Gotowa bibliografia na temat „Benedictine Community of New Norcia”

At the Monastery of St. Gertrude in Cottonwood, Idaho, evolving foodways have enabled Benedictine nuns to adapt to their evolving role as religious women over the past century. Early spare, simple foods reflected strict monastic practices inherited from the nuns’ enclosed European order, but physical labor and bishops’ insistence on outside service soon necessitated a more rich and balanced diet. After Vatican II, new mealtime practices that allowed sisters to converse during meals and choose dining companions (versus sitting in rank order in silence) helped them adjust to a new ethos of cooperative community. As the convent added a retreat ministry and mature professional women joined, mealtime options proliferated and old foodways were challenged. A contemporary emphasis on social justice and land stewardship is reflected in commitment to organic gardening and to purchasing food local, seasonal, fair-trade food. Cultivating the convent's extensive raspberry garden, in particular, invites these modern nuns to simultaneously affirm their continuing commitment to core Benedictine values and to the spirit of their patron, St. Gertrude of Helfta, and also to contemporary priorities.

Sometime after the summer of 1703, a strange traveler journeyed to several Zapotec-speaking communities nestled in the rugged geography of Villa Alta—an alcaldía mayor northeast of Oaxaca City in New Spain. He wore a pectoral ornament around his neck—a gift from the Benedictine friar Ángel Maldonado, a newly appointed bishop who had arrived in Oaxaca in July 1702—and was received throughout Villa Alta with “great noise and expressions of joy.” Upon his arrival in each locality, he would gather the townspeople and proclaim an offer of amnesty from the bishop: in exchange for registering a collective confession about traditional ritual practices at the administrative seat of San Ildefonso, and turning in their ritual implements—such as alphabetic ritual texts and wooden cylindrical drums—each Zapotec community would receive a general amnesty from ecclesiastical prosecution for idolatry.

Sometime after the summer of 1703, a strange traveler journeyed to several Zapotec-speaking communities nestled in the rugged geography of Villa Alta—an alcaldía mayor northeast of Oaxaca City in New Spain. He wore a pectoral ornament around his neck—a gift from the Benedictine friar Ángel Maldonado, a newly appointed bishop who had arrived in Oaxaca in July 1702—and was received throughout Villa Alta with “great noise and expressions of joy.” Upon his arrival in each locality, he would gather the townspeople and proclaim an offer of amnesty from the bishop: in exchange for registering a collective confession about traditional ritual practices at the administrative seat of San Ildefonso, and turning in their ritual implements—such as alphabetic ritual texts and wooden cylindrical drums—each Zapotec community would receive a general amnesty from ecclesiastical prosecution for idolatry.

England was a rich prize for William the Conqueror to have won at the battle of Hastings. His conquest was followed by a major redistribution of the wealth of his new kingdom. By the end of his reign, a tenurial revolution had swept through the lay landholding community, leaving only a handful of Anglo-Saxons as tenants-in-chief. The Church had undergone considerable changes of personnel; only one bishopric was still in English hands (Worcester), and of the greater Benedictine houses only Bath and Ramsey were still ruled by English abbots. Domesday Book, the great survey of England made in 1086, although difficult to interpret, provides much information to enable an examination of ecclesiastical wealth, its nature, and its distribution, in the late eleventh century.

The letters of Mary Knatchbull, abbess of the English Benedictine Convent in Ghent between 1650 and her death in 1696, are of considerable interest. They reveal a woman operating with significant influence in two discrete spheres: the enclosed cloister and the royalist court in exile. This article will consider briefly the religious career of Mary Knatchbull and her importance to the Benedictines of Ghent, before examining in detail her part in the restoration of Charles II. It examines the unexpressed dichotomy of seemingly irreconcilable rôles performed by a member of an enclosed Order who on the one hand, in fulfilling her vows, was submissive and obedient, and yet on the other, was able to communicate with senior royalist advisers confidently and involve herself in the strategic planning of the campaign for the return of Charles II to England. As abbess, Mary Knatchbull led her community effectively at a difficult time. Under her leadership the convent survived an expensive building programme, established a successful new house and maintained high standards of practice in the religious life of the convent. From conventual records, it is clear that she was considered one of the outstanding abbesses of the seventeenth century in the English Benedictine community. Her correspondence with the royalists ministers in exile shows her opinions were taken seriously. She was regarded as a competent organiser and she had extensive links covering Flanders, France and England that kept her in touch with developments of interest to the king. Hitherto her life has been little known and published writing has been largely devoted to her rôle as an abbess. Mary Knatchbull’s life challenges categorisation and shows the importance of flexibility of approach to understanding the rôle of women in the early modern period.

AbstractScholarship on transnational encounter has predominantly focused on men's cross-cultural interactions. This article breaks new ground by exploring women's roles in similar forms of linguistic and power negotiation within the context of English convents founded in Europe during the seventeenth century. Moreover, recent scholarship on English convents has so far remained silent on the question of how these women negotiated the language barriers that many of them faced. This article proposes an answer by examining the correspondence sent in the 1620s from the English Benedictine convent in Brussels. These letters reveal the changing ways in which English nuns relied on both male and female translators to communicate. In so doing, this article expands existing scholarly understanding of epistolary and literary culture by exploring the authorial strategies employed in the convent, which afforded the nuns a sense of authority over their texts. The letters were vital avenues for the women to express dissent, and raise concerns over the way their community was governed. Finally, despite being enclosed institutions, English convents in exile were not monoglot spaces but porous sites of multi-lingual encounter.

ABSTRAKT Sprowadzone do Wilna między 1616 a 1618 r. benedyktynki utworzyły niewielką i skromnie uposażoną wspólnotę. Ich sytuacja zmieniła się w 1692 r., kiedy to dzięki bogatym zapisom Feliksa Jana Paca mogły wystawić murowany kościół konsekrowany w 1703 r. Hojność podkomorzego litewskiego nie była przypadkowa, bowiem do wileńskich benedyktynek wstąpiły jego córki Sybilla i Anna, jedyne potomstwo jakie po sobiepozostawił. Z nich szczególne znaczenie dla dziejów klasztoru miała Sybilla (Magdalena) Pacówna, która w 1704 r. została wybrana ksienią. Nie tylko odnowiła ona życie wspólnoty, ale stała się również jedną z najważniejszych postaci ówczesnego Wilna. Po pożarze w 1737 r. Sybilla Pacówna energicznie przystąpiła do odbudowy klasztoru i kościoła, którą kończyła już jej następczyni Joanna Rejtanówna. Wzniesioną wówczas według projektu Jana Krzysztofa Glaubitza fasadę ozdobiono stiukowo-metalową dekoracją o indywidualnie zaplanowanym programie ideowym odwołującym się i do tradycji zakonnej i rodowej – pacowskiej. W fasadzie wyeksponowano ideały związane z życiem benedyktyńskim sytuując je wśród aluzji o konieczności walki na płaszczyźnie ducha i ciała, włączając w militarną symbolikę także konieczność walki z wrogami Kościoła i ojczyzny oraz charakterystyczną dla duchowości benedyktyńskiej pobożność związaną z krzyżem w typie karawaka oraz zOpatrznością Bożą. Jednocześnie przypominano o bogactwie powołań w klasztorze benedyktynek wileńskich przyrównując mniszki do lilii. Porównanie to dzięki obecności w fasadzie herbu Gozdawa (podwójna lilia) oraz powszechnego w XVII i XVIII w. zwyczaju określania Paców „Liliatami” można było odnosić także do ich rodu, w tym do zasłużonej dla klasztoru ksieni Sybilli. Tak mocne wyeksponowanie fundatorów było nie tylko chęciąupamiętnia darczyńców, ale wraz z całym architektonicznym i plastycznym wystrojem świątyni wiązało się z koniecznością stworzenia przeciwwagi dla nowego i prężnie rozwijającego się pod patronatem elity litewskiej klasztoru Wwizytek w Wilnie. Przy tym charakter dekoracji fasady kościoła pw. św. Katarzyny wpisuje się w inne fundacje Paców: kościół pw. św. Teresy i kościół pw. śś. Piotra i Pawła będąc ostatnią ważną inicjatywą artystyczną rodu w stolicy Wielkiego Księstwa Litewskiego. SUMMARY The Benedictines, who had been brought to Vilnius between 1616 and 1618, formed a small and modest community. Thanks to the generous legacy of Feliks Jan Pac, in 1692 their situation changed as they could erect a brick church, which was then consecrated in 1703. The generosity of the Lithuanian chamberlain was not a coincidence; his two daughters, Sybilla and Anna, the only offspring he left, had joined the Benedictine Sisters in Vilnius. Sybilla (Magdalena) Pac, who became an abbess in 1704, was particularly important for the history of the monastery. Not only did she renew the community life, but she also became one of the most important personalities of the then Vilnius. After the fire in 1737 Sybilla Pac vigorously started rebuilding the monastery and the church, which was completed by her successor, Joanna Rejtan. The facade which was then erected after Johann Christoph Glaubitz’s design was adorned with stucco and metal decorations with a perfectly devised ideological programme which referred to the tradition of the order and to the one of the Pac family. The facade presented ideals connected with the Benedictine life, which placed them among the hints of having to fight at the level of spirit and body, incorporating among the military symbols also the need to fight the enemies of the Church and the state, and the typical for the Benedictine spirituality piety connected with the Caravaca cross and the Divine Providence. At the same time, it reminded of the Benedictine vocations comparing nuns to lilies. This comparison, due to the presence of the Gozdawa coat-of-arms (double lilie) and the common nickname of the Pac family in the 17th and 18th cc. “the Liliats”, could also apply to their lineage, including the abbess Sybilla and her services to the monastery. Exposing founders in such an emphatic way was not only the will to immortalise them, but was also, together with the entire architectural and artistic decor of the church, connected with the need to counterbalance the new and dynamicallydeveloping Visitation Monastery in Vilnius. At the same time, the nature of the facade decoration of the Church of St. Catherine is in line with other foundations of the Pac family: St Theresa’s Church and the St Peter and St Paul Church, and was the last significant artistic initiative of the family in thecapital of the Grand Duchy of Lithuania

Hildegard of Bingen's Ordo Virtutum has come to occupy a major role among Western European dramatic musical works, with scenes widely anthologized, multiple studies in print, and several recordings. I argue that the “setting” of Hildegard's Ordo Virtutum is the allegorical architecture created in her first major treatise, Scivias, written in the 1140s and early 1150s. In this period, while Hildegard was composing the play and writing her first major theological work, she was also designing a complex of new monastic buildings, which helps explain her concentration on architectural themes and images. Hildegard has situated the main “acts” of the play within allegorical towers, and the musical dimensions of the play are driven by its unfolding within this architectural understanding, including the “climbing” through the modes and the development of longer processional chants that link the action in one tower or pillar to that of another. We can see that the particular characters chosen for the play from a broad array of possibilities, underscore themes that relate to the lives and governance of Benedictine nuns. Hildegard's work provided parallels for her community between the allegorical architecture of Scivias, the play and its music, and the new church whose building was overseen by Hildegard.

Dom Stephen Moreno OSB (1889-1953) was one of Australia’s most respected and prolific composers of church music in the early twentieth century. He lived for almost fifty years in the Benedictine Community at New Norcia, WA, and composed 210 works, comprising over 1100 individual compositions and over 200 accompaniments to Gregorian chant. The majority of his output was in liturgical sacred music, including Masses, motets and Litanies, but it also included a significant quantity of secular vocal and instrumental music. Much of Moreno’s music was written for the Benedictine Community of New Norcia but he also composed liturgical music for the broader Australian church and secular music for the wider Australian community. Less than a quarter of Moreno’s music was published, and the vast majority of his output survives in manuscript at New Norcia. The purpose of the present study is to define the extent of Moreno’s output, to establish its chronology, and to examine the contexts and purposes for which he composed. This study has significantly added to and revised the findings of previous studies of Moreno’s music undertaken by Ros (1980) and Revell (1990) and supplies a revised biography. Approximately thirty-five percent of the works included in this study are identified and discussed here for the first time. Of the previously known works, Ros specifically dated less than one quarter and the present study refutes some seventy-four percent of Revell’s dates. Through the investigation of important primary sources, including the composer’s surviving correspondence and the Chronicle of the Benedictine Community, this study provides for the first time a complete chronology and contextual account of Moreno’s entire oeuvre. This has involved the cataloguing and indexing of over ten thousand pages of Moreno’s manuscripts and more than five thousand pages of his personal correspondence. This study has also identified a number of compositions unique to collections outside of New Norcia. While the primary purpose of this study has been to establish an accurate chronology and historical context for each work, the opportunity has also been taken to provide a preliminary assessment and discussion of Moreno’s musical style and compositional methods. Note: “Due to the inclusion of third party copyrighted material we are unable to mount the entire thesis. It can however be viewed at St Patrick’s Campus Library by prior arrangement.”

The results of new archival research, compared with some epistles of Blessed Giovanni Colombini, allowed to frame the mystical experience of his cousin Caterina Colombini, which matured in the Sixties of the fourteenth century, in a situation of serious breakdown with his family, caused by patrimonial reasons. Caterina succeeded, also with the help of some friends of her cousin, to free herself from the family context and to constitute the first community of Gesuate, so-called because they observed the same way of life as the Gesuati, then in 1371 to equip this congregation with a residence purchased with her own money in the Sienese district of Vallepiatta and finally to submit it to the protection and jurisdiction of the female Benedictine monastery of Saints Abondio and Abondanzio near Siena. Thus a new female congregation was born, that also spread to other cities in Italy, but it did not turn into a religious order, while avoiding the accusation of heresy for “beguinage”.

This chapter introduces composer Hildegard of Bingen (1098-1179), a polymath visionary who was the most prolific composer of plainchant and creator of the first musical “morality play.” It traces her enclosure at the Disibodenberg monastery with the pious Jutta of Sponheim at the age of twelve, her leadership of a community of Benedictine nuns, the startling vision that compelled her to begin documenting her visions when she was forty-two in her book Scivias, and interactions with her confessor Volmar, St. Bernard of Clairvaux, and Pope Eugenius III. Another important vision instructed her to leave Disibodenberg with her nuns and create a new community at Rupertsberg, on the Rhine River across from Bingen.

The Apennine Peninsula is one of the most densely-populated and most seismically active regions of Europe, possessing a wealth of cultural heritage. Historical cities and buildings are a part of this heritage. The earthquake damage prevention programme implemented in Italy does not cover existing buildings, and reconstruction plans for damaged cities, because of the threat's specificity, are always prepared after a disaster. In the case of heritage buildings, particularly those of super-local significance, decisions involving a complete reconstruction of their original form are typically made, erasing all traces of the tragedy. Reconstruction can take years, during which society is left without cultural facilities that are key to good morale. Opportunities provided by the phase between a disaster and restoring the buildings are too often underappreciated, while the time spent making the decision what and how to rebuild should be spent on action. Strategies involving temporary buildings allow to prevent the disappearance of public functions during the period preceding the reconstruction of major cultural facilities. These buildings should be designed as resilient, assuming a capacity to adapt to changing conditions and upholding or rapidly returning to a functional state after a disaster. They can enable the time between the disaster and making the decision about reconstruction to be used to identify and test new relations in the surroundings created through the loss of a section of substance. They provoke a debate about what must be rebuilt and at what cost, they facilitate understanding of the goals of a planned reconstruction. But most importantly, they sustain the genius loci, in order to affect the city's reconstruction process in its social, psychological and economic aspects. By analysing temporary cultural facilities built in Italian cities damaged by earthquakes, the study discusses methods of building temporary public buildings and features an attempt at assessing interventions that precede reconstruction. Based on the experiences of the city of L'Aquila severely damaged in 2009 and drawing conclusions from mistakes made during the implementation of pre-reconstruction strategies in the town, the author developed a proposal of a temporary intervention for the Basilica of St. Benedict of Nursia, which collapsed on the 30th of October 2016 as an effect of the Amatrice-Visso-Norcia seismic sequence. The proposal stresses the preservation of the previous function of the complex at its original site. This is meant to maintain the occupancy of Norcia's centre by the Benedictine monks, whose tradition is strongly linked with the city and makes it a major pilgrimage destination that is important to Christians.