The pilgrimage church of Holy Trinity in Trhové Sviny Abstract This thesis presents a monograph of the pilgrimage church of Holy Trinity near Trhové Sviny. It focuses on its origin, historical background and the benefactors of the building and finally on the artistic value of the church. The work deals not only with a description of the church's architecture, but also looks into patterns and analogies with the Bavarian pilgrimage churches such as the one in Kappel near Waldsassen. Interestingly, the unifying element is the iconography of the Holy Trinity, which is reflected in the architecture and decoration of the church, in frescoes and the mobiliar. This iconographic concept is cleverly thought out, especially in the Trinitarian symbolism of the number three and the triangle motif that is repeated several times here. A valuable contribution is the main altar from Matěj Václav Jäckel, who probably created the church pulpit as well. The frescoes celebrating the Holy Trinity were made by Carlo Bonanelli who worked in the nearby České Budějovice. The church is an interesting result of the unifying principles of Baroque theology with the ultimate art design work. And we must not forget the question of the baroque feeling demonstrated through an impressive setting of the church in the landscape. Pilgrimage...

Art, health and faith.. These three topics are the main elements of the thesis. I am interested in the point when faith and art meet and offer to a person support certainty or hope. In the thesis I deal with the phenomenon of searching places of pilgrimage, which spiritually fulfilled people and in time those places have become the reflection of culture and mentality of a nation. Exactly in these places happened miraculous recoveries the most often and because of it, the people started believing in strength and magic. The thesis examines if even today we visit cultural and artistic events with the same ambition and energy as the original pilgrims. The basic element of my final part is the video of my personal places of pilgrimage which I visited within the last year. The second part deals with my newly founded online gallery which maps modern forms of pilgrimage. The whole installation is supported by the third part which is my pilgrim coat which I customized during my last travels to suit my needs.

京都大学 / 0048 / 新制・課程博士 / 博士(地球環境学) / 甲第20542号 / 地環博第163号 / 新制||地環||33(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)教授 柴田 昌三, 教授 星野 敏, 准教授 深町 加津枝 / 学位規則第4条第1項該当 / Doctor of Global Environmental Studies / Kyoto University / DFAM

Involvement of Czech Republic to the Europe-wide network of pilgrimage routes, which are leading to Santiago de Compostela. Bring back the tradition of traveling through the physical and mental landscape. Form of the path and its meaning as a part of the whole, but also on one’s own, independently, with its own beginning and destination. Presentation of unique landscape and human values and their mutuall blending and influencing in the course of history

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I have always felt personally challenged and invigorated by one line in Peter Brook's canonical text The Empty Stage: “if the need for a true contact with a sacred invisibility through the theatre still exists, then all possible vehicles must be re-examined" (Brook 54). This thesis will endeavour to suggest and explore heavenly theatre, one possible vehicle to find that sacred invisibility. I will argue that heavenly theatre encompasses Peter Brook's understanding of holy theatre, but is more specific and tied to the manifestation of deity in the form of the Holy Spirit as understood and defined within my personal religious beliefs in LDS theology (of or belonging to The Church of Jesus Christ of Latter-day Saints). The blue print, foundation, or first consideration in creating this heavenly theatre is narrative, and I will show that practitioners searching for the sacred or holy in theatre have largely neglected discussing narrative as a core element of their endeavours. Specifically, I will examine pilgrimage narrative, a potential blue print for heavenly theatre, but one which is not prescriptive. I will engage with pilgrimage through the seminal writings on Christian pilgrimage by the anthropologist Victor Turner and his wife Edith Turner, and go on to explore how the pilgrimage narrative is deeply embedded in King Lear. I will then conclude that this pilgrimage narrative parallels in many respects the journey of Jesus Christ, and how this parallel lends itself to the creation of heavenly theatre. When interviewed, the Canadian director Robert LePage once said he believed the purpose of theatre was to put us, “in contact with the gods" (Delgado 143). I agree with him, and this thesis represents the very beginnings of my personal journey, or pilgrimage as it were, to understand a little more as to how that may be possible.

Lelov, an otherwise quiet village about fifty miles south of Cracow (Poland), is where Rebbe Dovid (David) Biederman founder of the Lelov ultra-orthodox (Chasidic) Jewish group, - is buried. His grave is now a focal point of the Chasidic pilgrimages. The pilgrims themselves are a Chasidic hodgepodge, dressed in fur-brimmed hats, dreadlocked, and they all come to Lelov for the same reasons: to pray, love, and eat with their brethren. The number of pilgrims has grown exponentially since the collapse of Communism in Poland in 1989; today about three hundred ultra-orthodox Jews make a trek. Mass pilgrimage to kevorim (Chasidic graves), is quite a new phenomenon in Eastern Europe but it has already became part of Chasidic identity. This thesis focuses on the Chasidic pilgrimage which has always been a major part of the Jewish tradition. However, for the past fifty years, only a devoted few have been able to undertake trips back to Poland. With the collapse of Communism, when the sites in Eastern and Central Europe became more open and much more accessible, the ultra-orthodox Jews were among the first to create a ‘return movement’. Those who had been the last to leave Poland in search of asylum are now becoming the initiators of the re-discovery of Jewish symbols in this part of the world.

This paper calls for a broad conception of sacrifice to be developed as a resource for cultural sociology. It argues the term was framed too narrowly in the classical work of Hubert and Mauss. The later approach of Bataille permits a maximal understanding of sacrifice as non-utilitarian expenditures of money, energy, passion and effort directed towards the experience of transcendence. From this perspective, pilgrimage can be understood as a specific modality of sacrificial activity. This paper applies this understanding of sacrifice and pilgrimage to the annual Bayreuth “Wagner” Festival in Germany. Drawing on a multi-year mixed-methods study involving ethnography, semi-structured interviews and historical research, the article traces sacrificial expenditures at the level of individual festival attendees. These include financial costs, arduous travel, dedicated research of the artworks, and disciplines of the body. Some are lucky enough to experience transcendence in the form of deep emotional experience, and a sense of contact with sacred spaces and forces. Our study is intended as an exemplary paradigm case that can be drawn upon analogically by scholars. We suggest that other aspects of social experience, including many that are more ‘everyday’, can be understood through a maximal model of sacrifice and that a rigorous, wider comparative sociology could be developed using this tool.

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