Dissertations / Theses on the topic 'Liturgical art'
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Close, Jennifer M., and n/a. "A Feminist Understanding of Liturgical Art." Griffith University. School of Theology, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060301.141353.
Full textLee, Keonsoo. "Revisiting the use of art, imagery and symbolism in the Presbyterian Liturgical tradition in Korea : a practical-theological research." Thesis, Stellenbosch : Stellenbosch University, 2013, 2013. http://hdl.handle.net/10019.1/85728.
Full textENGLISH ABSTRACT: Aesthetics has a theological calling: The beauty (or ugliness) in the world and art incites us to long for the divine eternal beauty. The earthly beauty is revelatory and analogous to the beauty of God. Imagination, i.e. making an image, whether mental or physical, is an inherent faculty of human beings who were created in the image of God. It is an insuppressible human activity. Besides, the search for meaning, which is a universal human quest for the purpose in life, is a concern common in both religion and art. Aesthetics (art and beauty) thereby should be a theological locus, a graceful partner of theological dialogue. But how much are aesthetic dimensions incorporated in the Korean Presbyterian theological/liturgical context? Visual art, imagery and symbolism are considered marginal or even dangerous in the Korean Presbyterian churches while preaching is given a dominant position in their worship services. As a result, they are losing sight of the essential implications that aesthetic, embodied experiences of art, imagery and symbolism have for liturgical richness. Art, imagery and symbolism are fundamental components in Christian life and worship as demonstrated with numerous evidences throughout the Christian history. They are never discordant with the tradition of the Word, but rather, have critical importance to theology for five reasons – the human as embodied being, a manifestation of imago Dei, the integrative characteristic of our thinking and perceiving, the Bible as book of images, and the contemporary culture of images. Against this backdrop, aesthetic expressions of art, imagery and symbolism are claimed to have five features significant to Christian worship: The revelatory power of the beauty in nature or works of art displays something of God; aesthetic expressions of art, imagery and symbolism speak to the human totality as an intelligent-affective-sensate-corporeal being; people necessarily become participants in the performative nature of art and its claim of truth; the beauty, truth and goodness manifested in works of art may be a reminder of our responsibility to work for the transformation of the world; an artwork can serve an eloquent mode of hoping for the present absent reality of the Kingdom of God. In terms of these qualities, an implication that aesthetic experiences in worship have the power to reframe, taking us to the encounter with the divine beauty, goodness and truth, is drawn, and a fusion of the verbal and non-verbal is claimed conclusively.
AFRIKAANSE OPSOMMING: Estetika het 'n teologiese roeping: Die skoonheid (of lelikheid) in die wêreld en kuns moedig ons aan om na die goddelike ewige skoonheid te verlang. Die aardse skoonheid is openbarend en ooreenkomstig tot die skoonheid van God. Verbeelding, dit wil sê die maak van 'n beeld, óf dit geestelik of fisies is, is 'n inherente fakulteit van die mens wat in die beeld van God geskape is. Dit is 'n menslike aktiwiteit wat nie onderdruk kan word nie. Buitendien, die soeke na betekenis, wat 'n universele menslike soektog na die doel van die lewe is, is 'n belangstelling wat algemeen in godsdiens en kuns voorkom. Estetika (kuns en skoonheid) moet daarmee 'n teologiese lokus wees, 'n bekoorlike vennoot in die teologiese dialoog. Hoeveel van estetiese dimensies word egter in die Koreaanse Presbiteriaanse teologiese / liturgiese konteks opgeneem? Visuele kuns, beelde en simboliek word as marginaal of selfs gevaarlik in die Koreaanse Presbiteriaanse kerke beskou, terwyl prediking 'n dominante posisie in hul eredienste beklee. Die gevolg is dat die belangrikste implikasies wat die estetiese, beliggaamde ervarings wat kuns, beelde en simboliek vir liturgiese rykdom inhou, uit die oog verloor word. Kuns, beelde en simboliek is fundamentele komponente van die Christelike lewe en aanbidding soos verskeie getuienis in die Christelike geskiedenis demonstreer. Hulle is nooit teenstrydig met die tradisie van die Woord nie, maar dit is eerder van kardinale belang vir die teologie vir vyf redes – die mens as beliggaamde wese; 'n manifestasie van die Imago Dei; die geïntegreerde kenmerk van ons denke en waarneming; die Bybel as boek van beelde, en die huidige kontemporêre kultuur van beelde. Die estetiese uitdrukking van kuns, beelde en simboliek besit op hierdie gronde vyf eienskappe van belang vir die Christelike aanbidding naamlik: Die openbarende krag van skoonheid in die natuur of kunswerke wat iets van God vertoon; die estetiese uitdrukking van kuns, beelde en simboliek praat tot die menslike totaliteit as 'n intelligente-affektiewe-sintuiglik-waarnemende-liggaamlike wese; mense word noodsaaklike deelnemers in die performatiewe aard van kuns en sy eis van die waarheid; die skoonheid, waarheid en goedheid wat in kunswerke te sien is, kan vir ons tot 'n herinnering wees van ons verantwoordelikheid om vir die transformasie van die wêreld te werk; 'n kunswerk kan as 'n welsprekende beeld van hoop vir die hede dien in die afwesige werklikheid van die Koninkryk van God. Die implikasie van die mag om verandering te weeg te bring wat estetiese ervarings in aanbidding mag hê, word volgens hierdie eienskappe veronderstel. Dit neem ons na ʼn ontmoeting met die goddelike skoonheid, goedheid en waarheid en die samesmelting van die verbale en nieverbale word gevolglik opgeëis.
Essex, Sandra Mikel. "Metal concepts : the calligraphic image." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897526.
Full textDepartment of Art
Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.
Full textDepartment of Art
Holmes, Andrew David. "To see or not to see : communication, cooperation and co-creation in the use of liturgical media art in Protestant worship." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/9418/.
Full textBenchabo-Benlolo, Bida-Guila. "Inventaire des synagogues et objets de culte de Casablanca : les vestiges d'un patrimoine en sursis." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF017.
Full textThis thesis is an exhaustive inventory of Casablanca synagogues (based on, closed or missing) and ritual objects they contain. The etablishment of these places of worship provide also information on the jewish community of this city as well as the mobility of its population between 1911 and 2013. Casablanca, open-air museum, was influenced by artistic currents imported by colonization, such as the bauhaus, Art nouveau style, Art Déco, gothics elements ... mixed with local influence and architecture imported from the other cities of Morocco, as well as colonial architecture. Those architectural movements will penetrate private houses including jewish families of Casablanca to finally get into the synagogues and influence their architecture, furniture and liturgical objects
Nichols, Bridget. "Liturgical hermeneutics : interpreting liturgical rites in performance /." Frankfurt an Main ; New York ; Paris [etc.] : P. Lang, 1996. http://catalogue.bnf.fr/ark:/12148/cb37196131c.
Full textNelson, Kathleen E. "Medieval liturgical music of Zamora /." Ottawa : The Institute of Mediaeval music, 1996. http://catalogue.bnf.fr/ark:/12148/cb369600647.
Full textNOBILI, ELENA. "Alfredo Ildefonso Schuster a Roma (1880 - 1929)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1070.
Full textAlfredo Ildefonso Schuster (1880-1954) was a Benedictine monk at the Basilica of Saint-Paul-Outside-the-Walls in Rome and Archbishop of Milan from 1929 to 1954. During his stay in Rome he held high offices for both the Benedictine order and the Roman Curia thanks to Popes Pius X, Benedict XV and Pius XI. He provided decisive contributions to various fields: teacher at the Institute of Sacred Music, Consultor to the Sacred Congregation of Rites, President of the Pontifical Oriental Institute and President of the Commission for Sacred Art. Man with a highly sensitive personality, Cardinal Schuster got in touch with the European Benedictine community, promoted the Liturgical Movement and showed his openness to the Orthodox Church and the Jewish people. In the political field Schuster clearly stated the necessity of the State to admit the important social action carried on by the Church, while blaming interferences and abuses of both the Liberal and Fascist Government.
Johnson, Brian Todd. "Sacred conversations viewing liturgy through art /." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Full textAmossé-Reveret, Julia. "Espace liturgique en Bulgarie de l’Antiquité Tardive à la fin du Ier Royaume bulgare." Thesis, Université Clermont Auvergne (2017-2020), 2020. http://theses.bu.uca.fr/nondiff/2020CLFAL001_AMOSSE-REVERET_1.pdf.
Full textThis PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God
PERSICO, ALESSANDRO. "ADRIANO BERNAREGGI E IL RINNOVAMENTO DELLA CULTURA ECCLESIASTICA ITALIANA (1884 - 1932)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3159.
Full textThe research focuses the role played by Adriano Bernareggi, priest in Milan, then bishop of Bergamo since 1932, in the renewal movement of ecclesiastical studies during the first three decades of the twentieth century. Trained at the Gregorian and Lateran Universities, in a climate marked by modernism and vatican reaction, Bernareggi taught at the seminary of Milan, from 1909 to 1932, and at the Catholic University, from 1922 to 1926. In these sites, he strove to give a modern response - not modernist – to the spiritual anxiety of modern man, through a new religious language, able to enhance Church history and, especially, its liturgy. Particular attention has been paid to: the teaching, including the attempt to promote an update of the Ratio Studiorum of the Theological Faculty, following lines that anticipated Deus Scientiarum Dominus; the direction of the magazine “La Scuola Cattolica”, that he attempted to transform in a national periodic of sacred sciences, to regenerate religious studies through the application of an historical perspective and critical-philological research method; the participation in the liturgical and artistic movement in Milan, looking to french teachings and Maria Laach, especially to rediscovery the initiation value of rites; the prevostship at St. Vittore al Corpo, a laboratory of a new “liturgical practice”; the role in the debate on the Roman Question and Conciliation.
Malečková, Kateřina. "Architektonická studie sakrálního objektu Brno - Líšeň." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414268.
Full textBerné, Damien. "Saint-Denis. L'espace et la mémoire du XIIème au début du XVIème siècle." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040022.
Full textThe commemorative and liturgical functions of Saint-Denis influenced the abbey’s spatial configuration for centuries after construction of the core of the church ended in 1281. The addition of lateral chapels on the north side of the nave in 1320-1324, like the creation and movement of altars during the next two hundred years, resulted from the expansion of the abbey’s liturgical engagement beyond its primary responsibilities for the cult of Saint Denis and the commemoration of the kings of France. This study of the chaplaincies and anniversary services established between 1108 and the early sixteenth century casts light on the memory network that develops around the abbey during this period, but also the evolution of the abbey’s policies toward the laymen. From the second quarter of the 14th century onwards, the abbots and chapter try to control the foundations flow (including royal ones). Furthermore, the priests of the collegiate church of Saint-Paul located near the abbey as well as parishes enjoying Dyonisian immunity were gradually associated with services at the abbey’s chapels and thereby incorporated into the Dyonisian community. Focused on the services performed within the abbey church and the establishments immediately dependent on it, this study aims to reconstitute a geography of memory at Saint-Denis. It reveals that the services performed at the different altars were strictly controlled, particularly in the restricted area of the chevet. Therefore, apparently from the time of Abbot Suger, each claustral official of the abbey was generally associated with a specific altar in the radiating chapels. This exclusivity thus distinguished Saint-Denis from other similar establishments, providing yet another example of the uniqueness of the royal abbey
Nehemiah, ben Solomon ben Heiman Katsumata Naoya. "The liturgical poetry of Nehemiah ben Shelomoh ben Haiman ha-Nasi : a critical edition /." Leiden : Brill, 2002. http://catalogue.bnf.fr/ark:/12148/cb388808581.
Full textByrne, John Henry, and res cand@acu edu au. "Sacred or Profane: The Influence of Vatican Legislation on Music in the Catholic Archdiocese of Melbourne, 1843 - 1938." Australian Catholic University. School of Music, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp09042006.88.
Full textWay, Anthony David, and res cand@acu edu au. "Lift Up Your Hearts:A Musico-liturgical Study of the Eucharistic Prayer of the Roman Rite." Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp59.25092005.
Full textWalafrid, Strabon Harting-Correa Alice L. "Walahfrid Strabo's Libellus de exordiis et incrementis quarundam in observationibus ecclesiasticis rerum : a translation and liturgical commentary /." Leiden ; New York ; London : E. J. Brill, 1996. http://catalogue.bnf.fr/ark:/12148/cb366873937.
Full textSwanson, Hernández Rebeca. "Tradicions i transmissions iconogràfiques dels manuscrits de la Ribagorça entre els segles X – XII." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/401465.
Full textThe diocese of Ribagorça and in particular its See, Roda d’Isàvena, has been a main research topic by art historians since the early twentieth century because its bishops were the promoters of significant preserved monumental art works. Similarly, and since the sixteenth century, the diocese has also been intensively studied from a historical point of view. However, little is known regarding its cultural complexity. Therefore, the following investigation is conceived as a reconstruction of the cultural life of the diocese, particularly of the See’s cathedral library, in order to understand the concerns behind the several artistic evidences, providing also, a better understanding for the various historical events occurred between the X and XII centuries. The in-depth research, developed in a critical and impartial way, reveals that the studied medieval See was part of an extensive cultural network where people, ideas, books, liturgical practices and art works were intimately intertwined. It is stated how the exchange of knowledge is one of the most significant features the See of Roda of Isábena. Additionally, a complete catalogue of the several manuscripts comprised within the cathedral library is also provided for the first time.
Nilsson, Ann-Marie. "On liturgical hymn melodies in Sweden during the Middle Ages : summary and comments on four articles and a research project /." Göteborg : A.-M. Nilsson, 1991. http://catalogue.bnf.fr/ark:/12148/cb36955638b.
Full textEl, Ghali Adnen. "Du fondouk de la nation à l’hôtel consulaire. Les dimensions spatiales et symboliques de la diplomatie dans le quartier consulaire de Tunis (XVIIe-XIXe)." Doctoral thesis, Universite Libre de Bruxelles, 2021. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/317882.
Full textCette thèse décrit le fonctionnement et l’essor de la triade consulaire composée des consuls, des établissements consulaires et de leurs territoires d’inscription, physiques et symboliques, dans la capitale de la Régence ottomane de Tunis, en couvrant la période allant de la construction du premier spécimen (1660) à l’avènement du Protectorat français (1881). La thèse questionne la matérialisation des relations entre puissances par une série de pratiques formelles et d’espaces physiques auxquels se superposent des processus culturels et sociaux visant à cultiver la différence sur fond de quête de distinction et de compétition entre puissances mandataires. Les données recueillies par l’étude des sources et le dépouillement des archives consulaires et diplomatiques de huit puissances disposant de représentants accrédités à Tunis en la période étudiée, principalement en cinq langues (français, arabe, anglais, italien, espagnol), s’est faite au prisme de la micro-histoire globale. Cette analyse a compris la consultation des archives diocésaines et congrégationnelles documentant la vie quotidienne des communautés chrétiennes sous juridiction consulaire ainsi que les relations de voyage et les guides qui sont venus compléter les études, descriptions, illustrations et mémoires commandités à des scientifiques et autres officiers européens en mission dans la Régence. Le travail entrepris a permis de déterminer, à partir du XVIIe siècle, la position de ces édifices dans la ville et de reconstituer le quartier consulaire en en dressant la généalogie. La thèse a mis au jour l’existence de trois phases de développement des espaces consulaires. Une première phase d’existence (1660-1792) est initiée par la construction de fondouk des Français (1660) et inaugure un processus cumulatif et linéaire de multiplication des représentations consulaires concentrées dans la partie basse de la ville. L’octroi de fondouk, sa forme, ses dimensions et sa position témoignent de l’importance que revêt la nation mandataire et de sa place dans l’échiquier diplomatique de la Régence. L’archétype des origines, figé dans sa typologie, va s’en émanciper en intégrant, sur fond de tensions et de contestations avec l’Etat hôte et les représentants des autres puissances, des espaces de conquêtes, symboles de privilèges consacrant le rang et le prestige de l’Etat mandataire. A cette première phase, succède, par suite de l’éclatement de la Révolution française, une deuxième de « renversement des clartés » (1792-1816), marquée par la disparition d’anciennes puissances et l’apparition de nouveaux acteurs. Cette seconde phase est suivie de la troisième et dernière (1816-1881) qui nait sur fond de nationalismes, de bureaucratisation et d’affirmation de la fonction consulaire comme institution économique et politique. Le corps consulaire en gestation bouscule l’ordre établi et s’engage dans un processus de quête de distinction et de supériorité symbolique se manifestant par une conquête de l’espace dans la ville. Ruptures et continuités sont identifiées en tant que jalons rythmant les mutations des maisons consulaires qui, de l’archétype du fondouk, vont adopter progressivement le modèle européen d’hôtel particulier dont ils s’approprient les éléments architecturaux, ornementaux et spatiaux par à-coups. Ce processus culmine avec l'installation du consulat de France dans un hôtel particulier (1860) hors-les-murs actant ainsi la mort du fondouk des nations. L’œuvre de représentation du consul s’exprime de même en termes de mobilité, de réception, de soumission et de contournement du cérémonial de cour. Aux espaces géographiques se joignent des espaces symboliques où se joue une guerre subtile, celle de la conquête de privilèges témoignant du rang de l’Etat et de son prestige. Tout est prétexte à traiter « sur le pied le plus fort » et tout privilège est bon à prendre et à préserver. Usage des carrosses à quatre roues, soumission au cérémonial du baisemain, port du sabre et des souliers lors des audiences avec le Bey, mise à disposition d’une maison de campagne, font l’objet d’âpres négociations avec le pouvoir local qui se joue des concurrences et des égos en dispensant privilèges et sermons au gré de sa politique. Par les bâtiments qu’il contient, par son territoire spécifique formant un fragment de paysage urbain historique et par l’habitus consulaire dont les rites ont façonné la pratique des lieux, ce quartier constitue un patrimoine matériel et immatériel, révélé par la thèse, qu’il incombe de faire connaître afin que sa reconnaissance soit un prélude à sa protection future, désormais urgente.
Doctorat en Histoire, histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Forner, Caballero Ester. "El retablo en las comarcas castellonenses de la Diócesis de Tortosa (siglos XVI albXVIII): doscientos cincuenta años de arte y liturgia." Doctoral thesis, Universitat Jaume I, 2015. http://hdl.handle.net/10803/669064.
Full textChan, Anna Kai-Yung. "Il "Padre nostro" nei principali commenti patristici e il suo uso nella liturgia latina /." Roma : [s.n.], 1993. http://catalogue.bnf.fr/ark:/12148/cb37076224s.
Full textRusso, Roberto. "El proprio de la misa crismal en el misal romano de Pablo VI : estudio histórico, liturgico, teológico /." Romae : [s.n.], 1992. http://catalogue.bnf.fr/ark:/12148/cb370814668.
Full textContient en appendice le texte liturgique de la messe chrismale en latin ("Ordo hebdomadae sanctae" de Pie XII, "Missale Romanum" de Paul VI, "Variationes in Ordinem hebdomadae sanctae", 1965) et en allemand, anglais, espagnol, français, italien (MR). Bibliogr. p. XXI-XLII. Index.
Facchini, Ugo. "San Pier Damiani : l'eucologia e le preghiere : contributo alla storia dell'eucologia medievale : studio critico e liturgico-teologico /." Roma : CLV - ed. liturgiche, 2000. http://catalogue.bnf.fr/ark:/12148/cb38867239c.
Full textLeeuwen, J. A. G. Gerwin van. "Fully Indian - authentically Christian : a study of the first fifteen years of the NBCLC (1967-1982), Bangalore, India, in the light of the theology of its founder D. S. Amalorpavadass /." Kampen : Uitgeversmaatschappij J.H. Kok, 1990. http://catalogue.bnf.fr/ark:/12148/cb35537632h.
Full textLubarino, Doglas Morais. "O juízo final e a missa de São Gregório (MASP 428P): pintura retabular e Eucaristia no final da Idade Média." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03122015-155702/.
Full textStill little known and studied, the altarpiece painting The Last Judgment and the Mass of Saint Gregory is one of the rare late-medieval works in Brazil as part of the collection in the Museum of Art of São Paulo (MASP). This work was produced in Valencia to be the central panel of an abbey in Burgundy, France. Despite the excellent opportunity to study it presents for historians of medieval art, it has not been, so far, a detailed research object. Our goal, therefore, is to analyse such piece, paying attention in particular to the various elements in it that refer to the Eucharist, and that makes it a fertile object of study about this sacrament in the late Middle Ages. To accomplish this task, we based our work on the analysis and interpretation of the piece following the formal, stylistic and iconographic reading methods used in Art History, also relating our object to the historical context of production and reception, through a review of the documentation and of its history until it reaches the MASP collection. To reach this goal, we divided our work in two main axes. In the first one, we will discuss about the image as a material object and we study its history and its support. In the second one, we will analyse its iconography relating to the Eucharistic sacrament and its saving characteristic and thereby we will investigate how this panel relates to the process of legitimation of the Eucharistic realism in the context in which the picture was produced and exposed in the late Middle Ages.
Žilková, Markéta. "Filiální kostely Římskokatolické farnosti Říčany u Prahy." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-325518.
Full textJirsa, Prokop. "Diskuse o liturgickém prostoru v českém jazykovém prostředí - historie a současnost (II. část - Od II. vatikánského koncilu po současnost)." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-333057.
Full textKrtička, Jiří. "Christologické motivy v novodobé české malbě a grafice." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297923.
Full textSousa, Pedro Manuel Gomes de. "O teatro do mundo e o teatro de Deus : uma perspetiva histórica e teológica da arte teatral." Master's thesis, 2017. http://hdl.handle.net/10400.14/23793.
Full textThe study carried out within this dissertation – The Theater of the World and the Theater of God – wants to be a historical and theological reflection about theatrical art as an art that presents man in his relationship with the world and God's own action in human life. The present essay makes possible to have a look, although restricted, on the origins of the theater, crossing significant conjunctures of the involved history: through Antiquity, in different contexts of mediterranean culture; in the Middle Ages, where the theater shows a close relationship with the Christian context, as we observe through the liturgical drama and the sacred representations; in the Modern Age, where we find religious influences in authors like Gil Vicente and William Shakespeare. Even in contemporary times, the dialogue between theater and theology reflects the importance of returning God to the theater, which is possible with a closer theological study on theatrical art, a dialogue between them and through the practical dimension of the Church, which could create and raise consciousness
Vácha, Jiří. "Barokní liturgický textil ve sbírkách českobudějovické diecéze." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-394048.
Full textNOSKOVÁ, Blanka. "Teologie hudby." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-54605.
Full textWay, Anthony David. "Lift up your hearts a musico-liturgical study of the Eucharistic Prayer of the Roman Rite 1963-2004 /." 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp59.25092005/index.html.
Full textSubmitted in partial fulfillment of the requirements for the degree of Master of Music. Supplementary volume contains a collection of unpublished Eucharistic prayer settings by various composers. Bibliography: p. 214 - 253. Also available in an electronic format via the internet.
DOBROVOLNÁ, Martina. "Motivace k lidovému umění prostřednictvím výtvarných technik v PVČ vrámci liturgického roku (starší školní věk)." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-52943.
Full textGamieldien, Mogamad Faaik. "An annotated translation of the manuscript Irshad Al-MuqallidinʾInda Ikhtilaf Al-Mujtahidin (Advice to the laity when the juristconsults differ) by Abu Muhammad Al-Shaykh Sidiya Baba Ibn Al-Shaykh Al-Shinqiti Al-Itisha- I (D. 1921/1342) and a synopsis and commentary of its dominant themes." Thesis, 2018. http://hdl.handle.net/10500/25753.
Full textIn pre-colonial Africa, the Southwestern Sahara which includes Mauritania, Mali and Senegal belonged to what was then referred to as the Sudan and extended from the Atlantic seaboard to the Red Sea. The advent of Islam and the Arabic language to West Africa in the 11th century heralded an intellectual marathon whose literary output still fascinates us today. At a time when Europe was emerging from the dark ages and Africa was for most Europeans a terra incognita, indigenous African scholars were composing treatises as diverse as mathematics, agriculture and the Islamic sciences. A twentieth century Mauritanian, Arabic monograph, Irshād al- Muqallidīn ʿinda ikhtilāf al-Mujtahidīn1, written circa 1910/1332, by a yet unknown Mauritanian jurist of the Mālikī School, Bāba bin al-Shaykh Sīdī al- Shinqīṭī al-Ntishā-ī (d.1920/1342), a member of the muchacclaimed Shinqīṭī fraternity of scholars, is a fine example of African literary accomplishment. This manuscript hereinafter referred to as the Irshād, is written within the legal framework of Islamic jurisprudence (usūl al-fiqh). A science that relies for the most part on the intellectual and interpretive competence of the independent jurist, or mujtahid, in the application of the methodologies employed in the extraction of legal norms from the primary sources of the sharīʿah. The subject matter of the Irshād deals with the question of juristic differences. Juristic differences invariably arise when a mujtahid exercises his academic freedom to clarify or resolve conundrums in the law and to postulate legal norms. Other independent jurists (mujtahidūn) may posit different legal norms because of the exercise of their individual interpretive skills. These differences, when they are deemed juristically irreconcilable, are called ikhtilāfāt (pl. of ikhtilāf). The author of the Irshād explores a corollary of the ikhtilāf narrative and posits the hypothesis that there ought not to be ikhtilāf in the sharīʿah. The proposed research will comprise an annotated translation of the monograph followed by a synopsis and commentary on its dominant themes.
Religious Studies and Arabic
D. Litt. et Phil. (Islamic Studies)