Bibliografías temáticas / Worthington Memorial Church of St

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Literatura académica sobre el tema "Worthington Memorial Church of St"

Autor: Grafiati
Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Worthington Memorial Church of St"

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Ross, Noel. "Memorial Inscriptions in St. Nicholas' Parish Church, Dundalk." Journal of the County Louth Archaeological and Historical Society 25, no. 4 (2004): 475. http://dx.doi.org/10.2307/27729951.

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Seo, Myengsoo. "Rethinking the Role and Architectural Value of the St. Andrew Kim Dae-Geon Memorial Church in the Mirinae Shrine in Korea." Religions 12, no. 11 (2021): 919. http://dx.doi.org/10.3390/rel12110919.

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This paper reconsiders the role and value of the St. Andrew Kim Dae-Geon Memorial Church and his grave site in the Mirinae Shrine, currently recognized as a special place of pilgrimage for Catholics in Korea. The Mirinae area is the place where the remains of Father Kim Dae-Geon were relocated after his martyrdom in 1846. To commemorate this, the St. Andrew Kim Dae-Geon Memorial Church was built in 1928 by his grave, and his relics and image are enshrined within. This research examines the value of the church and his grave site from three perspectives: first, the historical value related to Father Kim Dae-Geon; second, the architectural value of the Memorial Church; and third, value from the sense of place (or genius loci) of the church and environs. The role and architectural value of the building and site were examined through a literature review, an archival investigation, and a visit to the site. This research is about interpretation of the church and Father Kim Dae-Geon’s grave site in the Mirinae Shrine—not only the building itself, but also its sense of place, beyond the historical research focusing on the person.
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Mitchell, M. "The Memorial Lychgate at St Mary’s Church, Whitkirk, Leeds." Proceedings of the Yorkshire Geological Society 54, no. 2 (2002): 121–24. http://dx.doi.org/10.1144/pygs.54.2.121.

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Aleksov, Bojan. "Nationalism in Construction: The Memorial Church of St. Sava on Vračar Hill in Belgrade." Balkanologie 7, no. 2 (2003): 47–72. http://dx.doi.org/10.4000/balkanologie.494.

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McHardy, George. "The reinterment of John Hunter's remains in Westminster Abbey and the memorial brass erected over his grave." Journal of Medical Biography 26, no. 4 (2018): 251–58. http://dx.doi.org/10.1177/0967772017730175.

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John Hunter died in 1793 and was buried in the vaults of the church of St Martin-in-the-Fields, London. In 1859, the vaults were required to be cleared and Hunter's coffin was found and his remains were reinterred in Westminster Abbey beneath a memorial brass. In the course of research on several such memorials in a Worcestershire village church, a letter was found that a clerk, having misread the writer's signature, consequently misfiled. Following this lead, it is now possible to tell something not only of the genesis of Weekes's statue of Hunter but also of the making and cost of the brass over his grave.
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Susak, Vladyslav, and Mykhailo Khokhon. "SACRED APPROACH OF CALATRAVA." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2024, no. 1 (2024): 165–75. http://dx.doi.org/10.23939/sa2024.01.165.

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The work of Santiago Calatrava is characterized by biomorphic imitation combined with engineering thought, an approach that has made him one of the foremost and renowned architects of contemporary times. The architect employed principles of symbolic imitation and historical resonance. The main form, in this project, for imitation was taken from the icon of the Virgin Mary with a Child, which the architect skillfully transformed into the silhouette of a church, while the idea of geometric analysis of the Virgin's Face with a halo inspired the creation of the plan. The principle of historical resonance is ubiquitous in the project, from the orientation of the church and adherence to liturgical traditions to the incorporation of distinctive elements from existing cultic objects of Byzantine sacred architecture. On the other hand, the architect did not overlook modern challenges and needs. By utilizing advanced technologies and creativity, the author and his studio adeptly use light to emphasize important elements of the structure in the interior and create a unique appearance of the church from the outside during the dark hours of the day. Indeed, the illumination of the church at night is another idea of imitating the church candle as a symbol of God's presence. Functionally, the church is equipped not only with liturgical spaces but also with areas that will serve the community and as a memorial to the tragedy of September 11. These volumes are harmoniously integrated by the western façade and have important visual connections with the Park of Freedom and the memorial complex itself. St. Nicholas Church in New York should be singled out as a successful example of the symbiosis of tradition, modern technologies, and the author's creative approach.
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Lane, George. "Alexander (Sandy) Morton, 1942–2011." Journal of the Royal Asiatic Society 22, no. 3-4 (2012): 587–91. http://dx.doi.org/10.1017/s1356186312000302.

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If the measure of the man is reflected in the circle of his friends then Sandy Morton is impressively out-size. The turn-out for his memorial service was large and varied and the prevailing mood was warm and pleasingly nostalgic. Sandy would very definitely have enjoyed it. The choice of St George's Church, Bloomsbury was appropriate and fitting as was the relaxed reception later in the British Museum's Islamic Gallery. Sandy's presence could be felt appreciatively basking in the gentle tide of warm reminiscences as friends, family, and colleagues mixed easily and exchanged anecdotes and memories. The mood was light and relaxed and it contrasted with the more respectfully sombre memorial service which had combined hymns, Persian verse and eulogies from his brothers, William and James and colleagues Narguess Farzad and Charles Melville. In St George's the atmosphere was reflective and emotions were heightened. Even Charles Melville's courtly and measured address cracked and stumbled as a particularly poignant memory broke through his famously unflappable façade. Emotional but not oppressively so, the service reminded us of our loss but also informed us of our gains and the many ways Sandy had entered and enriched our lives.
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Edwards, Jason. "The Great Game? Anglo-Afghan monuments in St Paul’s Cathedral, c. 1816–1916." Sculpture Journal 33, no. 2 (2024): 237–50. http://dx.doi.org/10.3828/sj.2024.33.2.08.

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This article considers the perhaps surprising centrality of sculptural engagements with Afghanistan and the broader north-west frontier of the Raj during the century after the Battle of Waterloo. The article ranges across a broad array of commemorative media, from standing white marble figurative statues and portrait busts, through allegorical mourning figures and memorial brasses, to High Church religious sculpture and scenes of biblical history. It argues that sculptors never really settled on a sculptural iconography for Afghanistan, in spite of drawing on key photographic and print representations of the region, but that the very malleability of the genre of Anglo-Afghan monuments in St Paul’s might itself have collectively represented a necessary linguistic, conceptual and personal mobility on the north-west frontier of the Raj.
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Avdeyev, Aleksandr G. "INSCRIPTION ABOUT THE BUILDING AND PAINTING OF THE EPIPHANY CATHEDRAL IN KOSTROMA EPIPHANY CONVENT OF ANASTASIA (CIR4010)." Vestnik of Kostroma State University, no. 3 (2020): 14–23. http://dx.doi.org/10.34216/1998-0817-2020-26-3-14-23.

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The paper is dedicated to the scientific publication and commentary on the construction and painting of the Epiphany Cathedral in Kostroma Epiphany Convent of Anastasia (CIR4010) in 1559-1562/63. The Cathedral was built with the blessing of St. Macarius, Metropolitan of Moscow, on the initiative and at the expense of Hegumen Isaiya (worldly Shaposhnikov) and the monastic brothers, as well as on the donations made by Prince Vladimir of Staritsa and others. The paper states that the Cathedral was consecrated by Archbishop Nikandr of Rostov on June 8, 1559, on the day of the namesake of Feodor, son of Ivan the Terrible, and the consecration ceremony was of a Church-state character. The inscription contains unique information, which has not been preserved in other sources, about the attachment of particles of the relics of St. Theodore the Black, Prince of Yaroslavl and his offsprings David and Konstantin in the antimins of the consecrated Church, as well as the fresco painting of the Cathedral, produced in 1562/61. Thus, the published inscription is a unique monument of memorial epigraphy, reporting both information on the architectural and art history of Kostroma in the late 1550s to the early 1560s, and containing important material about reverence of St. Theodore, Prince of Yaroslavl, and his offsprings in Kostroma land.
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Coltman, Viccy. "A family affair: John Bacon’s monument to Jane Russell, 1810-13." Sculpture Journal: Volume 30, Issue 3 30, no. 3 (2021): 303–22. http://dx.doi.org/10.3828/sj.2021.30.3.4.

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Focusing on John Bacon the younger’s monument to Jane Russell, this article illuminates death and memorialization in early nineteenth-century British India, with a social history focus regarding issues of gender and family. The monument in its first iteration was lost at sea in a shipwreck, and a later replacement is still in situ in St Mary’s Church at Fort St George, in the former Madras Presidency. The narrative arc traces the life cycle of a memorial to a young woman whose husband and father were leading English East India Company employees, including its commission by correspondence, execution in the metropolis and transport to the Indian subcontinent. Russell’s death and its commemoration in visual and material culture were, it is argued, a family affair on various interpretative strata, including but by no means limited to the iconography of her marmoreal ‘deathscape’.
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Tesis sobre el tema "Worthington Memorial Church of St"

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Morgan, Laura Bonnie Colleen. "Class and congregation : social relations in two St. John's, Newfoundland, Anglican parishes, 1877-1909 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23163.pdf.

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Libros sobre el tema "Worthington Memorial Church of St"

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Jensen, Grady E. Centennial history of the Church of St. Joseph of Arimathea 1896-1996. [publisher not identified], 1996.

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2

Eileen, Cox, and Dunkeld and Birnam Historical Society., eds. St. Mary's Episcopal Church, memorial inscriptions. Dunkeld and Birnam Historical Society, 1994.

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Wyn, Chalker, and Wharfedale Family History Group, eds. St. Peter's Church, Arthington memorial inscriptions. Wharfedale Family History Group, 1996.

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Society, Cumbria Family History, ed. The memorial inscriptions of St. Mary's Church, Gosforth, St. Paul's Church, Irton, St. Peter's Church, Drigg. Cumbria Family History Society, 2008.

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Society, Cumbria Family History, ed. The memorial inscriptions of St. Mary's Church, Gosforth, St. Paul's Church, Irton, St. Peter's Church, Drigg. Cumbria Family History Society, 2008.

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Society, Cumbria Family History, ed. The memorial inscriptions of St. Mungo's Church, Dearham. Cumbria Family History Society, 2005.

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Murphy, Sean. Memorial inscriptions from St. Catherineʼs Church and Graveyard, Dublin. Divelina Publications, 1987.

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Barbara, Barr, ed. Memorial inscriptions St. John's Church, Roundhay, Wetherby Road, Leeds. [s.n.], 1999.

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Vowles, Megan. The story of David Thomas Memorial Church, St. Andrew's, Bristol. (G. Bennett), 1988.

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Society, Northamptonshire Family History, ed. Memorial inscriptions at the Church of St. Nicholas, Marston Trussell. Northamptonshire Family History Society, 1997.

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Capítulos de libros sobre el tema "Worthington Memorial Church of St"

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Bogaers, Llewellyn C. J. J. "Commemoration in a Utrecht Collegiate Church: Burial and Memorial Culture in St. Peter’s (1054-1784)." In Museums at the Crossroads. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.mac-eb.3.1819.

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Graham, Thomas. "Memorial Church, 1890." In Mr. Flagler's St. Augustine. University Press of Florida, 2014. http://dx.doi.org/10.5744/florida/9780813049373.003.0013.

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Kizenko, Nadieszda. "The Savior on the Waters Church War Memorial in St. Petersburg." In Picturing Russia. Yale University Press, 2008. http://dx.doi.org/10.2307/j.ctt5vm1n6.29.

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Kizenko, Nadieszda. "25 The Savior on the Waters Church War Memorial in St. Petersburg." In Picturing Russia. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300145175-027.

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Snape, Michael. "‘The Great Surrender Made’." In A Church Militant. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192848321.003.0006.

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Abstract This chapter focuses on the role played by Anglicans in shaping the culture of Remembrance in Great Britain, the Dominions, and the United States in the formative years after the First World War. In doing so, it highlights the defining role of the King James Bible and the 1662 Book of Common Prayer in the idiom of Remembrance, questioning assumptions as to its innately ‘secular’ quality. It also illustrates Anglican influence on the work of the Imperial War Graves Commission and how this was accompanied by the phenomenon of post-war Anglican ‘pilgrimage’ to the battlefields of 1914 to 1918. Besides considering the significance of the practical demands and iconography of Remembrance and memorialization, it also examines the political overtones of Anglican-sponsored Remembrance, especially its quest for social harmony and its affirmation of loyalty to the Empire. The chapter explores the inter-war multiplication of regimental chapels in the cathedrals and major churches of England and Wales, their place in the vaunted regimental system of the British Army, and their potency as symbols of Anglican identification with the service and sacrifice of local communities. The chapter concludes with a consideration of how these tendencies persisted after 1945, especially with the creation of the Battle of Britain Memorial Chapel in Westminster Abbey and in the imperatives which drove the transformation of St Clement Danes in London into the Central Church of the Royal Air Force in the 1950s.
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Krasheninnikova, Olga A. "“Diariush”, or “Day Notes” of Saint Dimitry of Rostov as an Early Attempt of Diary Literature in Russia." In Documentary and Fiction Literature in Russia of the 18–19 Century. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0680-2-54-67.

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“Diariush”, or “Daily Notes” of St. Dimitry of Rostov is a small but very important work of the saint, his diary, in which he recorded the main stages of his biography, the days of memory of his relatives and friends, his prophetic dreams and visions. The testimonies of “Diariush” were later used as the basis for the Synodal edition of the Life of St. Dimitry. The article deals with the main documentary and artistic sources of the diary — the martyrology (memorial) of St. Dimitry, his travel diary, autobiographical story, epistolary, etc. The author of the article makes a conclusion, that “Diariush” is the literary monument, which contains two temporary layers: a real, historical time and the circle of the annual Church memories of Minei-Chetii, i. e. time earthly and eternal. The sanctity of the author of the diary was expressed by his sense of belonging not only to the earthly, but also to the heavenly reality.
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"Eulogy of Charles Sumner." In The Speeches of Bishop Henry McNeal Turner, edited by Andre E. Johnson. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496843852.003.0012.

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This chapter analyzes Bishop Henry McNeal Turner's speech delivered at the St. Philip African Methodist Episcopal (AME) Church at Savannah, Georgia on March 18, 1874, during the memorial services for the Hon. Charles Sumner. It talks about Charles Sumner, who was a US senator from Massachusetts that opposed slavery and supported Reconstruction. In Turner's eulogy, he returned to the grand or high style of eloquence and often called Sumner the “unquestionable father of civil rights.” The chapter highlights Turner's use of rhetorical figures such as amplification, anaphora, and figurative language to evoke emotion by celebrating Sumner's life and legacy, which moves the audience to support the civil rights bill that Congress was debating at the time. It mentions how Turner told the congregation that Sumner was too noble to do wrong, too great to be mean, and too wise to make a blunder.
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Burrows, Andrew. "Alan Ferguson Rodger: A Tribute Given at the Memorial Service Held in the University Church of St Mary the Virgin, Oxford on 11 February 2012." In Judge and Jurist. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199677344.003.0003.

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Minnis, A. J., V. J. Scattergood, and J. J. Smith. "The Book of the Duchess." In Oxford Guides to Chaucer The Shorter Poems. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198111931.003.0004.

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Abstract Blanche of Lancaster died on 12 September 1368, perhaps of the plague. Two major monuments were constructed to preserve her memory. One was a poem by Geoffrey Chaucer, this being (as far as we know) his first substantial composition; he was probably in his mid-twenties at the time of Blanche’s death. The other was the work of her husband, John of Gaunt, the third surviving son of King Edward III. In 1374 he commissioned from master mason Henry Yevele a splendid alabaster tomb, surmounted by sculptures of the duchess and himself. Perpetual masses were to be said for her soul at an adjoining altar, and a memorial service held on 12 September of each year. Gaunt’s will contained the directive, ‘My body to be buried . . . beside my most dear late wife Blanche, who is there interred’. And that was done. However, the tomb of Gaunt and Blanche, which was located in the north arcade of the choir of old St Paul’s cathedral church in London, perished in the Great Fire. Chaucer’s poem has survived. Is it a record, however idealized, of a genuine love-affair, or an elaborate piece of princepleasing which plays fast and loose with the facts, assuming that the poet knew them? Marty critics have felt obliged to speculate on the nature of the royal relationship, since on it hangs—or at least they have made to hang—their views on the negotiations between artifice and life, conventional discourses and emotional integrity, which are made by the Book of the Duchess.
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Actas de conferencias sobre el tema "Worthington Memorial Church of St"

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Daunt, Lisa Marie. "Tradition and Modern Ideas: Building Post-war Cathedrals in Queensland and Adjoining Territories." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4008playo.

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As recent as 1955, cathedrals were still unbuilt or incomplete in the young and developing dioceses of the Global South, including in Queensland, the Northern Territory and New Guinea. The lack of an adequate cathedral was considered a “reproach” over a diocese. To rectify this, the region’s Bishops sought out the best architects for the task – as earlier Bishops had before them – engaging architects trained abroad and interstate, and with connections to Australia’s renown ecclesiastical architects. They also progressed these projects remarkably fast, for cathedral building. Four significant cathedral projects were realised in Queensland during the 1960s: the completion of St James’ Church of England, Townsville (1956-60); the extension of All Souls’ Quetta Memorial Church of England, Thursday Island (1964-5); stage II of St John’s Church of England, Brisbane (1953-68); and the new St Monica’s Catholic, Cairns (1965-8). During this same era Queensland-based architects also designed new Catholic cathedrals for Darwin (1955-62) and Port Moresby (1967-69). Compared to most cathedrals elsewhere they are small, but for their communities these were sizable undertakings, representing the “successful” establishment of these dioceses and even the making of their city. However, these cathedral projects had their challenges. Redesigning, redocumenting and retendering was common as each project questioned how to adopt (or not) emergent ideas for modern cathedral design. Mid-1960s this questioning became divisive as the extension of Brisbane’s St John’s recommenced. Antagonists and the client employed theatrics and polemic words to incite national debate. However, since then these post-war cathedral projects have received limited attention within architectural historiography, even those where the first stage has been recognised. Based on interviews, archival research and fieldwork, this paper discusses these little-known post-war cathedrals projects – examining how regional tensions over tradition and modern ideas arose and played out.
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