Dissertationen zum Thema „Benedictin nun“

La personnalité atypique de Mère Geneviève, unissant humour, art et religion, intrigue. Née Marcelle Gallois en 1888, elle effectue une carrière éclair dans le dessin satirique, reçoit le nom de Geneviève en 1917 à son entrée au monastère de Saint-Louis du Temple à Paris et réussit le tour de force de concilier deux vocations avant de s'éteindre en 1962.Un premier ensemble d'études sur cette artiste est paru parallèlement aux expositions qui se sont déroulées en 2004 au musée des Beaux-Arts de Rouen, en 2008 au musée de Port-Royal des Champs et à la suite d'un colloque en 2012. Cette thèse s'appuie sur l'inventaire complet du corpus des œuvres débuté en 2014, sur une correspondance qui s'est étoffée grâce à l'apport de nouveaux fonds et sur des documents inédits. De plus, un important effort de contextualisation a permis de resituer l'œuvre dans l'histoire de l'art, en mettant en relief les liens avec les différents mouvements profanes et religieux de son époque, et dans celle de la réforme de la liturgie. Il a valorisé aussi l'importance d'un réseau d'aide féminin. La construction et l'évolution du style de Geneviève Gallois, qui n'ont jamais été qu'évoqués, est analysée à travers son choix constant de la ligne et de la figuration reliée à l'Incarnation, qui trouve sa plénitude dans ses images mariales ou ses représentations du Christ. L'expression de la souffrance est une thématique qui reste essentielle dans son œuvre. Elle est complétée par celle de la miséricorde dans un ensemble touffu de Fils prodigues, de syndicats des pardonnés, de tentations de la moniale, etc. L'aventure de la construction de l'abbaye à Limon dans les années 1950, ouvre un chemin vers un renouveau : sortie de guerre, nouvelle vie. La religieuse artiste déploie alors une énergie, une joie qui va jaillir en couleur et mouvement dans les vitraux mais aussi dans le regard malicieux de certains dessins. Elle éclate dans deux vitraux, “Ludens coram deo” qui est l'incarnation des idées de R. Guardini sur la liturgie, et “In paradisum”, une figuration extraordinaire, très libre, de l'arrivée de la moniale au Paradis. La religieuse obscure, triste qui peinait à trouver sa place, est devenue une artiste reconnue par sa communauté. Elle entre dans une phase de pacification malgré l'épreuve de la maladie, élaborant des formes archétypales, une palette iconographique des attitudes de la prière, s'interrogeant sur la médiocrité et la sainteté au travers de ses dessins, sur le combat spirituel, par le biais du Cantique des cantiques. Son style fortement inspiré, entre autres, par ses débuts dans la caricature mais aussi l'art médiéval, évolue alors vers une grande liberté, une épure, tout en restant expressionniste. Il est, à l'apogée de son art, expression de l'inexprimable. Cette recherche se situe dans le cadre de la redécouverte de l'art religieux du XXe siècle où Mère Geneviève a sa place<br>The atypical personality of Mother Geneviève is intriguing, bringing together humor, art and religion. Born Marcelle Gallois in 1888, she had a whirlwind career as a satirical cartoonist, received the name of Geneviève in 1917, upon her entry into the monastery of Saint-Louis du Temple in Paris, and she successfully achieved the feat of reconciling her two vocations before dying in 1962.A first collection of studies on this artist was published in parallel with the exhibitions held in 2004 at the Musée des Beaux-Arts in Rouen, in 2008 at the Musée de Port-Royal des Champs and following a symposium in 2012. The inventory of her corpus, begun in 2014, revealed a prolix work, knowledge of her correspondence has expanded, and new unpublished documents have been discovered. In addition, a significant contextualization effort made it possible to situate the work in the history of art, highlighting the links with the different secular and religious movements of its time, and in that of the reform of the liturgy. It also highlighted the importance of a female support network.The construction and evolution of Genevieve Gallois‘style, which have just only been evoked, is analyzed here through her constant use of line and figuration linked to the Incarnation, which culminates in her Marian images and her representations of Christ.The expression of suffering is an essential theme in her work. It is complemented by that of mercy in a complex group of depictions of the Prodigal Son, the Union of the Forgiven Ones, the Temptations of the Nun, etc.The adventure of building the abbey in Limon in the 1950s marked a path towards renewal: ending of war, building of new life. The religious artist then exhibited renewed energy and joy, which burst forth in color and movement in her stained-glass windows but also in the mischievous look of some of her drawings. This is specifically eloquent in two stained glass windows, “Ludens coram deo” which embodies R. Guardini's ideas on the liturgy, and “In paradisum”, a unique, freely expressed representation of the nun's arrival in Paradise. The once obscure sad nun, who struggled to find her place, became a recognized artist in her community. Despite the ordeal of illness, she entered a phase of pacification, developing archetypal forms, an iconographic palette of prayer attitudes, questioning mediocrity and holiness through her drawings, about the spiritual combat, exploiting the Song of Songs.Her style, strongly inspired, among other things, by his beginnings in caricature but also by medieval art, later evolved towards greater freedom and purity while retaining its expressionist nature. It is, at the height of her art, an expression of the inexpressible.This research contributes to the rediscovery of 20th century religious art, where Mother Geneviève holds a significant place

In Zusammenhang mit der Heroisierung und Stilisierung Spinozas durch die Philosophen des deutschen Idealismus gewinnt ein altes Motiv der Spinozalektüre wieder an Kraft: es ist der im Begriff des "Spinozismus" mitschwingende Vorwurf des ,"Pantheismus". Noch im 18. Jahrhundert mit Atheismus weitgehend identisch, scheint der Begriff im 19. Jahrhundert eine bestimmte philosophische Radikalität zu bezeichnen. Keiner, der über Spinoza im 19. Jahrhundert schreibt, läßt ihn außer Betracht, viele verwenden ihn affirmativ, einige kritisch.

Spinoza hat durch die mathematische Form, in der er sein Hauptwerk, die 'Ethica', abfaßte, der in seiner Zeit viel bedachten, aber kaum diskutierten Frage der philosophischen Methode einen Angriffspunkt gegeben. Sehr zum Nachteil für seine Lehre, denn schon in der zeitgenössischen Rezeption bildete sich das später (bei Christian Wolff beispielsweise) herrschende Urteil, in der 'Ethica' würden atheistische Thesen unter dem Schutz einer exakten Methode für wahr ausgegeben. Die Widerlegungen des Spinozismus bemühten sich demzufolge entweder auf dem Feld der Beweise und Voraussetzungen um den Nachweis der Fehlerhaftigkeit oder sie hielten die Argumentation für unangreifbar und schten den atheistischen Charakter einzelner Lehrsätze aufzuzeigen. Beide Verfahren der Zurückweisung des Spinozismus basierten auf der Unanfechtbarkeit des methodischen Ideals (das man in einem Fall für falsch angewendet, im anderen für unwiderleglich durchgeführt sah). Spinozas Philosophie ist in der Tat (nicht nur der äußeren Form der Ethica nach) mit dem Problem der philosophischen Methode beschäftigt, wie es die Schrift aus den frühen sechziger Jahren, der 'Tractatus de intellectus emendatione', beweist. Dort findet sich eine allgemeine Theorie der Methode als Philosophie. Spinoza thematisiert die Idee der Methode und deren Form also von Beginn an auf einer anderen Ebene als zu seiner Zeit etwa Descartes, Pascal, Hobbes oder die Autoren der 'Logique de Port-Royal', Arnauld und Nicole. Jene haben die philosophische Methode mit den Verfahren der Analyse und Synthese (Descartes), oder unter logischen und rhetorischen Gesichtspunkten (Pascal) diskutiert, beziehungsweise beide Standpunkte beisammen abgehandelt (Arnauld und Nicole). Einzig Hobbes kommt mit seinem Entwurf eines Wissenschaftssystems mit mathematischer Ordnung dem Ideal Spinozas nahe. Den historischen Kontext, wie er hier kurz skizziert ist, nimmt die folgende Unternsuchung zum Anlaß, sich eingehend mit dem Problem der Methode in der Philosophie Spinozas zu beschäftigen. Sie berücksichtigt dazu vor allem den unvollendeten 'Tractatus'. Von dessen Definitionslehre nimmt sie ihren Ausgang, weil diese als Kernstück der Methodologie eine Frage aufwirft, deren Lösung Spinoza in der 'Ethica' versucht. Zudem ist Spinozas Theorie der Definition noch nicht zusammenhängend erläutert worden. Die 'Überständigkeit' der im 'Tractatus' formulierten Frage (einer philosophischen Methode), der auch die Erkenntnistheorie der 'Ethica' keine endgültige Antwort gibt, lenkt die Untersuchung zum Abschluß auf eine Erklärung des mos geometricus, dessen philosophische Relevanz erst vor dem Hintergrund des ursprünglich methodologischen Problems erkennbar werden kann.

Was im späten 18. Jahrhundert mit der Spinoza-Begeisterung von Johann Wolfgang Goethe, Johann Gottfried Herder und Friedrich Heinrich Jacobi begann, setzt sich im 19. Jahrhundert fort: Es ist das Jahrhundert einer intensiven Beschäftigung mit Spinoza und seiner Philosophie. Die spezifische Intensität dieser Beschäftigung wirkt bis heute nach, wie im folgenden gezeigt werden soll. Was im 19. Jahrhundert stattfindet, ist keine Spinoza-Rezeption, keine bloße Interpretation von Leben und Werk, sondern der Anfang eines historischen Begreifens, das Rezeption wie Interpretation bis heute bestimmt. In der Beschäftigung mjt Spinoza hat das 19. Jahrhundert Formen des philosophiehistorischen Denkens ausgebildet, die immer noch prägend sind.

Au-delà de la littérature édifiante ou critique des XVIème, XVIIème et XVIIIème siècles, l’image mentale des religieuses bénédictines et cisterciennes passe aussi par la production et la diffusion de représentations iconographiques via de nombreux supports. L’étude menée sur ce media visuel a permis de rassembler un corpus de 1160 références regroupées en une base de données exploitable. Son analyse se développe autour de l’affirmation de l’importance du témoignage historique et documentaire de l’iconographie pour la connaissance des modes de vie et de pensées de ces moniales. Le traitement typologique du contexte de production, des commanditaires et destinataires des œuvres définit les enjeux et objectifs de ces représentations. L’iconographie présente toutes les caractéristiques spirituelles et temporelles de la vie monastique féminine avec les différentes problématiques qui font l’actualité du monde régulier post-tridentin. L’étude se penche aussi sur la représentation des grandes figures fondatrices du monachisme féminin, comme sainte Scholastique, les saintes fondatrices d’abbayes médiévales et les fondatrices modernes de congrégations nouvelles. L’iconographie donne à voir un monde monastique féminin puissant et émancipé avec l’évocation de la sainteté féminine et de son lien privilégié à Dieu. Les portraits de supérieures et de religieuses sont des témoins directs d’un pouvoir temporel et spirituel similaire à celui de leurs confrères moines. L’image de la bénédictine et de la cistercienne à l’époque moderne se révèle orientée et biaisée, utilisée à des fins de propagande, mais les religieuses en tirent toujours le meilleur parti pour conforter leur légitimité<br>Beyond uplifting or critical literature of 16th, 17th and 18th centuries, the mental image of the Cistercian and Benedictine nuns also involves the production and dissemination of iconographic representations via a variety of media. The study on the visual media brought together a corpus of 1160 references grouped into a usable database. His analysis develops around the affirmation of the importance of the historical and documentary witness of the iconography for the knowledge of the modes of life and thoughts of these nuns. The typological treatment of the context of production, sponsors and recipients of art works defines the stakes and objectives of these representations. Iconography features all the spiritual and temporal of feminine monastic life with the various problems which make the topicality of the post-Tridentine regular world. The study also focuses on the representation of the great founding figures of female monasticism as Saint Scholastica, the Holy founders of medieval abbeys and the modern founders of new congregations. The iconography shows a powerful and emancipated female monastic world with the evocation of feminine Holiness and his relationship to God. Superior and religious portraits are direct witnesses of their temporal and spiritual power similar to that of their fellow monks. The image of the Cistercian and benedictine in modern times turns oriented and biased, used for purposes of propaganda, but the nuns always get the best of that to reinforce their legitimacy

La riforma attuata nel ramo femminile dell'ordine di San Benedetto da Catherine Mectilde de Bar [Madre Mectilde del Santissimo Sacramento] (1614-1698). La formazione, l'opera e gli incontri della religiosa lorenese sullo sfondo delle vicende politiche ed ecclesiali della Francia del XVII secolo. Gli aspetti storici, istituzionali e teologici legati alla fondazione e allo sviluppo dell'Istituto delle benedettine dell'Adorazione Perpetua del Santissimo Sacramento.<br>The reform realised by Catherine Mectilde de Bar [Mother Mectilde of the Most Holy Sacrament] (1614-1698) in the feminine branch of the Benedictine Order. The formation, the works and the writings of this nun from Lorraine in the midst of the political and ecclesial events in seventeenth century France. The historical, institutional and theological aspects connected with the foundation and the development of the institute of the Benedictine nuns of the perpetual adoration of the Most Holy Sacrament.

La riforma attuata nel ramo femminile dell'ordine di San Benedetto da Catherine Mectilde de Bar [Madre Mectilde del Santissimo Sacramento] (1614-1698). La formazione, l'opera e gli incontri della religiosa lorenese sullo sfondo delle vicende politiche ed ecclesiali della Francia del XVII secolo. Gli aspetti storici, istituzionali e teologici legati alla fondazione e allo sviluppo dell'Istituto delle benedettine dell'Adorazione Perpetua del Santissimo Sacramento.<br>The reform realised by Catherine Mectilde de Bar [Mother Mectilde of the Most Holy Sacrament] (1614-1698) in the feminine branch of the Benedictine Order. The formation, the works and the writings of this nun from Lorraine in the midst of the political and ecclesial events in seventeenth century France. The historical, institutional and theological aspects connected with the foundation and the development of the institute of the Benedictine nuns of the perpetual adoration of the Most Holy Sacrament.

Cette thèse répond au défi lancé par Benoît XVI (2009), qui avait appelé toutes les personnes de bonne volonté à réfléchir sur le rôle de la gratuité dans l’économie et la société. Nous avons tâché de relever ce défi sur le plan scientifique, avec les outils et les démarches de l’analyse économique. Sur la base d’une revue systématique de la littérature économique portant sur la gratuité, nous avons essayé de rassembler des éléments pour donner un contenu à une « théorie des biens économiques gratuits ». Cette démarche nous a permis de définir ces biens gratuits, leurs formes et manifestations, et de comprendre leurs principales causes et conséquences. Une attention particulière a été accordée à l’étude de la « gratuité non intentionnelle », omniprésente dans la vie économique. Cette forme de gratuité émane, d’un côté, spontanément du processus de production et, d’un autre côté, des activités des entrepreneurs et des génies créatifs. Une implication forte de ce résultat est que la recherche de profit, stimulus de l’entrepreneur, n’est pas en soi opposée à la production de biens économiques gratuits ; bien au contraire, elle en est une cause. Peu d’économistes apprécient la gratuité non intentionnelle à sa juste valeur. En exagérant la portée réelle de conceptions théoriques telle la maximisation du profit et la concurrence atomistique, la plupart des économistes en appellent à l’État pour limiter les activités marchandes et pour assurer la production de biens économiques gratuits. Il est donc vrai, mais dans un sens assez paradoxal, que l’économie de marché pourrait s’ouvrir davantage à la gratuité si les économistes eux-mêmes travaillaient moins à la réduire dans ce champ<br>Benedict XVI (2009) has called upon all persons of goodwill to reflect upon the role of gratuitousness in economy and society. The present thesis responds to that challenge on the level of scientific inquiry, with the tools and the methods of economic analysis. Starting from a systematic review of the economic literature dealing with gratuitousness, we have tried to assemble conceptual elements to build a “theory of gratuitous economic goods”. Thus we have defined the nature of such gratuitous goods, their forms and manifestations, and analysed their principal causes and consequences. We have bestowed particular attention to the study of “unintentional gratuitousness” – an omnipresent phenomenon in economic life. This form of gratuitousness emanates, on the one hand, spontaneously from the market process and, on the other hand, from the activities of entrepreneurs and creative geniuses. A strong implication of this finding is that the profit motive, the stimulus of entrepreneurial action, is not per se in opposition to the production of gratuitous economic goods; quite to the contrary, it is one of their causes. Few economists have understood the nature and role of unintentional gratuitousness. Most of them, by exaggerating the scope of theoretical concepts such as the maximization of profits and atomistic competition, call for the government to limit the scope of for-profit activities and to promote the production of gratuitous economic goods. Thus it is true, though in a quite paradoxical sense, that the market economy could allow for much more gratuitousness if only the economists themselves did less to prevent this from happening

La tesi si apre con un capitolo introduttivo, che tiene presente l’arco cronologico compreso tra i secoli XII e XIX. L’ampiezza di questo periodo storico è giustificata dall’antichità delle istituzioni antecedenti al monastero cassinese di San Raimondo in Piacenza: una canonica agostiniana (secoli XII-XIV), dedicata a Santa Maria dei Dodici Apostoli, un ospedale di tipo medievale (secoli XII-XVI) e un monastero cistercense femminile (1414-1810). Si è cercato di mettere in luce che le vicende di queste istituzioni sono parte integrante della storia dell’attuale monastero. Dopo un accenno alle soppressioni napoleoniche e alle loro conseguenze per le religiose, la parte centrale della ricerca (comprendente gli altri tre capitoli) riguarda il monastero di San Raimondo in Piacenza nel suo periodo benedettino cassinese. L’erezione canonica è avvenuta nel 1835, in seguito all’iniziativa della fondatrice Teresa Maruffi (1780-1855), monaca piacentina. Nel lavoro si è cercato di mettere in luce l’influsso dell’istituzione anche in campo sociale ed educativo. Il monastero di San Raimondo, infatti, tenendo fermo il carattere contemplativo-claustrale della comunità che vi risiede, ha svolto e svolge tuttora un importante ruolo dal punto di vista scolastico-educativo ed apostolico in campo pastorale e sociale.<br>The thesis opens with an introductory chapter that considers the chronological period between XII and XIX centuries. The wideness of this historical period is justified by the antiquity of the institutions prior to the “cassinese” monastery of San Raimondo in Piacenza: an Augustinian presbytery (XII-XIV centuries), dedicated to Saint Mary of the Twelve Apostles, a medieval hospital (XII-XVI centuries) and a Cistercian convent (1414-1810). They have tried to point out that the events of these institutions are an integral part of the history of the present-day monastery. After a reference to the Napoleonic dissolution and to its consequences for the nuns, the central part of the research (including the other three chapters) concerns the monastery of San Raimondo in Piacenza during the Benedictine “cassinese” period. The monastery was founded in 1835 on the initiative of Teresa Maruffi (1780-1855), a nun from Piacenza. In the research they have tried to point out the influence of the institution in social and educational field. Actually, the monastery of San Raimondo, preserving the cloister-contemplative character of the community that resides there, has played and still plays an important role both from an educational point of view and an apostolic point of view in pastoral and social field.

La tesi si apre con un capitolo introduttivo, che tiene presente l’arco cronologico compreso tra i secoli XII e XIX. L’ampiezza di questo periodo storico è giustificata dall’antichità delle istituzioni antecedenti al monastero cassinese di San Raimondo in Piacenza: una canonica agostiniana (secoli XII-XIV), dedicata a Santa Maria dei Dodici Apostoli, un ospedale di tipo medievale (secoli XII-XVI) e un monastero cistercense femminile (1414-1810). Si è cercato di mettere in luce che le vicende di queste istituzioni sono parte integrante della storia dell’attuale monastero. Dopo un accenno alle soppressioni napoleoniche e alle loro conseguenze per le religiose, la parte centrale della ricerca (comprendente gli altri tre capitoli) riguarda il monastero di San Raimondo in Piacenza nel suo periodo benedettino cassinese. L’erezione canonica è avvenuta nel 1835, in seguito all’iniziativa della fondatrice Teresa Maruffi (1780-1855), monaca piacentina. Nel lavoro si è cercato di mettere in luce l’influsso dell’istituzione anche in campo sociale ed educativo. Il monastero di San Raimondo, infatti, tenendo fermo il carattere contemplativo-claustrale della comunità che vi risiede, ha svolto e svolge tuttora un importante ruolo dal punto di vista scolastico-educativo ed apostolico in campo pastorale e sociale.<br>The thesis opens with an introductory chapter that considers the chronological period between XII and XIX centuries. The wideness of this historical period is justified by the antiquity of the institutions prior to the “cassinese” monastery of San Raimondo in Piacenza: an Augustinian presbytery (XII-XIV centuries), dedicated to Saint Mary of the Twelve Apostles, a medieval hospital (XII-XVI centuries) and a Cistercian convent (1414-1810). They have tried to point out that the events of these institutions are an integral part of the history of the present-day monastery. After a reference to the Napoleonic dissolution and to its consequences for the nuns, the central part of the research (including the other three chapters) concerns the monastery of San Raimondo in Piacenza during the Benedictine “cassinese” period. The monastery was founded in 1835 on the initiative of Teresa Maruffi (1780-1855), a nun from Piacenza. In the research they have tried to point out the influence of the institution in social and educational field. Actually, the monastery of San Raimondo, preserving the cloister-contemplative character of the community that resides there, has played and still plays an important role both from an educational point of view and an apostolic point of view in pastoral and social field.

Emendatio vitae was the most widely copied of all Richard Rolle’s writings in fourteenth and fifteenth-century England, and yet in modern scholarship this important work and its early audience have received comparatively little scholarly attention. My aim has been to address this lacuna by producing an edition of one of the seven Middle English translations of the text - Amendinge of Lyf - with notes and glossary. In an introductory study I adopt a dual focus: Rolle’s intended audience, and the actual early readers of this particular Middle English translation. Firstly, I conclude that Rolle may have intended Emendatio vitae as a work of ‘pastoralia’, for secular priests, and therefore with a wider audience of the laity also in mind. This being the case, it demonstrates that the adaptation of traditionally eremitic contemplative writings for a general audience, so widespread in the fifteenth-century, was already stirring in Rolle’s day. Secondly, I look in detail at a specific crosssection of Rolle’s early readership: a translator, several scribes and correctors, and other early readers and owners. The striking thing about this segment of the text’s reception is its breadth, including a priest, a number of prominent lay women and men, and by the end of the fifteenth-century also Dominican and Benedictine nuns.

This thesis examines the intricacies of women's vowed life in the High Middle Ages with regard to key aspects of contemporary religiosity. Vowed women are studied in their connection and interaction with the male world of authorities and spiritual guides. The diachronic approach is employed with a focus on the ideals and spirituality of three different types of vowed women's groups; traditional monastic groups living according to the Benedictine rule, namely Benedictines and Cistercians, Mendicant groups, which include Poor Clares, Dominicans and tertiaries of both orders, and finally groups of non-conformist vowed women, including beguines, anchoresses and recluses. This thesis serves as a probe into the proclaimed ideals of these groups in the view of male authorities, and points out the tendencies in the spirituality of specific vowed women. The principal method is the analysis of several types of sources with the categories of analysis being three key aspects of the religious life of the society of the High Middle Ages, namely the relationship to asceticism, the relationship to Christ and the Eucharist, and the Marian devotion. The introductory chapter presents the preconditions for constructing the role and position of the female gender in medieval society and subsequently discusses the origin...

O Mosteiro de Santa Maria do Mar, com sua cerca, em Sassoeiros, Portugal, é um trabalho dos arquitectos Nuno Portas, Pedro Vieira de Almeida e Nuno Teotónio Pereira realizado no período entre 1958 e 1968. O projecto foi uma encomenda da Congregação das Irmãs Beneditinas da Rainha dos Apóstolos que o habitou até 2010. O presente estudo parte do arquivo do Atelier de Nuno Teotónio Pereira para estudar o processo de projecto, uma relação entre entidades, equipa de projecto e cliente, que se materializou no edifício existente, cuja construção não foi terminada e foi posteriormente ampliada segundo um novo projecto. O estudo do processo de projecto é introduzido por um enquadramento na história da arquitectura e da ordem religiosa e dos edifícios que habitou, por exemplo o Mosteiro de Roriz, de Raul Lino, que demonstra a preocupação das irmãs e relação à arquitectura que habitavam. Este contexto faz a ponte para o Mosteiro moderno de Sassoeiros cujo projecto foi realizado em grande colaboração entre arquitectos e cliente.<br>The Monastery of St. Mary of the Sea, in Sassoeiros, Portugal, is a work by architects Nuno Portas, Pedro Vieira de Almeida and Nuno Teotónio Pereira, designed between 1958 and 1968. The design was commissioned by the Benedictine Sisters of the Queen of the Apostles who inhabited the building till 2010. The present essay departs from the Nuno Teotónio Pereira Office Archive to study the process of the design, a relationship between entities – project team and client – that materialized in the building that exists nowadays, which construction was never finished and was later expanded according to a new design. The study of the process of the design is introduced by the History of Architecture framing of the religious order and of the buildings that inhabited, for example, the Monastery of Roriz, by the Architect Raul Lino, that demonstrates the care of the sister by the architecture in which they lived. This context makes the bridge to the modern Monastery of Sassoeiros which design was accomplished in a great collaboration between architects and client.

The diploma thesis is devoted to the abbess focusing on her spiritual and secular duties, on the powers in the administration of the convent and in the care of the nunnery property at the turn of the late Middle Ages and Early Modern Era. For describing the ideal conception of the post of the abbess the study uses legislative regulations of various levels: the statutes and rules of women's contemplative and mendicant religious orders as welll as the decrees of the Council of Trent. On the example of three selected women's monasteries of three different orders - the Benedictine convent of St. George at Prague Castle, the Cistercian nunnery in Pohled, the monastery of the Poor Clares in Panenský Týnec - illustrates how the real influence of the Mother Superior differs from the ideal one. The text is based on an exploration of the written archival materials of the monasteries, from which were selected individual cases, that illustrate what the abbess had to deal with. According to the regulations, the authority for solution disputes inside the convent should be the Prague Archbishop, the King of Bohemia and his officers on property matters, but the archival sources show that secular and ecclesiastical law was very often intertwined. The most frequent sources for the diploma thesis were letters written...