Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-06-19T19:12:44Z No. of bitstreams: 1 Sergio Cesar Prates.pdf: 1452123 bytes, checksum: 412e754c70bd63d7debc451b89bd4380 (MD5) / Made available in DSpace on 2017-06-19T19:12:44Z (GMT). No. of bitstreams: 1 Sergio Cesar Prates.pdf: 1452123 bytes, checksum: 412e754c70bd63d7debc451b89bd4380 (MD5) Previous issue date: 2017-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this research is to address the distances that exist on Mircea Eliade and Rudolf Bultmann’s perspectives about the myth. As we investigate the issue of myth and its interpretations we find that there are many significant discussions about the theme. Among them, unquestionably, two stand out not because of their role over others, but because of the importance that this question plays in the thinking of their researchers, since it is practically impossible to disassociate the question from the myth on Mircea Eliade and Rudolf Bultmann’s thoughts. For Eliade the myth reveals that the world, human and life have a supernatural origin and story. This sacred story, besides being true, is significant, precious and exemplary, as it makes reference and brings meaning to the realities of a certain society to which the myth belongs. In contrast Bultmann notes a problem to be solved in the application of his hermeneutics: how to relate to the question of the myth present in the New Testament writings. The myth is a threat to the modern mind steeped in a scientific worldview. Myth and modern thought are totally excluding. What Bultmann insists on is the elimination of the conceptual universe of the New Testament so that the word of God can be understood by modern man. The myth, therefore, in Bultmann's conception is nothing more than a way of objectifying what is transcendent to the immanent, is to transform divine beings into humans. In this way, we will analyze the assumptions that led both to take different paths and construct opposite hermeneutics of the myth. And finally, to understand the repercussions of hermeneutical practices for contemporary religious thoughts. / O objetivo dessa pesquisa é abordar os distanciamentos que existem sobre as perspectivas de Mircea Eliade e Rudolf Bultmann acerca do mito. Ao investigarmos sobre a questão do mito e suas interpretações constatamos que existem muitas discussões significativas acerca do tema. Dentre elas inquestionavelmente duas se destacam, não pelo papel que exercem sobre as outras, mas pela importância que esta questão desempenha no pensamento de seus pesquisadores, pois é praticamente impossível desassociar a questão do mito do pensamento de Mircea Eliade e Rudolf Bultmann. Para Eliade o mito revela que o mundo, o homem e a vida possuem uma origem e uma história sobrenatural. Essa história sagrada além de verdadeira é significativa, preciosa e exemplar, pois faz referencia e traz significado às realidades de determinada sociedade a qual pertence o mito. Em contrapartida Bultmann constata um problema a ser resolvido na aplicação de sua hermenêutica: como se relacionar com a questão do mito presente nos escritos neotestamentários. O mito é uma ameaça à mente moderna mergulhada em uma cosmovisão científica. Mito e pensamento moderno são totalmente excludentes. Em que Bultmann insiste é na eliminação do universo conceitual do Novo Testamento para que a palavra de Deus possa ser compreendida pelo homem moderno. O mito, portanto, na concepção de Bultmann nada mais é do que uma forma de objetivar o que é transcendente para o imanente, é transformar seres divinos em humanos. Desta forma, analisaremos os pressupostos que levaram ambos a tomarem caminhos distintos e construírem hermenêuticas opostas do mito. E por fim, entender as repercussões de suas práticas hermenêuticas para o pensamento religioso contemporâneo.

189 p. / Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.

Background – Enhanced social research interviews seek to engage interviewees in extended conversation-like dialogues where they are empowered to produce output by discussing themes of relevance to them. Photos, videos, vignettes and other enhancing tools have been used before in social sciences research interviews to contextualise the interview interaction. Initial Assumption – Sacred texts (such as excerpts from the Bible and the Quran) enjoy some features that make them potential tools to enhance research interviews. This study set out to answer the Research Question: ‘What are the benefits and challenges of using sacred texts as tools to enhance social research interviews?’ Methodology – Selected Biblical and Quranic verses were used in three sets each, to start social discussions with fifteen Christian and thirteen Muslim participants, respectively, in semi-structured interviews. Findings – The findings of this empirical study show that using sacred texts was perceived favourably by the participants, enhanced the dynamics of the interviews and provided a platform to produce data that are rich, varied and nuanced. Conclusion – This research points out the usefulness of sacred texts – as enhancing tools – when used in social research interviews to produce natural conversations that, in turn, lead to rich, nuanced data. This suggests that sacred texts can be added to the qualitative research interview-enhancing toolbox especially with exploratory studies that are open for emerging themes during interview settings. Research areas where sacred texts can be used in interviews include: ethics, social relations, gender roles, psychology, moral choices, cultural studies and spirituality, among other social sciences disciplines. Researchers as well as participants will be expected to have a degree of familiarity with the sacred book or texts to make both interviewers and interviewees interested enough in discussing it in an open and respectful setting.

Thesis (Ph.D.)--Boston University / The Great Commission is a sacred cantata written for mixed chorus, soprano, messo soprano, tenor, and bass soloists, and symphony orchestra. The main text, St. Mark xvi. 15-18, determines the general plan. It is composed in six parts with a finale. Part I contains the command of Jesus, "Go ye into all the world and preach the gospel." Parts II to VI are each made up of, (1) an introduction with the pronouncement of one of the signs which would follow, and, (2) a musical setting of a biblical text which is a fulfilment. Part I begins with a processional type introduction in g minor for full orchestra and marked Moderato maestoso. It is formed of irregular length phrases punctuated by short rests and introduces the entrance of the chorus, singing in unison, "Jesus came...and spoke", with the sopranos beginning on a high G. [TRUNCATED]

Joseph Ratzinger, who led the Catholic Church as Pope Benedict XVI from 2005 to 2013, is a well-respected and published theologian. Much of his writing centers on the liturgy, and he has addressed the topic of music several times. His theological understanding of liturgical music and its application to the pipe organ together with its repertoire is the focus of this dissertation. The first two chapters deal with Ratzinger’s theological writings on the liturgy and sacred music as well as their significance for the pipe organ. Several themes emerge in his writings. These reveal Ratzinger’s understanding of the liturgy and are identified as characteristics of true liturgical music. Though he rarely speaks directly about the organ, these characteristics, namely, cosmos, logos, mystery, and history can be connected with both the instrument and its repertoire. In chapters three through five, select pieces from the masterworks of the Catholic organ tradition, Frescobaldi’s Fiori Musicali, Tournemire’s L’Orgue Mystique, and Langlais’ Livre Oecumenique, are analyzed and interpreted in light of Ratzinger’s theology. The organ has also been used as an accompanimental instrument and for improvisation in the liturgy. This is considered in chapters six and seven. In chapter eight, attention is given to the pipe organ itself, and the instrument is found to be a symbol of the same theological concepts Ratzinger associates with the liturgy. The last chapter provides a summary and indicates the implications of Ratzinger’s theology for the liturgical role of the pipe organ today. This comprehensive examination of Ratzinger’s theology of liturgical music and the pipe organ with its liturgical repertoire, which includes written compositions, accompaniment, and improvisation, reveals the relationship between them. The organ itself embodies Ratzinger’s themes of cosmos, logos, mystery, and history and is therefore the ideal liturgical instrument, indeed, the king of musical instruments. Through analysis, certain musical characteristics are discovered that can be said to exemplify elements of liturgical theology. Ultimately, Ratzinger’s liturgical theology assigns value to the historic role of the organ in the liturgy and illuminates the worth and relevance of the Church’s treasury of sacred organ music.

Identity and Suyu Affiliation in the Inca EmpireBy means of two discrete examples, this study attempts to show that the Incas forged imperial identities using the division of Andean space in four suyus, or Tawantinsuyu. In the case of the cult of the sun at Titicaca, groups from all four suyus participated. Through the resettlement of people from all four, the Incas generalized the solar cult to the entire empire. The other case deals with the cults to the snow-covered mountains of Arequipa, called huacas pacariscas. In this instance only mitimaes from the same suyu where the mountain was located participated. It is noteworthy that —as in the region surounding Cuzco— the suyu division in the larger territory was related to sacred places on the landscape, and in the instances explored here, to the most sacred sites in the Andean territory. / Mediante dos casos concretos se intenta demostrar que los incas forjaban identidades imperiales en base a la división de su territorio en cuatro suyus, llamada Tawantinsuyu. En el primer caso se trata del culto al Sol en la isla de Titicaca, en el cual participaban mitimaes procedentes de los cuatro suyus. A través de la reubicación de personas procedentes de los cuatro suyus, los incas generalizaron este culto a todo el imperio. El otro caso se refiere al culto rendido a los nevados de Arequipa, llamados huacas pacariscas. Estos cultos fueron mantenidos sólo por mitimaes del suyu en que se ubicaba el nevado, forjando identidades también a un nivel local. Además, hay que destacar que, al igual que en la región del Cuzco, la división en suyus se relacionaba con los lugares sagrados y, en este caso, con los sitios sagrados más importantes del territorio andino.

Este estudo busca dar visibilidade ao estar-junto-dançando nas Danças Circulares Sagradas, aos encontros e sentidos construídos pelos Corpos Dançantes na convivência do grupo e fora dele. Através dos depoimentos e falas de nove Dançantes do grupo de Danças Circulares Sagradas do Centro Comunitário George Black da Secretaria Municipal de Esportes, Recreação e Lazer, partícipes deste estudo, foi possível identificar o exercício do olhar e da escuta sensíveis. Além da prática da presença e do ritmo, da percepção do erro, da dúvida, como processo inerente do dançar-junto no círculo. Para a constituição de um espaço reflexivo no grupo, utilizei as Cartas de Caminho(Apêndice B), que representam as emoções e sentimentos advindos desse dinâmico, complexo e multidimensional contato dos Corpos Dançantes com o vitalismo manifestado por esse estar-junto-dançando. No entanto, para a realização desse caminho, foi necessário mergulhar nas trilhas e mestres das Danças Circulares Sagradas, suas relações com o Sagrado, seus Mitos e Símbolos, estabelecendo um paralelo com minha história pessoal e os caminhos que me levaram à pesquisa. Busquei teoricamente o apoio de Michel Maffesoli, na perspectiva de um estar-junto sensível e solidário, na visão de complexidade de Edgar Morin e na concepção de corpo próprio de Merleau-Ponty. Muitos outros autores contribuíram para o adensamento reflexivo, mas foram os depoimentos e falas dos Dançantes que me possibilitaram ir além, com vistas a uma Pedagogia do Sensível, onde o ritmo, o olhar e a escuta sensíveis estavam presentes. / This study seeks to give visibility to the being-together-dancing in the Sacred Circle Dances, meetings and meanings constructed by Dancing Bodies in the living of the group and outside it. Through interviews and speeches of nine Dancing group Sacred Circle Dances George Black Community Center of the Municipal Secretary of Sports Recreation and Leisure, participants in this study, we observed the exercise of looking and listening sensitive. In the practice of the presence and rhythm, the perception of error, definitely as a process inherent in dance-along in the circle. To form a reflective space in the group, used the Letters of Way, representing the emotions and feelings arising from this dynamic, complex and multidimensional contact Dancing Bodies with vitalism expressed by this being-together-dancing. However to achieve this way, it was necessary to dive into the tracks and masters of the Sacred Circle Dances, their relations with the Sacred, its Myths and Symbols, drawing a parallel with my personal history and the paths that led me to research. To do so, I sought the support of Maffesoli theoretically, from the perspective of a being-together-sensitive and supportive, in view of the complexity of Morin and designing its own body of Merleau-Ponty. Many others have contributed to the reflective density, but it was the testimony and statements of Dancing that allowed me to go further with a view to the sensitive pedagogy, where the pace, look and listen sensitive were present.

A pesquisa tem como objetivos a apresentação do trabalho artístico, em suas diversas mídias; e uma discussão de questões que o circundam: procedimentos, espaços aos quais se identifica, desdobramentos da imagem fotográfica e da memória, através de autores e conceitos que se inter-relacionam. / The research has as objective the presentation of the artistic work in its different medias, and a discussion about questions which surround it: procedures, spaces which it identifies, developments of photographic and memory images, between authors and concepts which interrelate.

Exploring human rights violations in areas of conflict is a very challenging endeavor as the consequences of conflict wreak havoc on communities and the built environment. When sacred space, specifically, has been intentionally and maliciously damaged, a group's right to cultural heritage has been potentially violated. As laid out by numerous international covenants, this is a denial of basic human rights. Therefore, using international human rights laws to set precedents, definitions and guidelines, the preservation of a sacred space after intentional damage can help protect those rights and rectify a wrong committed against a group. Studying the racially motivated bombing of 16th Street Baptist Church in Birmingham, Alabama as a case study and using human rights legislation to frame preservation work in general, the inherent yet complicated connection between historic preservation and human rights can be explored and understood.

The period of tumultuous religious reformation during which George Herbert lived demanded of people a strict adherence to the paradigmatic structures that prescribed the ways in which public displays of religious conviction were to be manifested. The freedom, indeed the necessity, to doubt is taken for granted by the modern reader, but for Herbert it was a matter of spiritual life and death. As country parson, he diligently labored to guide his parishioners, administer the sacraments, and exemplify the “right path.” This persona—reinforced by necessarily performative, faith-demonstrating actions—is continually destabilized by the experience of doubt, which leads Herbert to address his own persistent despair at the absence of God through poetry. His masterful use of the structural and thematic patterns of the Psalms in many of the poems of The Temple draws on the rich tradition of lament in contrast to the prescriptive, ideological agendas of the Book of Common Prayer and the Common Lectionary which privilege faith. The poems demonstrate an extensive knowledge of the epistemological foundations and history of both official Church doctrine and of medieval mystical thought and become a tool for exploring the paradoxes of human existence. His philosophical and rhetorical engagement with the Christological and ecclesiastical theology specific to Dionysian mysticism demonstrates the intensity of Herbert’s preoccupation with Divine absence and his near obsessive search for the ideal apophatic presence, that silent, knowing-unknowing that defines oneness with God. Nowhere are Herbert’s existential dilemmas more evident than in Memoriae Matris Sacrum, a sequence of poems written immediately following the death of his beloved mother, which reveals an inner life of the poet that his more controlled poetic voice of The Temple often conceals. These elegiac poems, written in Latin and Greek, show the poet as a “mourning child” and lay bare his most intimate fears about the constancy of his own faith and the uncertain terms of Christian death and resurrection embodied in the sacred ritual of the Eucharist. The poetic closure often ascribed to Herbert’s poems in fact disguises the nature of spiritual and psychological dilemmas which remain for Herbert persistent and unresolved.