investigate not just worship manuals and prayerbooks but also architecture, music and choreography. With an eye to modern-day uses, I trace the historical developments of liturgical traditions. To do this, I have used methodological frameworks from performance and theatre studies, as well as Clifford Geertz’s concept of “thick description”, from the realm of anthropology. I then analyse the impact this can have on biblical researchers, who often come from religious backgrounds. First I raise the issue of the identity of the seraphim in Isaiah 6, and their transformation in both the qedushot and the Sanctus into angels. I show how some of the tendencies in Jewish and Christian liturgy, and Christian iconography, recur in scholarship, for example the association with cherubim. The idea of an ongoing angelic liturgy, stressed especially in Jewish worship, also finds its way into scholarship. A second theme is the presumed liturgical nature of Isa. 6:3 itself. This common idea may, however, owe more to Jewish and Christian liturgical uses of it than to the text itself. In this context I discuss Christian liturgical uses which stress Trinitarian and Christological understandings of the text. I also bring up a nineteenth-century Swedish liturgical use which deviates from the Sanctus tradition. I use this to probe some of the modern ideas of holiness, and how Protestant liturgy has played a part in shaping the sentiments among scholars. Lastly I discuss the theme of Divine presence. Both the qedushot and the Sanctus are concerned with the presence of God. Jewish liturgy has shown a strong tendency to complicate the notion while in Christian liturgy it is instead concretised, either affirmatively or negatively. Some of these issues translate into scholarly debates, where scholarship often bears clear marks of especially Reformed theology. One shared tendency in both Jewish and Christian worship is to “spiritualise” Isaiah 6, and transpose it to a heavenly court. I argue that these ideas still make themselves felt in research on Isaiah 6.

The ordines romani are products of a ninth-century attempt to correct liturgy across Europe. Hitherto, scholarship has almost exclusively focused on them as sources for the practices of the city of Rome, narrowly defined, disregarding how they were received creatively and reinterpreted in a set of fascinating manuscripts which do not easily fit into traditional categories. This thesis re-envisages these special texts as valuable testimonies of intent and principle. In the past few decades of scholarship, it has been made very clear that what occurred under the Carolingians in the liturgy did not involve the imposition of the Roman rite from above. What was ‘Roman’ and ‘correct’ was decided by individuals, each in their own case, and they created and edited texts for what they needed. These individuals were part of intensive networks of exchange, and, broadly, they agreed on what they were attempting to accomplish. Nevertheless, depending on their own formation, and the atmosphere of their diocese, the same ritual content could be interpreted in numerous different ways. Ultimately, this thesis aims to demonstrate the usefulness of applying new techniques of assessing liturgical manuscripts, as total witnesses whose texts interpret each other, to the ninth century. Each of the ordo romanus manuscripts of the ninth century preserves a fascinating glimpse into the process of working out what ‘correct’ liturgy looked like, by people intensely invested in that proposition. Through them, we can reconceptualise the Carolingian achievement in liturgy, more sympathetically to the great diversity on the ground, but also to the broader goals which united all of these celebrants and intellectuals. In these texts, we can see how the Carolingians really understood the Roman practices they revered, and how they brought this special holiness to their own cathedrals and monasteries through richly creative re-enactment, not thoughtless replication.

Francis Poulenc’s three-act opera Dialogues des Carmélites (1953-1956) depicts the struggles of the novice nun Blanche de la Force during the Reign of Terror of the French Revolution. The use of Latin liturgical music at critical points in the opera conveys the ritualistic nature of Catholic worship. The spiritual message of mystical substitution, along with the closely related notion of vicarious suffering, imbue the opera with a spirituality that offers a sharp contrast to earlier operatic settings of Catholic texts, particularly during the age of grand opera. Marian devotion also plays an important role in the opera. The final tableau of the opera stages the execution of Blanche and her sisters, complete with the sound of a guillotine, with the nuns singing the Salve Regina as they proceed to the scaffold. The multivalence of the final tableau highlights the importance of voice and its absence. While the nuns, onstage spectators, and the guillotine are audibly present in the scene, the priest participates solely through gesture. The surfacing of the Lacanian Real in the silent moment of traumatic shock that follows the guillotine’s first fall allows for intertextual references to the opera in Poulenc’s Sonate pour Flûte et Piano (1957) to function as a work of remembrance.

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Paschal Mystery Celebration in Roman and Byzantine Christian Tradition. Comparison Attempt. Abstract Dissertation deals with comparison outline of the Easter Mystery celebration in two liturgical traditions: in christian byzantine and christian west tradition. Thesis is based on the jewish First Pascha celebration and its celebration in the historical Jesus period and in His death and resurrection as the central event of the mankind salvation and christian life. The influence of the Old Testament Easter celebration is tracked in Easter celebration within early christian period followed by the form of the celebration in the 4th century and celebration in Middle Ages. Finally for the roman tradition the 20th century reform in its 2 steps was studied. For byzantine tradition the reformist reflecions and attempts over the last centuries. The core of the thesis is a comparison of actual celebration in both studied traditions and pinpointing of some basic elements and symbols which holds the strong theological meaning. Keywords Paschal Mystery, Easter, Liturgy, Holy Week, Byzantine Liturgy, Roman Liturgy

λειτουργία denotes all the religious acts and activities of worship performed by Christians during the worship service and in life. The aim of this study was to determine the nature of the interactive relationship between the liturgy of the worship service and the liturgy of a Scripture driven life. The central theoretical argument of the study was that this relationship is dynamic and transforming. Basic theoretical perspectives were formulated in Section A. The comprehensive conclusion attained in this section was that the liturgy of the worship service and the liturgy of life is an undividable unit consisting of differentiate elements. Meta-theoretical perspectives were formulated in Section B. These principles were drawn from research done relating to postmodernism, the effects of the post-94 transformation in South Africa on previously advantaged South African Christians and empirical research. The perspectives indicated that the praxis of life impacted directly on the liturgy of the worship service. The conclusions reached in both Sections A and B lead to the final conclusion that the nature of the interactive relationship between the liturgy of the worship service and the liturgy of life is dynamic and transforming. It was further indicated by the research that the interactive relationship between the liturgy of the worship service and the liturgy of life reflected the broken reality of our sin-corrupted world. Hence an adjusted practical theory and accompanying practical theoretical model were developed to aid the alignment of the praxis as indicated by the meta-theoretical perspectives with the Scriptural ideal purported by the basis theoretical principles. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2008.

λειτουργία denotes all the religious acts and activities of worship performed by Christians during the worship service and in life. The aim of this study was to determine the nature of the interactive relationship between the liturgy of the worship service and the liturgy of a Scripture driven life. The central theoretical argument of the study was that this relationship is dynamic and transforming. Basic theoretical perspectives were formulated in Section A. The comprehensive conclusion attained in this section was that the liturgy of the worship service and the liturgy of life is an undividable unit consisting of differentiate elements. Meta-theoretical perspectives were formulated in Section B. These principles were drawn from research done relating to postmodernism, the effects of the post-94 transformation in South Africa on previously advantaged South African Christians and empirical research. The perspectives indicated that the praxis of life impacted directly on the liturgy of the worship service. The conclusions reached in both Sections A and B lead to the final conclusion that the nature of the interactive relationship between the liturgy of the worship service and the liturgy of life is dynamic and transforming. It was further indicated by the research that the interactive relationship between the liturgy of the worship service and the liturgy of life reflected the broken reality of our sin-corrupted world. Hence an adjusted practical theory and accompanying practical theoretical model were developed to aid the alignment of the praxis as indicated by the meta-theoretical perspectives with the Scriptural ideal purported by the basis theoretical principles. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2008.

The creative process of Tchaikovsky is usually considered to be wellstudied