Rozprawy doktorskie na temat „Liturgical art”

Among church folk in Australia today, there are concerns that soon ? with the surge of secularism in our society ? there will be no Christian tradition left for their children to inherit. At the same time, there is also a rising desire for spiritual renewal among Australians. It seems that the church and society are worlds apart. It is my contention that feminist liturgical artists are in a unique position to bridge the gap between the church and the world, and to promote the spiritual renewal of both. My task in this thesis is to devise a feminist model of liturgical art practice which is both aesthetic and prophetic. In this model, liturgical art is capable both of inspiring people to contemplate divine meanings and of calling the people to discipleship in the service of God in the world. It is also able both to encourage hope and challenge injustices. A balanced approach to the aesthetic and prophetic is suggested in Elisabeth Schüssler Fiorenza's (1992) four-step model of feminist research, which shapes my project. The principles which form the framework of my feminist understanding of liturgical art are widely applicable, and do not just apply to women. Even so, I maintain that women are more gifted than men at understanding the world in terms of relations rather than hierarchies. In the Catholic church today, we need this sense of relation more than ever. The church needs to be in creative relation with contemporary culture, or we are going to lose the young people from our ranks, and consequently our future. Within the church, the hierarchy needs to be in creative relation with the laity, and this requires a more collaborative approach to leadership ? including ministry. Within the liturgical environment, the church needs images which are able to draw heaven and earth into creative relation. These inclusive and holistic ideas are basic to a feminist practice of liturgical art as I describe it in this project. To demonstrate what such a practice might look like, I use examples from my own liturgical artwork. I aim to show how theory/theology and practice are inextricably interrelated in a feminist practice of liturgical art, and that practice precedes theory/theology, and that theory/theology leads to renewed practice. This has certainly been my experience while writing this thesis. The model of feminist liturgical art practice, which I formulate in this thesis, is postmodern. The largest theoretical challenge for me in this project was to come to terms with beauty theory, a conceptual framework which underpinned modernist art theory. By training and by inclination, I am disinclined to favour an art theory in which the highest value is beauty. Beauty theory was significantly deconstructed in the artworld in the 20th century and the new understandings of beauty arising today show the signs of paradigm shift. In the case of beauty theology, however, nothing comparable has caused theologians to significantly refigure their core value. Coming to terms with beauty theology was my largest theological challenge. My solution in both cases was to enlarge the category of beauty by adding ugliness. I call this category 'beautiful ugliness' (Boyd 1960, 200). However, 'beautiful ugliness' is not the focus of my aesthetic approach. I use 'life' as the core value. Into the mix of feminist postmodern art theory/theology, I add some elements of classical American pragmatism. In a pragmatic frame, ideas need to be tested out in the realities of everyday life. In line with my chosen core value, I use the terms life-relevant and life-enhancing (Miles 1985, 6) as criteria for testing the value of liturgical art. This project represents my attempt to draw a picture of what a feminist, postmodern, pragmatic, aesthetic/prophetic practice of liturgical art might look like in 21st century Australia. My hope is that there are other women and men artists, like myself, who work with 'passionate purpose' (Alexander 1933, 53) - driven by their faith in God; by their fidelity to the Christian tradition; by a desire to imaginatively explore, express and stretch the boundaries of that tradition; and by a powerful sense of place-connection and of community-belonging ? who will find this model useful and perhaps inspiring.

Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH 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.

This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry.
Department of Art

Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.
Department of Art

This research examines why churches are using Liturgical Media Art (LMA), specifically the use of projected or displayed images and texts, in their worship. Using a long term ethnographic study of four congregations, two in the UK and two in the USA, the research reveals a number of important issues for those who lead and those who prepare the materials used in the worship. The results show that LMA is providing added educational, missional and liturgical value through increased participation of the congregation in the worship of the churches researched. The research also identifies that those who lead worship, those who are the congregants in the worship and those who prepare the materials used in worship all have a very different perspective on the use of LMA. In seeking to understand the different approaches this research posits the role of self-esteem as a way of interpreting the three viewpoints. In looking at one possible measure of the effectiveness of LMA, this research examines the role of ‘surprise’ in relation to memory as well as how memory traits may be encoded so as to provide a long term retrieval of the images and associated service content. Using the work of McLuhan as a lens to examine the way churches employ LMA, this research focuses on the learning that can be found when there are problems with the use of LMA and its presence in the worship becomes obvious. The research posits a number of outcomes for ministerial formation and ministry that would aid the use of LMA in worship today. The research draws on the work of many writers from various theological, sociological, philosophical disciplines to reflect theologically on the use of LMA in our worship today. It also briefly considers the new ‘environmental projection’ being adopted in some churches. This research confirms much of the anecdotal evidence offered for the use of LMA and adds to the current literature about the use of LMA

Cette thèse établit l'inventaire exhaustif des synagogues de Casablanca en service, celles qui sont fermées ou encore celles disparues et dont on n'a plus de traces, ainsi que celui des objets rituels qu'elles renferment. L'implantation de ces lieux de culte constitue également une source d'informations sur la communauté juive Casablancaise et sur la mobilité de sa population entre 1911 et 2013. Casablanca, musée à ciel ouvert, a été influencée par des courants artistiques importés par l'Occident, tels que le Bauhaus, le style Art Nouveau, l'Art déco, des éléments gothiques ... associés à l'influence locale, aux courants internes au Maroc et à l'architecture coloniale. Adoptés par les familles juives de Casablanca, ces courants architecturaux vont finalement être appliqués à l'archtecture des synagogues, à leur mobilier et aux objets de culte
This 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

Alfredo Ildefonso Schuster (1880-1954), abate di San Paolo fuori le Mura e, successivamente, arcivescovo di Milano dal 1929 al 1954, ricoprì, durante il periodo romano, importanti incarichi sia all’interno dell’Ordine benedettino che della curia romana per volontà di Pio X, Benedetto XV e Pio XI. Egli diede un contributo decisivo in svariati ambiti: insegnò presso la Scuola di Musica sacra, fu consultore della Congregazione dei Riti, preside del Pontificio Istituto Orientale e presidente della Pontificia Commissione di arte sacra. Personalità particolarmente sensibile, fu in contatto con il mondo benedettino europeo, sostenne il movimento liturgico e si mostrò aperto verso la Chiesa ortodossa e gli ebrei. Dal punto di vista politico, infine, Schuster affermò con chiarezza la necessità che lo Stato riconoscesse l’importante azione sociale della Chiesa, denunciando le ingerenze e i soprusi commessi sia dal governo liberale che da quello fascista.
Alfredo 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.

Ce doctorat a pour objectif, en étudiant le christianisme, l’art architectural et décoratif, de comprendre et d’analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l’art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d’un grand intérêt par sa situation géographique de carrefour où depuis l’époque thrace se croisent et fusionnent différentes ethnies et civilisations. D’autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu’est Thessalonique. Il est donc nécessaire d’analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l’évolution de l’art chrétien produit sur ces terres balkaniques l’Antiquité Tardive jusqu’au règne de Boris Michel Ier. L’objectif est de s’interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d’un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l’adoption de la religion chrétienne en tant que religion d’État en 864 conduit à nous interroger sur la naissance d’un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l’art architectural avec l’analyse de la conception des édifices cultuels, c’est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l’art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l’espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d’un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l’impact de sa conception face à sa proximité d’un centre culturel et religieux rayonnant et influent, qu’est Constantinople ? L’étude s’appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l’architecture et l’objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l’art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l’art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu
This 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

La ricerca approfondisce il ruolo svolto da Adriano Bernareggi, sacerdote milanese, poi dal 1932 vescovo di Bergamo, nel movimento di rinnovamento degli studi ecclesiastici che ha attraversato il primo trentennio del Novecento. Formatosi presso le Università Gregoriana e Lateranense, nel clima segnato dal modernismo e dalla reazione pontificia, Bernareggi insegnò presso il Seminario di Milano, dal 1909 al 1932, e presso l’Università Cattolica, dal 1922 al 1926. In queste sedi, si sforzò di dare una risposta moderna – non modernista – all’ansia spirituale dell’uomo contemporaneo, attraverso un nuovo linguaggio religioso, capace di valorizzare la storia della Chiesa e, soprattutto, la sua liturgia. Particolare attenzione è stata dedicata: all’insegnamento seminariale, compreso il tentativo di promuovere un aggiornamento della ratio studiorum della Facoltà teologica in senso universitario, seguendo linee che anticipavano la Deus scientiarum Dominus; alla direzione della rivista “La Scuola Cattolica”, che tentò di trasformare in un periodico di scienze sacre nazionale, per riqualificare gli studi religiosi attraverso l’applicazione di una prospettiva storica e del metodo critico-filologico; alla partecipazione al movimento artistico-liturgico milanese, con la riscoperta, guardando all’insegnamento francese e all’abbazia di Maria Laach, del valore iniziatico dei riti; alla prevostura a S. Vittore al Corpo, laboratorio di una nuova “prassi liturgica”; alla sua partecipazione al dibattito sulla Questione Romana e sulla Conciliazione.
The 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.

The topic of this diploma thesis is design processing of a new sacral building in Brno-Líšeň district. It is a plot in the middle of a panel building between the health centre building and the building of the Salesian Youth Center, so-called Salesko. The Salesian community, which will use the building the most, has been waiting for the realization of this building for many years. The key theme is the creation of spaces enabling people to meet for worship, celebrations and social events. The design is processed by two interconnected operations - the building of the Church of the Descent of the Holy Spirit and the building of clergy house. The basic composition consists of three cubic masses - the entrance, the main liturgical space and the clergy house. The bell tower is the height dominant feature which indicates the sacral function of the building. The project consists a set of buildings with two above-ground floors and a basement in the entrance part of the church. This project also mentions the solution of open spaces around the plot and their conversion into quality public areas, marginally. The sacral space is to become a place that welcomes and takes in its visitors and gives them the feeling of safety. Inside this building, people will find peace, support and undestarstanding, so they may leave with the feeling of being a better person.

L'activité liturgique et commémorative dont l'abbatiale de Saint-Denis est le cadre a des effets sur sa configuration spatiale bien après l'achèvement de sa construction en 1281. L'adjonction de chapelles latérales au flanc nord de la nef, en 1320-1324, ou les créations et transferts d'autels recensés à la fin du Moyen Âge mettent en évidence le phénomène de pression liturgique qui s'exerce sur l'édifice en marge de ses fonctions principales, c'est-à-dire le culte de saint Denis et l'entretien de la mémoire royale. L’étude des chapellenies et services anniversaires fondés à ses autels entre 1108 et le début du XVIe siècle éclaire le réseau mémoriel qui se forme autour de l'abbaye au cours de cette période, mais aussi l'évolution de la politique des moines vis-à-vis des laïcs. À partir du deuxième quart du XIVe siècle, l'abbé et le chapitre cherchent à canaliser le flux dévotionnel des fondations, y compris royales, tandis que les prêtres de la collégiale Saint-Paul voisine et des paroisses de l'exemption dionysienne sont progressivement associés à leur desserte, formant avec les moines une même communauté. La lecture de la répartition des tâches au sein de l’abbatiale et de ses dépendances, qui vise à reconstituer une géographie de la mémoire à Saint-Denis, révèle l'existence d'espaces réservés et un contrôle strict de la destination des autels, notamment de ceux du chevet. Ainsi, la plupart des officiers claustraux de l'abbaye sont associés spécifiquement à l'un des autels à reliques des chapelles rayonnantes depuis, semble-t-il, l'abbatiat de Suger. Cette exclusivité d'usage ne semble pas repérable dans d'autres établissements comparables, apportant un nouvel exemple de l'unicité dionysienne
The 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

Despite the authoritative and very explicit directions from the Vatican in 1903, the Catholic Archdiocese of Melbourne successfully resisted the demands for a major reform of liturgical Church music for 35 years. This thesis will examine the reasons for this strong and effective resistance to the demands of the Holy See and show that despite being complex and interrelated these reasons can be summarised under two fundamental headings. The thesis will examine the broad spectrum of music performed in the Melbourne Archdiocese, but because of the limited availability of information and the prime importance of the two principal churches of the Archdiocese, it shall concentrate on St. Patrick’s Cathedral and on St. Francis Church. The thesis shall also examine in detail the documents of the Holy See concerning liturgical music which were relevant to musical practice in Melbourne. Special attention is drawn to the influential Motu proprio Tra le sollecitudini (1903) issued by Pope Pius X. The time span of this thesis covers the 95 years from March 1843 when the first music was sung in Melbourne’s only Catholic church to 1938 when Archbishop Daniel Mannix ordered the reforms to liturgical music as demanded by the Vatican. The thesis shall demonstrate that the resistance to the reform of liturgical music in the Catholic Archdiocese of Melbourne was due to the two following influences: the fact that the new freedom and wealth that the immigrant Irish community of the Archdiocese of Melbourne experienced enabled them to establish churches and liturgies whose grandeur and artistic excellence symbolized their success in establishing a major new social and cultural status in their new home. Church music was one of the great manifestations of this and as an integral part of their new significance and sense of achievement, it was to be jealously guarded. the second was the matter of authority and the independence of the Catholic bishops from the dictates and interference of the Vatican authorities. These Irish-born bishops were trained in an historical milieu in Ireland and Europe which fostered a fierce pride in the value of autonomy from external and alien authority. In this they were given a great degree of protection by the isolation of Australia and its distance from outside authority. In this Archbishops Carr and Mannix both proved to be strongly independent leaders who proved to be most reluctant to automatically implement reforms imposed by the Vatican. It will be shown that only in the fourth decade of the twentieth century was Episcopal authority finally brought to bear to make reforms to liturgical music a reality in the Catholic Church in Melbourne.

It is a well established fact that the practice of the eucharistic prayer in the roman, rite is seriously underdeveloped. This survey of complete or partially through -composed settings of the eucharistic prayer attempts to shed some light on why and how composers have responded to the wide-spread opinion that the eucharistic prayer is rarely experienced as the high point of the eucharistic celebration as it was intended. Divided into two parts, the study initially considers the official aims and norms of the post-conciliar liturgy, both in general and as they pertain to the eucharistic prayer, noting some tension between the aims and their realisation. Three broad themes are identified for the entire work: ritual structure, the role of music and participation. The texts of the eucharistic prayers are then discussed to see how the official expectations are realised. A survey of the theoretical writings on rnusic and the eucharistic prayer concludes the first part. The second part focuses on over 100 musical settings, both published and unpublished d the eucharistic prayer. After offering a general chronological overview of the music, noting its forces and general characteristics, the music is scrutinised to see whether its various parts are celebrated or submerged by music, the broader shape of the compositions is examined and then a discussion concerning participation issues follows. The use of tabulated data aids the discussion. While acknowledging that there are many ways to evaluate the usefulness of such compositions and that this study does not touch on their actual reception and performance, it is hoped the current work will offer some insights into the variety of existing responses to the challenge of the setting the eucharistic prayer and offer some suggestions as to how this important work may continue.

La diòcesi de la Ribagorça i en concret la seva seu, Roda d’Isàvena, han sigut des de inicis del segle XX un focus d’estudi important pels historiadors de l’art, atès que els seus bisbes són els promotors de significatius vestigis d’art monumental. Anàlogament, és una diòcesi intensament estudiada també des d’un punt de vista històric ja des del segle XVI. Tanmateix però, poc se sap en referència a la seva complexitat cultural. En conseqüència, la present recerca es planteja com una reconstrucció de la vida cultural de la diòcesi, i particularment de la biblioteca catedralícia de la seva seu, per tal de comprendre quines inquietuds existeixen darrera d’aquestes manifestacions artístiques, plantejant tanmateix, un millor coneixement dels diversos esdeveniments històrics succeïts entre els segles X i XII. Els arguments, desenvolupats de manera crítica i objectiva, ens situen davant d’una seu de l’edat mitjana que formava part d’una extensa xarxa cultural per on confluïen persones, idees, llibres, pràctiques litúrgiques i formes artístiques. Es demostra com l’intercanvi de coneixement és una de les característiques més determinants de la seu ribagorçana de Roda d’Isàvena. Així mateix, la present recerca ofereix per primera vegada un catàleg complert dels diferents manuscrits que van formar part la biblioteca catedralícia.
The 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.

This thesis describes the functioning and development of the consular triad made up of consuls, consular establishments as well as the physical and symbolic territories in which they are inscribed, in the Ottoman Regency of Tunis, covering the period from the construction of the first model building (1660) to the advent of the French Protectorate (1881). The research questions the materialisation of relations between powers through a series of formal practices and physical spaces with which cultural and social processes overlap purporting at cultivating differences in a quest for distinction and competition between states representatives.The collected data come from the study of sources and the examination of the consular and diplomatic archives of eight major powers having representatives in Tunis during the studied period. They are written in five languages mainly (French, Arabic, English, Italian, Spanish) and were analysed through the prism of global micro-history. This analysis included the consultation of the diocesan and congregational archives documenting the daily life of the Christian communities living under consular jurisdiction as well as the travel reports and the guides that completed the studies, descriptions, illustrations and memoirs assigned to scientists and other European officers on mission in the Regency.The research has allowed us to determine, from the 17th century, the position of these buildings in the city and to trace back the genealogy of the consular district. The thesis has also revealed the existence of three phases in the development of consular spaces. The first one (1660-1792) was initiated by the construction of the Fondouk des Français (1660) and it inaugurated a cumulative and linear process of consular houses multiplication and concentration in the lower part of the city. The granting of fondouk, its shape, dimensions, and location, testify to the importance of the nation and its place in the Regency’s diplomatic scene. Archetype of the origins, the fondouk will emancipate itself from its primitive typology by integrating spaces of conquest, symbols of privileges consecrating rank and prestige, in an atmosphere of competing powers and rising tensions with the hosting state.This first phase was followed by a second one of "overthrow of clarity" (1792-1816), following the outbreak of the French Revolution, marked by the loss of old powers and the appearance of new actors. This phase is followed by the third and final one (1816-1881) which arises in the shadow of nationalism, bureaucratisation and the assertion of the consular function as an economic and political institution. The burgeoning consular corps challenges the established order and engages in a quest for distinction and symbolic superiority demonstrated by a spatial conquest in the city. Ruptures and continuities are identified as milestones punctuating the changes in consular houses which, from the archetype of the fondouk, will gradually adopt the European model of town house (Hôtel particulier), by appropriating its architectural, ornamental and spatial elements. This process culminates in the establishment of the French consulate (1860) outside the walls in a hôtel particulier, signaling thus the death of the Fondouk des nations model.The representational work of consuls is also expressed in terms of mobility, submission but also circumvention of court ceremonial and reception rules. Geographical spaces are overlapped by symbolic spaces where a subtle war is played out, that of the conquest of privileges testifying to the rank of the State and its prestige. Everything becomes a pretext to treat "on the stronger foot" and any privilege is good to take and to maintain. Use of four-wheeled carriages, submission to the hand-kissing ceremony, wearing of sword and shoes during audiences with the Bey, provision of a country house, are subject to harsh negotiations with the local authorities who play with competition and egos by dispensing privileges and sermons according to its policy.Through its buildings, its specific territory forming a fragment of historic urban landscape and the consular habitus, the consular district constitutes a tangible and intangible heritage, revealed by the thesis, which needs to be known. Its recognition as a heritage is a prelude to its future protection, which has become urgent.
Cette 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

Estudio de los retablos castellonenses de la diócesis de Tortosa desde las modalidades aportadas por el Concilio de Trento en 1545 hasta la creación de la academia de Bellas Artes de San Carlos de Valencia en 1781. El objetivo es abordar en profundidad un estudio de conjunto que reúne material disperso, inédito, desaparecido o conservado, subsanando de este modo un estudio que englobe la retablística renacentista y barroca en la provincia de Castellón.

Dissertatio ad doctoratum--Sacra liturgia--Pontificium institutum liturgicum.
Contient 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.

Ainda pouco conhecida e estudada, a pintura retabular O Juízo Final e a Missa de São Gregório é uma das raras obras tardo-medievais existentes no Brasil, fazendo parte do acervo do Museu de Arte de São Paulo (MASP). Essa obra foi produzida em Valência para ser o painel central de uma abadia na Borgonha, França. Apesar da excelente oportunidade de estudos que ela apresenta para os historiadores da arte medieval, ela não fora até agora objeto de pesquisas detalhadas. O nosso objetivo, portanto, é analisar tal peça, atentando-nos particularmente aos diversos elementos que nela remetem à Eucaristia, e que fazem dela um objeto fértil de estudos sobre esse sacramento no final da Idade Média. Para realizar essa tarefa, fundamentamos o nosso trabalho na análise e na interpretação da obra seguindo os métodos de leitura formal, estilística e iconográfica utilizados na História da Arte, relacionando também o nosso objeto ao contexto histórico de produção e recepção, através de uma revisão da documentação e da sua história até chegar ao acervo do MASP. Para atender esse objetivo, dividimos o nosso trabalho em dois eixos principais. No primeiro, versaremos sobre a imagem enquanto objeto material e estudaremos a sua história e o seu suporte. Já no segundo, analisaremos a sua iconografia em relação ao sacramento eucarístico e sua dimensão salvífica e, desse modo, investigaremos como esse painel se relaciona com o processo de legitimação do realismo eucarístico no contexto no qual a imagem foi produzida e exposta no final da Idade Média.
Still 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.

The diploma thesis The Subsidiary Churches of Roman Catholic Parish Říčany u Prahy deals with churches, which currently belongs to the Říčany`s parish, and freely continues in the bachelor thesis The Church of St Peter and St Paul in Říčany. At the beginning, history of the parish is briefly introduced. The thesis is divided into chapters according to individual churches. The development of architecture, chronological description of the interior painting and sculptural decoration and liturgical applied arts, which are located in particular churches, follow after a historical introduction. The churches' most significant treasures include the original rotunda in Kostelec u Křížků, gothic frescoes in Olešky and Kostelec, the painting of Archangel Raphael with young Tobias by Karel Škréta in Kostelec, baroque altar in Tehov a classical tombstone of archbishop Salm-Salm in Kamenice. The biggest contribution of this thesis is the detailed summary, finding of analogies (particularly similarity of gothic presbyteries in Otice and Kunice, baroque reconstruction of churches in Tehov and Kolovraty and baroque altars in Kostelec u Křížků and Kamenice), dating of baroque frescoes in the presbytery of church in Kostelec, finding of provenance of altar in Tehov and elaborating of history of smaller villages (especially of...

The outcomes of the Second Vatican Council have brought essential changes into liturgy, having impacted the liturgical space as well. However, the totalitarian communist regime that was in power in Czech lands at the time allowed only a limited space for the application of the Council outcomes in practice. That is why the post-Council situation in liturgy is in many ways unique in the Czech Republic. After the Velvet Revolution there was a rapid and rapturous development that has brought not only positives, but also certain negatives stemming from the too-quickly loosening grip of bondage. The aim of this thesis is to monitor the state of the discussion on liturgical space in the period between the Second Vatican Council and the present day. The theoretical part looks at the summary of the discussion in the Czech Republic before the Second Vatican Council, then briefly presents concept of sacred space of the Second Vatican Council and at the end outlines the pre-Council and the post-Council European context. The practical part consists in the finding, researching and evaluating of materials concerning the subject. They have been assessed according to three main criteria. The first is a historical viewpoint sorting the materials by the time they came into being. The second classifies them by the...

The thesis maps the occurrence of christological motifs in the Czech painting and graphics after 1900 and compares approaches of artists of different generations to their depiction. Selected christological art works are analysed from three main aspects: 1. iconography, 2. style and form, 3. philosophical and psychological resources. A particular chapter deals with christological motifs in modern liturgical art. The conclusion of the work evaluates the significance of the christological theme in context of the modern Czech art development.

O estudo realizado no âmbito desta dissertação, O Teatro do Mundo e o Teatro de Deus, procura ser uma reflexão histórica e teológica sobre a arte teatral enquanto arte que apresenta o homem na sua relação com o mundo e o próprio agir de Deus na vida humana. O presente ensaio possibilita ter um olhar, ainda que restrito, sobre as origens do teatro, atravessando conjunturas significativas de uma história teatral: na antiguidade, em contextos diferenciados do Mediterrâneo; na medievalidade, onde o teatro teve estreita relação com o contexto cristão, como observamos através do drama litúrgico e das representação sagradas; e na modernidade, onde encontramos influências religiosas em autores como Gil Vicente e William Shakespeare. Também na época contemporânea, o diálogo entre o teatro e a teologia reflete a importância de devolver Deus ao teatro, o que é possível através de um olhar teológico sobre a arte teatral, de um diálogo entre ambos, e através da dimensão prática da Igreja, com o intuito de formar e sensibilizar as consciências.
The 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

v anglickém jazyce The book presents an array of woven patterned fabrics from church treasuries in the territory of the Diocese of České Budějovice. The examples provided originate in the period spanning from the 16th to the 18th century, and they represent only a small selection of the surviving collections. The focal point consists of a magnificent collection of textiles from the 18th century, documenting the development of the individual historical spheres of decors overlapping into corresponding variants of design. The variability of patterns pertaining to this century is unusually high, and it combines a large number of sources of inspiration with roots in exotic overseas countries. The catalogue entries are furnished with brief technological analyses that offer an insight into the textile production of the respective periods and, at the same time, they provide researchers with a deeper understanding of the individual fabrics on display. Although the area of the Diocese of České Budějovice to a certain degree exceeds the boundaries of the Region of South Bohemia, the collections examined were, in their majority, imported from western European countries manufacturing weaving products of world renown. The catalogue outlines the historically significant import of luxury goods reflecting a variety...

This thesis deals with relationship of music and theology. It stems from history of development of the philosophic judgement on the notion of ?musica? in antiquity as well as from the contemporary conceptions and definitions of music. Subsequently it proceeds to the presentation of selected writings of both historical and contemporary theologists? dealing with the subject of the art of music. Based on their analysis this thesis comes to the conclusion that a relationship between theology and music indeed exists and their dialog mutually enriches both of these disciplines. Music transcends the limited capabilities of speech and with its own instruments it speaks about the infinite God. This central thought at which the thesis arrives, is concretely documented in musical activities and pieces of work by selected composers of classical music.

Thesis (M. Mus.) -- Australian Catholic University, 2004.
Submitted 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.

My thesis is about traditional celebrating of feasts and holidays during ecclesiastical year. It introduce us art techniques which is connected with these dates. At the start we familiarize us folklore and folk art and it shows us differences between folk art and city art. Next chapter is about ecclesiastical year and about important dates in church. At the next part we can read about time of pubescence, its characteristics and progress what the teenager has to go through, and with the typical behaving and work of these young people. The practical part leads us through the innovative art techniques and introduces us traditions and customs on our villages. We can also read here some facts about celebrating feasts in other parts of Europe and World.

Text in English and Arabic
In 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)