Cette recherche étudie l'importance de la liturgie et de la paraliturgie dans la société médiévale par le biais des utilisations et de la symbolique de l'encens et du luminaire dans la liturgie romano-gallicane (VIe-Xe s.)et dans les pratiques dévotionnelles du haut Moyen Age occidental.<p><p>L’importance de l’Église dans tous les aspects de la vie au Moyen Âge est indéniable. Pourtant l’on connaît encore mal la place qu’y occupe la liturgie ;or, la liturgie est au cœur de l’Église puisque elle est définie comme l’ensemble des rites et principes mis en place par une religion – ici chrétienne – pour établir le déroulement des actes cultuels et de la relation au sacré. Elle est dès lors fondamentale à une époque où la majorité du corps social se reconnaît comme chrétien, elle est l’expression de la religion et rythme toute la société médiévale. <p>Depuis plusieurs années, elle suscite l’intérêt justifié de quelques médiévistes. Ceux-ci ont souligné l’importance de considérer la liturgie dans sa globalité, c'est-à-dire de dépasser la simple étude des livres liturgiques pour s’intéresser également à la façon dont la liturgie était perçue, reçue et vécue par les fidèles notamment au travers de leurs pratiques dévotionnelles, c’est ce que l’on appelle la paraliturgie. <p><p>La liturgie se caractérise par la récurrence des rites qui sont des suites ordonnées de gestes, de sons, d’objets mis en œuvre par un groupe social à des fins symboliques. À ce titre, l’étude des éléments constitutifs de la liturgie se justifie pleinement, puisque le rite ne s’accomplit et n’est efficace que dans la permanence de tous ses éléments. <p><p>L’encens et le luminaire ont ceci de particulier que leurs fonctions utilitaires, pour éclairer et désodoriser, les rendent indispensables à la liturgie. Par ailleurs, le propre du rituel est de donner sens, or, l’encens et le luminaire, par leurs propriétés naturelles se sont vus conférer un sens symbolique dans toutes les cultures où ils sont utilisés. Ce sont des éléments bénéfiques utilisés particulièrement dans la religion car ils permettent de matérialiser la communication entre le monde terrestre et le monde céleste. Toutefois, dans la religion chrétienne, l’encens et le luminaire ont un statut inférieur ou secondaire par rapport au calice ou à l’hostie par exemple. <p><p><p>L’ensemble de ces caractéristiques augurait de l’existence d’un rapport particulier entre ces objets et le fidèle ;leur étude constitue dès lors un outil efficace pour connaître l’impact de la liturgie sur la société médiévale. Sans compter que l’étude des éléments constitutifs de la liturgie n’en est qu’à ses débuts, et si le luminaire a suscité quelques publications récentes, l’encens n’a que peu été abordé ;l’étude de leur couple est, en tous les cas, inédite. Par ailleurs, l’étude de l’encens et du luminaire s’inscrit dans des débats historiographiques plus larges notamment celui des relations commerciales, puisque l’encens est un produit oriental et l’huile d’olive méditerranéen, ce qui en renforce encore l’intérêt. <p><p>Pour connaître les utilisations de l’encens et du luminaire dans la liturgie, préalables indispensablse à la connaissance de leurs emplois dans la paraliturgie, il faut se tourner vers les sources liturgiques ce qui consitute la première partie du travail. <p>L’analyse de ces différentes sources liturgiques a permis de mettre en évidence les usages officiels et les symboliques donnés à l’encens et au luminaire dans les différents rituels de la liturgie romano-gallicane (la messe, la liturgie pascale, la dédicace, l’office divin, le temps de Noël, les funérailles et les rituels d’admission). <p>En définitive, l’encens et luminaire sont des médiateurs entre le monde terrestre et le monde céleste, ils matérialisent et réifient ce lien réciproque. Ils ont un caractère propitiatoire important, intimement lié à leurs vertus apotropaïques et basé sur leurs propriétés naturelles. <p>Les sources liturgiques ne fournissent pas d’information sur le fonctionnement de l’encens et du luminaire, sur leur économie ou sur la façon dont ils étaient utilisés par les fidèles pour manifester leur dévotion ;même si elles laissent entrevoir de riches possibilités. <p>Le champ des recherches à été élargi par l'étude de « dossiers ». Les recherches ont été focalisées autour de centres religieux bien connus dans l’historiographie grâce à des sources remarquables par leur qualité et/ou leur quantité qui ont suscité une bibliographie conséquente. Toutes les sources relatives au centre religieux ont ensuite été dépouillées et analysées systématiquement. Les dossiers de Tours,Reims, Auxerre et Saint-Riquier ont livré beaucoup d’éléments tant sur les questions de la fourniture et du fonctionnement que sur celles des pratiques dévotionnelles liées au luminaire. Les sources "non-liturgiques" de ces quatre dossiers ont ainsi révélé des pratiques communes pour assurer l’approvisionnement en luminaire, qui constitue une dépense importante. L’approvisionnement en encens est plus difficile à déceler. <p>Les sources non-liturgiques, en particulier les récits hagiographiques, apportent de la densité et de l’atmosphère aux sources liturgiques particulièrement froides et factuelles. Elles donnent incidemment des informations sur la forme et le fonctionnement du luminaire principalement, et elles complètent et corroborent les éléments de la première partie. Les éléments concernant le culte des saints sont nombreux. <p>Les pratiques dévotionnelles relevées (culte des saints, donations pour le luminaire, offrandes de cierges, utilisations apotropaïque du luminaire et de l'encens, etc.) témoignent donc que les symboliques du cierge, plus largement du luminaire, et de l'encens sont communes aux pratiques liturgiques et dévotionnelles. <p><p>Le travail montre que la cire, l’huile et l’encens sont utilisés de façon régulière par les églises et qu’ils étaient disponibles sur les marchés locaux pour les ecclésiastiques. Il faut vraisemblablement distinguer plusieurs niveaux de qualité conditionnant l’utilisation de ces matières. <p><p>L’encens et le luminaire sont des outils pertinents pour apprécier la façon dont la liturgie était vécue dans la société médiévale, notamment grâce à leurs usages dans les pratiques paraliturgiques. / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

The diploma thesis is the proposal of the Christian community and spiritual center near Church of St. Anthony of Padua in Ostrava Kunčičky. The building program corresponds to the catchment area of Kunčičky and includes an existing church building (conversion for the contemporary liturgy) with the addition of a new parish with a living space, a parish office and a meeting room. The existing building of the parish (adaptation for commercial use, bistro and offices) and the community center includes: a social hall with the necessary background, 2 flats 1 + kk and apartment for collective accommodation, clubroom and classroom for leisure activities, music, art workshop and warehouse. Part of the area is new square as the new centre of Kunčičky, the park and green area "open garden" with a children's and sports playground. The proposal is based on the creation of a new public space in the vicinity of the existing church. The pre-church is widened and creates a new square, the center of the city with the potential of meeting, landmark, festivities, Christmas markets, etc. On the contrary, the community center is behind the church and creates a new public space "open garden". Around it all community events are concentrated. Among these spaces is a "filter" set, as a soothing element of two poles. The complex offers people from this locality also a wide range of the city, a new offer of cultural, social and spiritual activities.

This thesis contributes to our knowledge of the early (modern) Bohemian musical culture by tracing the musical production and activities at the Jesuit Clementinum college in Prague from its foundation in 1556 to the establishment of the autonomous Bohemian Province in 1623. This analysis draws on original Jesuit archival documents (diaria / diaries, memorial books, catalogi personarum / personnel catalogues, litterae annuae / annual letters, historiographical works of the period) and wider primary sources, which the author interprets within broader socio-cultural and historical realms. Authentic testimonies written in Latin that document musical activities in the Clementinum and the relationship of Prague Jesuits with music are included in the footnotes or in appendices. Individual chapters seek to illustrate (illustrare) and assess (recensere) the materials investigated from the following points of view: 1) institutional (Order, College, associated sodalities); 2) environmental acoustics (broader sound production within the spaces of the College and the rest of the city); 3) prosopographical (music prefects of the College and of the Marian Congregation); 4) surviving musical sources; 5) ceremonies with musical components (liturgical and paraliturgical ceremonies, graduations, congregational...

St Vitus' Cathedral in Prague: Liturgy, Symbolism and Architectural Imitation in Medieval Bohemia In this thesis, the focus is put on the Wenceslas Chapel in St Vitus' Cathedral, the unusual design of which seems to have two levels of meanings: On the one hand, it was probably designed as a recreation of an earlier rotunda that had been founded by St Wenceslas. On the other hand, it seems that the intention was made the chapel and the whole cathedral would resemble the Church of the Holy Sepulchre in Jerusalem, where the Calvary Chapel occupied the same position as the Wenceslas Chapel. This was most likely inspired by presence of the Imperial insignia containing the valuable Passion relics that Charles had acquired in 1350 and placed in the basilica, probably near the Wenceslas Chapel. Perhaps from that reason Charles had the new Gothic chapel decorated with semi-precious stones, because its red spots were associated with the blood of Christ and the Passion. The Wenceslas Chapel together with two Passion chapels at Karlstein Castle, containing Charles IV's private passion treasure, gave rise to the "Passion" architecture of the Luxembourg period. It included the church of St Margaret in the Cistercian monastery in Zlatá Koruna and the Resurrection Chapel attached to the church of SS Peter and Paul at...

Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia. / Thesis (DMus)--University of Pretoria, 2005. / Music / DMus / Unrestricted

The aim of this study is to examine intangible aspects of medieval church architecture from an art historical perspective, by using the theoretical frameworks of  the theologist Alf Härdelin’s theory on multidimensionality and the philosopher of languages  John Langshaw Austin’s the­ory on speech acts and performativity. It studies the relationship between church architecture and liturgy during the 15th century. This case study’s main material is the Upland parish church Ärentuna and the liturgical sources Missale Upsalense novum (1513) and the devotional book Siælinna thrøst (15th century). The interior of the church has been examined to understand how the church interior may have been furnished during the 15th century.  During the 15th century the church had many more altars and devotion pictures than what one can see in the current furnishings of the church. There is a narratological succession in the construction of the building, as well as the iconographical motifs, from West to East, thus the meaning of it becomes increasingly sacred. In that way, the construction of the building, as well as the wall paintings converses, with the liturgy – which has its core in the choir. When lay­people entered the sacred space of the church, they perceived things in a specific order, which creates a sense of order and cohesion within the liturgy. The study found that liturgy produces meaning in the church architecture by giving a visual expression to faith through images. Through performative speech acts found in the liturgy, a multidimensional experience is created by the (theological) fact of Christ's presence in the church. The nave's paintings enhance the visitor’s experience of the church interior as an eternal heavenly presence with motifs such as the Seven days of Creation, the Ten Commandments, the Passion of Christ and finally the Last Judgment.

From 1494 until 1512, around a dozen securely datable prints containing or relating to music were published in the city of Salamanca in present-day Spain. To date, these works have not been considered as a group. This thesis takes the perspective of the Salmantine printers to examine this corpus. To do so, the study gathers methods and secondary sources from a variety of fields, particularly combining history of the Iberian book with musicology. The thesis establishes Juan de Porras as the dominant printer in Salmantine music printing production with prominent connections to the Fonseca family, particularly the Archbishop of Santiago de Compostela, Alfonso II de Fonseca. Music production was also motivated by liturgical reforms sweeping across the Peninsula, as well as related language reforms occurring at the University of Salamanca. While liturgical prints had pre-established markets and patrons, marketing techniques in the music treatises show that these works were targeted to different segments of Iberian society. The thesis includes three appendices which 1) collate all identifiable persons in the prints, 2) present a catalogue of Salmantine music prints from 1494 to 1512, and 3) compare music types used in the liturgical books of the corpus.

The purpose of this thesis is to give an account of the comparable use of dissonance of Palestrina, Lassus, and Victoria through harmonic analysis and statistical comparison, illustrating the stylistic differences among the three composers works. The thesis does. not attempt to cover text setting, melodic construction, ranges, or aesthetic evaluation of composition other than that which pertains to dissonance. The analysis of dissonance was done with primary consideration being given to the vertical structure of the harmony, observing the linear structure only with relation to the approach and resolution of that dissonance.

Questions concerning children's rights and children's place in society have been on the agenda for some decades now. Parallell to this movement questions about children's place in the bible, in the church and in systematic theology have entered the academical conversation. This paper attempts to find a method to investigate whether systematic theology as we know it, has the tools to address these new questions. Axel Honneth's theory on recognition will be important, since the three levels of recognitions he describes are designed to point out the difference between rights and solidarity, between formal recognition and the recognition that sprouts from genuine intrest in shared experience.  The thougths from Honneth are combined with John Wall's argumentation on seeing the child as a full humna being, as a subject. Risto Saarinen's discussion on asymmetrical relations, adds an important perspective. From these three theories, a method is formulated for putting the child in focus on the theological agenda. The gain is not only the recognition of a neglected group, measured to one third of humankind. The new viewpiont shreds its light upon questions important to all of us. The method is a systematic theological tool both useful for pointing out inconsistencies and to suggest solutions to the very same problems.  In the final discussion I show how this could be done by adressing the children's place in the postmodern family project, described by Katarina Westerlund, and children as liturgical leaders with the help of Karin Rubensson's thesis.

La présente thèse a pour principal objectif l’analyse empirique et théologique de la participation active (PA) des pratiquants dominicaux au sein de deux communautés montréalaises catholiques romaines. Les débats portant sur l’objet de l’étude sont encore ouverts eu égard aux récentes réappropriations religieuses des contemporains et aux nouveaux modes culturels. Cette thèse se penchera succinctement sur le sens historique de ce principe, pour ensuite privilégier l’évolution contemporaine des discussions. Ce sont, tout particulièrement, les catégories de participation théologale, externe, interne, communautaire et d’expérience liturgique qui constitueront le cadre d’observation qualitative de cette étude. La notion de PA est en pleine évolution depuis la réforme voulue par Vatican II. En s’appuyant sur des postures théologiques récentes, cette thèse vise à savoir comment les différents paramètres de la PA sont perçus et vécus chez certains pratiquants. Du point de vue pastoral, cette thèse prend appui sur ce courant théologique pour interroger les manières de faire participer les pratiquants pour leur faire vivre authentiquement le mystère eucharistique en s’inspirant notamment des perspectives patristiques. Elle procède aussi à l’étude de l’expérience liturgique des pratiquants suivant les traces de Join-Lambert et de Jean Séguy. Ces théologiens ont traité des problématiques liées au champ émotionnel de la liturgie, Séguy le subordonnant au rituel régulé et rationnel dans le Catholicisme romain. Tout en faisant état des dissidences théologiques concernant cette notion, sujet à controverse, cette thèse conclut que les réformes conciliaires ont eu des impacts positifs sur la pratique liturgique. Elle indique que la participation liturgique paraît moins envisagée sous l’angle d’un rapport implicatif, que d’un rapport électif à la liturgie dominicale. Exprimant des attentes à la fois rituelles rationnelles et rituelles émotionnelles, les pratiquants recherchent davantage l’expérience d’une rencontre personnelle avec Dieu, alors que certains valorisent l’assemblée elle-même. Ensuite, la thèse révèle les enjeux liés au défi ministériel. Surgit la question de la centralité de la figure du prêtre, à l’heure de la synodalité en Église. / The main focus of this thesis is the empirical and theological analysis of the active participation (AP) of Sunday churchgoers in two Roman Catholic Montreal communities. Debates on the object of the study are still open in view of the new religious reappropriations of contemporaries and new cultural modes. This thesis will briefly examine the historical meaning the notion of AP, to then focus on the contemporary evolution of the debate. It is, in particular, the categories of external, internal, community participation and liturgical experience that will constitute the qualitative observation framework of this study. The concept of PA is in full evolution since the reform desired by Vatican II. Based on recent reflections, this thesis aims to know how the different parameters of AP are perceived and experienced by some practitioners. From a pastoral point of view, this thesis is based on this theological current to question the ways of involving practitioners in order to make them live authentically the Eucharistic mystery by drawing inspiration in particular from patristic perspectives. It also proceeds to the study of the liturgical experience of practitioners following in the footsteps of Join-Lambert and Jean Séguy, theologians who have dealt with issues related to the emotional field of the liturgy, Séguy subordinating it to regulated and rational ritual in Catholicism. While noting the theological disagreements concerning this controversial notion, this thesis concludes that the conciliar reforms have had positive impacts on liturgical practice. It indicates that liturgical participation seems less envisaged from the angle of an implicative relationship, than of a selective relationship to the Sunday liturgy. Expressing both rational ritual and emotional ritual expectations, practitioners seek more the experience of a personal encounter with God, while just some value the assembly itself. Then, the thesis reveals the issues related to the ministerial challenge. The question of the centrality of the figure of the priest arises at a time when synodality in the Church is being considered.