Dissertations / Theses on the topic 'De Adoratione'

Music Performance
D.M.A.
Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works.
Temple University--Theses

The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects.
This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.

Les Adorations à l’Enfant-Dieu consistent en une neuvaine d’adoration qui a lieu dans la période qui commence la semaine de l’Épiphanie (sauf le 6 janvier) et le début du carême. Ce rituel s’inscrit dans une série de rituels en accord avec le calendrier catholique. Bien que ce rituel soit effectué en dehors de l’église, au sein des foyers, il partage le déroulement du rituel de la messe catholique du temps ordinaire. En observant de façon détaillée le rituel et la musique qui s’y joue, nous décrirons au fur et à mesure les différents rôles (femme, homme et enfants) qui s’imbriquent parfaitement et nous dévoilent le fonctionnement de cette société matriarcale. Ainsi, les hommes soutiennent les femmes par le jeu constant des tambours. Les enfants et l’assemblée (représentant la société) valident, en répondant (respondido) à l’appel des femmes qui guident tout le long du rituel
The Adorations to the Christ-Child consist of a nine-day ritual of adoration that takes place from the week of Epiphany (except on January the 6th) and the beginning of Lent. This ritual is part of a serie of rituals according to the Catholic calendar. Although this ritual is performed outside the church, at home, it shares the ritual of the Catholic Mass of ordinary time. By observing in detail the ritual and the music played there, we will describe gradually the different roles (woman, man and children) that fit perfectly and reveal the functioning of this matriarchal society. Thus, men support women through the constant play of drums. The children and the assembly (representing the society) validate, by responding (respondido) to the call of the women who guide all the ritual

This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.

This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

The workings of admiration and adoration within individuals and the family as attitudes against self-interest were investigated. Interviews with American families in two New England states from ten Christian denominations (n = 20) were analyzed qualitatively. As a result, admiration was observed among almost all the families. Three means-end structures emerged in regard to spouses' configuration of the components of adoration, and these three groups of families indicated different features of family. The spouses of the Holistic Devotion (HD) group devoted all resources to God, rejecting the quest for self-interest, defining marriage/family as a coherent unit to serve God. The children participated in this attitude, expressing a similar devotion to God and rejection of self-interest. The spouses of the Personal God (PG) group perceived God as a meaning-maker and a benefactor who was involved in marriage, having multiple goals including spiritual growth and marital care and togetherness. The children expressed similar goals, including family togetherness and affirmation of satisfaction of self-interest. The spouses of the God-as-Benefactor (GB) group mentioned only admiration, and perceived that God was less involved in marriage; they valued marital care that functioned as mutual satisfaction of self-interest. The children similarly sought family togetherness, were centered in self-interest, and religion was instrumental to their self-interest. Six functions working in the family relationships of the HD group were elaborated, and the unique ontology behind these functions was analyzed.

S’inscrivant au carrefour de la théologie de la vie spirituelle et de l’histoire de la spiritualité chrétienne, la recherche explore l’oeuvre doctrinale de Julienne Dallaire (1911-1995). Mieux connue sous le nom de Mère Julienne du Rosaire, cette spirituelle québécoise – fondatrice de la congrégation des Dominicaines Missionnaires Adoratrices – développe une spiritualité ancrée dans une contemplation du Christ, où l’Écriture et la Tradition de l’Église sont largement convoquées. Une lecture approfondie de son héritage manuscrit permet de constater que l’adoration y occupe une place centrale et y assure une fonction intégratrice. Dès lors, pour une première approche du corpus, l’intérêt de privilégier la piste de l’adoration comme thème principal de la thèse s’est naturellement imposé. Le choix d’étudier les écrits d’un auteur spirituel procède de la conviction que l’expérience chrétienne est un réel lieu théologique, comme l’ont largement montré au vingtième siècle des théologiens de la vie spirituelle tels que Charles-André Bernard ou François-Marie Léthel. Au plan méthodologique, outre un procédé descriptif visant à établir les présupposés nécessaires au niveau historique, la démarche d’investigation des documents transmis par Julienne est essentiellement inductive. Elle fait appel à des outils d’analyse littéraire – rhétoriques, narratifs et pragmatiques –, qui ont l’avantage de favoriser une appropriation plus objective du contenu des textes, en tenant compte de leurs genres respectifs. Dans ce domaine, la recherche bénéficie de l’expertise développée par Thérèse Nadeau-Lacour. Les résultats obtenus au terme de ce processus exploratoire laissent apparaître divers éléments bibliques, christologiques et anthropologiques par lesquels Julienne opère un déplacement majeur dans les conceptions « traditionnelles » de l’adoration. Tout en rappelant la signification naturelle de cette réalité, Julienne invite à en découvrir la nouveauté apportée par le Christ. La distinction qu’elle effectue entre le Christ adorable et le Christ adorateur se révèle fondamentale. Mettant en lumière la spécificité de l’union hypostatique, propre à l’Incarnation du Christ, elle amène son lecteur à envisager non seulement le caractère adorable de la personne du Christ, mais le dynamisme adorateur qui sous-tend toute son existence. La réflexion s’ouvre ainsi à la dimension trinitaire de l’adoration et à la relation d’alliance qu’elle suppose. Ce point de vue permet à Julienne d’éclairer l’acte d’amour par lequel le Christ s’offre pour la gloire de Dieu et le salut du monde, un acte qui se perpétue dans l’éternité et demeure toujours actuel dans le sacrement de l’autel, grâce à l’événement du Jeudi saint. De ces assises christocentriques se dégage une anthropologie théologique qui, fondée sur les dons du baptême et de l’Eucharistie, convie le croyant à devenir conforme au Christ dans le mystère de sa vie adoratrice. L’approche contribue à rendre explicite le chemin spirituel manifesté dans le quatrième Évangile : dans le Christ, toute la vie participe de cette attitude fondamentale qu’est l’adoration « en esprit et en vérité ». Julienne rassemble ses compréhensions sous l’expression « dévotion au Coeur Eucharistique ». Elle fait de la Vierge Marie le modèle par excellence de cette spiritualité. Dans l’horizon théologique actuel, la proposition de Julienne se révèle complémentaire et, à certains égards intégratrice, de la perspective sacramentaire qui, au cours des dernières décennies, a largement – et presque exclusivement – occupé les discussions concernant l’adoration. Son enseignement à ce sujet convoque à redécouvrir et/ou à initier d’autres voies fécondes, anticipant dans un premier temps l’impulsion donnée par le concile Vatican II puis, dans un second temps, la déployant. À partir des ouvertures que la démarche théologique réalise, les conclusions suggèrent des pistes d’explorations futures dans des domaines aussi variés que l’exégèse biblique, la liturgie et même l’oecuménisme.
Situated at the crossroads between the theology of spiritual life and the history of Christian spirituality, the research explores the doctrinal work of Julienne Dallaire (1911-1995). Better known as Mother Julienne of the Rosary, this spiritual person from Quebec – foundress of the congregation of the Dominican Missionary Adorers – develops a spirituality rooted in a contemplation of Christ where Scripture and Church Tradition are widely called upon. An in-depth reading of her manuscript heritage shows that adoration occupies a central place in it and serves an integrative function. Thus, for a first approach to the corpus, focusing on the subject of adoration as the main theme of the thesis naturally imposed itself. The choice to study the writings of a spiritual author stems from the conviction that the Christian experience is a real locus theologicus as was widely pointed out in the twentieth century by theologians of spiritual life, such as Charles-André Bernard or François-Marie Léthel. At the methodological level, in addition to a descriptive process aiming to establish the necessary presuppositions at the historical level, the process of investigation of the documents transmitted by Julienne is essentially inductive. It uses tools of literary analysis – rhetorical, narrative and pragmatic – which have the advantage to favour a more objective appropriation of the content of the texts, taking into account their respective genres. In this field, the research benefits from the expertise developed by Thérèse Nadeau-Lacour. The results at the end of this exploratory process reveal various biblical, christological and anthropological elements through which Julienne operates a major shift in the « traditional » ways of conceiving adoration. While recalling the natural meaning of this reality, Julienne helps discover the newness brought by Christ. The distinction she makes between the adorable Christ and the adoring Christ is fundamental. By bringing to light the specificity of the hypostatic union proper to the Incarnation of Christ, she leads her reader to consider not only the adorable character of the person of Christ, but the worshiping dynamism that underlies his whole existence. Reflection thus opens up to the Trinitarian dimension of adoration and to the covenantal relationship it implies. This point of view allows Julienne to bring to light the act of love by which Christ offers himself for the glory of God and the salvation of the world, an act that is perpetuated in eternity and is always present in the Sacrament of the altar, because of the event of Holy Thursday. From these christocentric foundations emerges a theological anthropology which, based on the gifts of baptism and Holy Eucharist, invites the believer to become Christ-like in the mystery of his adoring life. The approach helps to make explicit the spiritual path shown in the fourth Gospel: in Christ, all life participates in this fundamental attitude of adoration « in spirit and in truth ». Julienne brings together her understandings under the expression « devotion to the Eucharistic Heart (of Jesus) ». She considers the Virgin Mary as the model par excellence of this spirituality. In the current theological horizon, Julienne's proposal is complementary and, in some respects, has an integrating capacity, with regards to the sacramental perspective of recent decades, which has largely – and almost exclusively – occupied the discussions concerning adoration. Her teaching on this subject invites to rediscover and/or to initiate other fertile approaches, anticipating first of all the impetus given by the Second Vatican Council and then secondly, deploying it. From the openings that the theological research achieves, the conclusions suggest paths for future exploration in areas as varied as biblical exegesis, liturgy and even ecumenism.

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The object of this dissertation is the body, which praises and adores the Sacred through the dance. And for that object to be understood, a historical cutting of the body in the Judaism was made at first, later the body was put into discussion in a Greek dual vision, which still persists in our days. That body was also discussed, from the pentecostalism to the neopentecostalism, noticing that it is seen as a Temple of the Holy Spirit. Finally, knowledge about this body was sought in the perspective of a phenomenological approach. Speeches of 08 (eight) subjects, who experience the existence of the dance in their bodies in the evangelical cults, were collected. Besides the formal speeches, the help of informal ones and observations was used, concerning no predetermined styles of dance, but the existence and each subject's glance at the experience of placing their bodies to adore the Sacred. Starting with the collected speeches, guided by the interrogation "What is the body, which praises and adores God through the dance, like?", the understandings and reflections were tracked in search of knowing the body that dances with its own glances. The body that dances with other senses was looked at, and felt by people who are considered to be worshipers in the evangelical cults. Thus, according to the foundations of the phenomenological research, a particular perspective was sought; completely hermeneutic in a certain moment; the studied phenomenon was observed, searching for a deeper analysis of the universe essence in question.
O objeto desta dissertação é o corpo que louva e adora ao Sagrado, mediante a dança. E para que seja compreendido esse objeto, primeiro foi feito um recorte histórico do corpo no judaísmo, depois falou-se sobre o corpo numa visão dual grega que persiste até nossos dias. Discutiu-se, também, sobre esse corpo, do pentecostalismo ao neopentecostalismo, percebendo que o mesmo é visto como Templo do Espírito Santo e, por fim, buscou-se conhecer esse corpo na perspectiva de uma abordagem fenomenológica. Foram coletados discursos de 08 (oito) sujeitos, que experimentam a vivência da dança em seus corpos nos cultos evangélicos. Além dos discursos formais, também contou-se com a ajuda de discursos informais e observações, não havendo preocupação com estilos predeterminados de dança, mas sim com a vivência e o olhar de cada sujeito para com a experiência de colocar seu corpo para adorar ao Sagrado. A partir dos discursos coletados, orientados pela interrogação "Como é o corpo que louva e adora a Deus, mediante a dança?", foram trilhados os entendimentos e reflexões em busca de conhecer o corpo que dança com os próprios olhares. Olhou-se para o corpo que dança com outros sentidos, e sentido por pessoas que são consideradas adoradores nos cultos evangélicos. Assim, consoante os fundamentos da pesquisa fenomenológica, buscou-se encontrar uma perspectiva particular, e totalmente hermenêutica em um dado momento; olhou-se para o fenômeno situado, buscando um aprofundamento na essência do universo em questão.

La querelle du pur amour qui opposa, entre 1697 et 1699, Fénelon et Bossuet ne peut être limitée à ces deux prélats éminents de l’Église de France, ni à cette seule période de la fin du Grand Siècle. Non seulement elle impliqua les plus importants théologiens et philosophes de France et d’Europe, tels Malebranche, Leibniz ou Pierre Nicole, mais encore elle traversa tout le siècle faisant l'objet de controverses bien plus anciennes, ainsi celle qui opposa entre 1639 et 1642 Jean-Pierre Camus, l’évêque salésien de Belley, au père Antoine Sirmond. Cette inscription de la controverse de l’amour désintéressé de Dieu dans l’histoire religieuse du XVIIe siècle, depuis Saint François de Sales est le premier thème de notre étude. L'analyse des enjeux de la querelle montre qu'elle se situe sur un triple plan : spirituel, théologique et philosophique. 1)La doctrine spirituelle de l'oraison et de la contemplation que développe Fénelon le rattache à la grande tradition mystique espagnole du XVIe siècle et eckhartienne du XIVe siècle, et, par-delà, à la spiritualité de la théologie négative de Denys l’Aréopagite. La doctrine de Fénelon de l’état d'abandon uniforme en Dieu se présente, en outre, comme une version occidentale de la spiritualité "hesychaste" des pères du désert et de Jean Cassien, en particulier. 2)Sur le plan théologique, la doctrine de l'amour de Dieu qui est indépendant du désir du salut est, aux yeux de Fénelon, la seule conciliation possible entre le devoir d'aimer Dieu et le dogme de la prédestination, conciliation qui est impossible dans le système eudémoniste de Bossuet. 3)Sur le plan philosophique, la séparation de l'amour de Dieu du désir du salut et de la recherche du bonheur en fait la première critique de l’eudémonisme qui traverse toute la tradition philosophique. .
The dispute on pure love which opposed, between 1697 and 1699, Fénelon and Bossuet can not be limited solely to those distinguished prelates of the church of France, nor can it be reduced to this unique period of the end of the great century. Not only did it involve the most prominent theologians and philosophers of France and Europe, such as Malebranche, Leibniz or Pierre Nicole, but it also goes through the whole century. It was the matter of much older controversies, such as the debate between Jean-Pierre Camus, the salesian bishop of Belley, and father Antoine Sirmond which took place during the years 1639-1642. The first aim of our study was to locate the controversy on the nature of the love of god in the religious history of the seventeenth century. The analysis of the implications of this dispute reveals that it has to be understood from three point of views : spiritual, theological and philosophical. 1) The spiritual doctrine on prayer and on contemplation that Fénelon presents connects him with the great spanish mystic tradition of the XVIth century and with the eckhartian tradition of the XIVth century and, beyond this, to the negative theology of Denys the Areopagite. The doctrine of Fénelon on the state of the soul immersed in god appears to be the western understanding of the "hesyschast" spirituality of the desert fathers, and especially of John Cassian's. 2) From the theological point of view, the doctrine on the pure love of god, free from all care for one's own salvation, is, according to Fénelon, the only possible way of reconciling the obligation. .

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This dissertation investigates the narrative of the apocalyptic vision found in Ap 13,1-18. Its starting point is a question about the reality which influenced the author at the time of writing by using baffling language. The hypothesis is that John s Apocalypse which is an important source of the experiences of primitive Christianity at the end of the first century offers a strong criticism of the demands of adoration offered to the Roman authorities by means of the Imperial Cult. The images of the beasts described in Ap 13,1-18 express this theme by using provocative language grounded in the force of the word and mythical tradition of the Ancient Near East. In this way, the author demonizes and stigmatizes the expressions of official religion that treat the governors as divine beings as well as the promoters of the Imperial Cult in Asia Minor.(AU)
Esta dissertação investiga a narrativa de visão apocalíptica encontrada em Ap 13,1-18. Ela parte da pergunta sobre a realidade que influenciou o autor no momento da composição, utilizando-se, assim, de uma linguagem provocativa. Nossa hipótese indica que o Apocalipse de João, importante fonte das experiências do Cristianismo primitivo no final do primeiro século, proporciona uma dura crítica às exigências de adoração dirigidas às autoridades romanas através do Culto Imperial. As imagens das bestas descritas em Ap 13,1-18 expressam este tema através de uma linguagem provocativa, fundamentada na força da palavra e na tradição do mito do antagonista encontrado no Antigo Oriente Próximo. Neste sentido, acreditamos que o autor demoniza e estigmatiza as expressões da religião oficial, as quais tratam os governantes como seres divinos, e os promotores do Culto Imperial na região da Ásia Menor.(AU)

Le Troisième Abécédaire spirituel du franciscain F. De Osuna (Tolède 1527) est le fleuron de la théologie affective espagnole. Cette voie spirituelle non scolastique propose aux futurs " recueillis " l'accès à la contemplation pour tous, mais revendique contrairement aux illuministes, une exigeante ascèse fondée sur des exercices spirituels. Dans une période de crise majeure pour l'Eglise mais avant le schisme que signifiera la Réforme, Osuna, qui s'attache à distinguer la Philosophia Christi érasmienne de la Theologia cordis, fait de celle-ci un projet évangélique ambitieux d'auto-Réforme de l'Eglise par l'auto-réforme des cœurs. Osuna " met en scène ", métaphoriquement, le triomphe de l'amour et du désir dans l'instauration du paradis intérieur et " portable ". C'est ainsi que plusieurs décennies avant les grandes réalisations littéraires et picturales du Baroque, commence à s'incarner sous la plume de notre franciscain, l'immense entreprise de Propaganda fidei de la Contre-Réforme
The Third spiritual alphabet by the franciscan F. De Osuna (Toledo 1527), is the finest jowel of affective spanish theology. This non-scholastic spiritual path offers access to contemplation for all. However, contrary to the beliefs of adepts of Illumination, Recollection demands exacting asceticism founded on spiritual practice. In a deeply troubled period for the Church, but preceding the schism that would herald the Reformation, Osuna, who attaches great importance to differentiating Erasmus Philosophia Christi from Theologia cordis, turns the latter into an ambitious evangelical project of self-Reformation of the Church through self-reform of hearts. Osuna, metaphorically, “stages” the triumph of love and desire by establishing “portable” intimate paradise. In this manner, several decades before the major literary and pictorial achievements of the Baroque period, the vast enterprise of Propaganda fidei of the Counter-Reformation starts taking shape via our franciscan' pen

By entering the diploma thesis is to create an architectural study of the sacral object and the Salesian community center in Brno - Líšeň. The first mention of the creating church appeared in 1987 and because of this reason Salesians came to this city, they focus on working with children and youth, according to Don Bosca. Their method od education was reflected in the overall project concept. The building will be linked to the existing object of the Salesian Youth Center, but it will also serve for a wider circle of believers. The consecration of the church will be a third divine person - the Holy Spirit. The object will be on the Horníková ulica, on the parcels no. 5037/30,32. On the plot with parc. No.5037/32 is currently a building, that is the property of the Nadácia pre radosť, and it will by removed during construction. The proposal is based on urban analyzes performed and responds to the surrounding buildings. It also affects the conditions of the building plot and uses terrain sloping. The proposal consists of one object that includes a church with a capacity for 400 seat and 100-standing persons with chorus, sacristy, adoration chapel and technical and hygienic backgrounds. Furthermore, there is a educational/multifunction room, workshop and store of religious products, farther the parish part with the apartments, office for priests and underground garage. In addition to the building, there was created paved areas for pedestrian which responding to existing communications. Due to the removal of the parking lot in the northern part of the solved territory, the existing parking lot was extended on the south side and there was also created a new communication for cars, which connects the Northern Street Horníková with Western. In this communication, it is necessary to create a suitable road signage to prevent the supply of vehicles and it must not be used as an abbreviation in the traffic jam at the 2nd grade road communication.

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O Grupo de Louvor e Adoração como dispositivo e espaço educacional teológicomusical em comunidades da Igreja Evangélica de Confissão Luterana no Brasil (IECLB). A pesquisa inicia traçando um perfil histórico da introdução do modelo dos Grupos de Louvor e Adoração na IECLB. Para tanto, é delineado o contexto geral (musical, teológico, político e social) no Brasil entre os anos 1960-1980. É analisado o legado do reformador Martinho Lutero referente à música, e a formação da IECLB (Igreja Evangélica de Confissão Luterana no Brasil), e um relato histórico do surgimento do Movimento Encontrão, berço destes grupos em contexto luterano. Em seguida, apresenta a análise do encontro-ensaio do Grupo de Louvor e Adoração à luz dos escritos de Martinho Lutero, Paulo Freire e Lev S. Vygotsky, tendo em vista aquelas dinâmicas que englobam formação teológico-musical para os integrantes do grupo, e que possam vir a se refletir na vida comunitária ou sejam reflexos da mesma. Por fim, se propõe considerações para a dinâmica de um Grupo de Louvor e Adoração que possam se refletir na compreensão, no uso e na definição de papéis (por parte do grupo e da comunidade de adoração) da música no culto e na vida comunitária. Para tanto, descreve os principais tópicos da compreensão teológica presentes num Grupo de Louvor e Adoração e apresenta subsídios e considerações para uma intencionalidade teológica e formativa, referente ao uso e ao papel da música no contexto comunitário evangélico-luterano.
The Grupo de Louvor e Adoração (Praise and Adoration Group) as a musicaltheological educational space and instrument in congregations of the Igreja Evangélica de Confissão Luterana no Brasil (IECLB) (Evangelical Church of Lutheran Confession in Brazil). The research begins by outlining an historical profile of the introduction of the model of Praise and Adoration Groups within the IECLB. To do this, the general context (musical, theological, political and social) in Brazil between the years of 1960 and 1980 is delineated. The legacy of the reformer Martin Luther, as relates to music and to the formation of the IECLB is analyzed and an historical description is given of the emergence of the Encontrão Movement, which is the birthing place of these groups within the Lutheran context. Following this, an analysis is presented of the gathering-practice session of the Praise and Adoration Group in the light of Martin Luther's, Paulo Freire's and Lev S. Vygotsky's writings, looking at those dynamics which encompass theological-musical education for the members of the group and which could be reflected within the congregational life or be reflexes of this life. Finally, considerations are proposed for the dynamic of a Praise and Adoration Group which could reflect into the comprehension, use and role definition (on the part of the group and of the worshiping congregation) of music in the worship service and in congregational life. For this, the main topics of the theological comprehension present within a Praise and Adoration Group are described and resources and considerations are presented for an educational and theological intentionality with regard to the use and role of music within an Evangelical-Lutheran congregational context.

碩士
南台科技大學
企業管理系
94
Spread quickly and conveniently in the information, the diverse and sophisticated and social and various foreign cultural pounds at under, "idolatry" becomes teenager hot issue within growth process, idolatrous and strong emotion power, will be interested in the related information of idol, firm also via idol generation speech, give particular symbol and symbol the product, facilitate the teenager's consume action. This search the trial inquires into the consume characteristic that action factor and idolatry action of teenager's idolatry extend from the teenager's attribute. The search shows that teenager's idolatry can be classified into success to approve as a result, motion copy, and the information sharing wait for the adoration action of three category types, the family attribute is more low, the value of wad obligee is more low, the age range is more low, residence metropolis(contra in residence village sector) of teenager, succeed the idolatry action of approbation is more high;(for idol artistic talent's inclining to with the attribute hobby of shape more high). The attribute of the peers is more high, wad fame and prestige the value is more high, wad scheme the idea is more low, residence metropolis(contra in residence village sector) of teenager, motion copy of the idolatry action is more high;(have no notable variance to the hobby trend of the idol attribute). The family attribute is more low, peers the attribute is more low, the age range is more high and live the teenager of village sector(contra in residence metropolis), information sharing of the idolatry action is more high.(for idol personality's inclining to with the attribute hobby of artistic talent more high). The idolatry action succeeding to approve is more high, the extension of experience article the consume is more high;(idol for the generation of the experience article the speech result is more good. The idolatry action that the motion copies is more high, the extension of the function and symbol article the consume is more low;(idol for the generation of the function and symbol article speech the result is more bad).Idolatry action and each kind of extension consume action of article of information sharing have no notable variance. Study to show as a result in addition, live a metropolis(contra in residence village sector), personal controllable figure more higher teenager, for the adoration extension of each kind of article consume the action is also more high.

Ce mémoire propose de mieux comprendre la théâtralité en procédant à une étude comparative de deux oeuvres: le roman Une adoration (2003) de Nancy Huston et son adaptation au théâtre par Lorraine PintaI, Une adoration (2006). Le roman de Huston se distingue en faisant une large place au théâtre et l'adaptation de Pintal peut certes miser sur cette théâtralité en la portant à la scène. En se penchant sur la théâtralité du roman et de l'adaptation, nous cherchons à saisir comment celle-ci peut fonctionner à l'intérieur de deux genres distincts. C'est dans une perspective socio-sémiotique que ces textes sont étudiés afin de faire ressortir l'identité formelle propre à chacun, en tenant compte de l'évolution des genres et de leur contamination réciproque. Le mémoire présente d'abord une réflexion portant sur la théâtralité, qui vise à désigner des paramètres qui peuvent sembler insaisissables, car ils varient grandement selon les cultures, les époques, les pratiques. Si le dialogue, la mimesis, l'action dramatique et l'oralité sont des éléments traditionnellement associés au théâtre, il faut voir comment ceux-ci infiltrent la trame narrative de Huston et comment ils se retrouvent, par la suite, dans l'adaptation de PintaI. Les deux oeuvres sont étudiées séparément, afin d'accorder à chacune une analyse détaillée qui permettra de mettre au jour la théâtralité qui les caractérise. Ces créatrices que sont Huston et Pintal jouent avec les frontières des genres, laissant le dramatique et le narratif se combiner d'une façon singulière. Toutefois, si le roman de Huston peut rêver de théâtre et le décrire au point d'aspirer à une réalisation tangible dans un espace concret, il reste délivré des véritables contraintes scéniques qui définissent l'adaptation de PintaI. Au terme de l'étude, nous sommes à même de constater que la théâtralité a évolué et que les paramètres autrefois fondateurs du genre se sont transformés pour mieux permettre au théâtre de se renouveler. Ainsi, alors que Huston s'appuie sur des éléments traditionnels et plus formellement reconnaissables du théâtre, Pintal s'en détourne, d'une certaine manière, pour remettre en valeur les procédés romanesques. Elle exploite la contamination des registres dramatique et narratif déjà présente chez Huston, mais cherche surtout à transposer la narration, plus à même de relever les défis de la scène contemporaine. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : XXe siècle, Théâtralité, Narrativité, Adaptation, Contemporain, Roman, Théâtre, Nancy Huston, Lorraine PintaI.

碩士
國立彰化師範大學
教育研究所
97
The purpose of the research was to explore not only the present condition of idol adoration but also the relationship between the variables of gender, family,and school, etc. and the idol adoration behaviors of junior high school students. Further, this study also wanted to examine the differences of variety of values emphasized by junior high school students, elements of different background, and students’ values. Finally, it was to explore the correlation between the strength of idol adoration of junior high school students and their values. There were 808 research subjects of junior high school students in Taoyuan County. After using the survey instruments, such as the Questionaire of Idol Adoration and Value Scale, etc. , the data required were analyzed by employing Descriptive Statistics, One-way ANOVA, and Pearson’s Product-Moment Correlation. The results indicated junior high school students adored movie stars most, and politicians least. As for the reasons of idol adoration, female students focused on earning a good salary of the idol, and male students attacked importance to the looks of idols. Obviously, the strength of female adoration was higher than the male. Moreover, among seven value types, theoretic value was first prioritized by junior high school students, and economic value second. Additionally, there was significantly relationship between seven value types and the strength of idol adoration. The III suggestions of the findings are made for the junior high school students, teachers, schools, educational administrative bureaus, parents, and further researchers. Keywords: Junior high school student, Idol adoration, Value

Esta dissertação tem como objetivo principal perceber de que forma a adoração eucarística pode contribuir para uma renovação evangelizadora da Igreja no mundo contemporâneo. Partimos, em primeiro lugar, da fé da Igreja na presença real de Cristo nas espécies eucarísticas, tão antiga quanto a prática da celebração eucarística, centrandonos, de forma particular, na evolução histórica da prática adoradora da Igreja. Depois, no segundo capítulo, veremos que unida a esta prática adoradora, junta-se a necessidade de os cristãos imitarem Cristo na sua entrega pelo mundo e, assim, nasce o conceito de retribuição – redamatio – onde cada um consola o seu Senhor, unindo-se a Ele, e entregando-se com Ele pela salvação do mundo. Por fim, percebemos como a adoração eucarística, unida à redamatio, é uma força potente de renovação da oração cristã e do seu apostolado de tal modo que, por todo o mundo, tem renovado a pastoral das próprias paróquias, através da adoração perpétua.
The aim of this thesis is to understand how the Eucharistic adoration can contribute to an evangelizing renewal of the Church in the modern world. We set off firstly, from the church's faith in the real presence of Christ in the Eucharistic species, as old as the practice of the Eucharistic celebration, focusing particularly, on the historical evolution of worship within the Church. Then, in the second chapter, we will see alongside with this worshiping practice, emerges the need for Christians to imitate Christ in his surrender to the world and, thus, the concept of retribution – redamatio – is born, where one seeks to comfort the Lord, uniting with Him, and surrendering with Him for the salvation of the world. Conclusively, we come to understand how Eucharistic adoration, bonded with redamatio, is a powerful force for the renewal of Christian prayer and its apostolate in such a way that, throughout the world, it has renewed the pastoral activity of parishes through perpetual adoration.

Ce mémoire porte sur le triptyque de l’Adoration des Bergers (1510-1530) de Jan de Beer (1475-1538) présent dans les collections du Musée des beaux-arts de Montréal (MBAM) depuis 1975. Cet ouvrage se divise principalement en deux sphères primordiales de la discipline de l’histoire de l’art. Dans un premier temps, une recherche sur l’historique de l’œuvre a été réalisée et a permis de lever le voile sur des archives majeures qui renseignent sur le parcours de l’œuvre. Nos recherches permettent maintenant d’affirmer avec certitude le passage de l’œuvre en 1934 au château Galgoz des Erdődy, une famille aristocratique influente en Hongrie, en Slovaquie et en Croatie. De plus, l’inestimable contribution d’outremer d’Orsolya Bubryák a permis de découvrir le contrat de vente signé entre Vilmos Erdődy (1887-1959) et Theodor Fischer le 5 décembre 1934 à Vienne. À ceci s’ajoute la récupération du catalogue de vente de la « Grosse Auktion in Zürich » qui s’est déroulée du 2 au 5 juin 1937. Un intérêt est de ce fait porté au contexte historique, politique et économique dans lequel évolue la famille Erdődy avant la date charnière de 1934. Une lecture approfondie des lois et des recommandations du groupe spécial SAP (SAP Panel) nous éclaire sur les conditions et les possibilités d’une vente forcée. Dans un second temps, nous nous intéressons à l’iconographie et à l’iconologie du triptyque, un cadre théorique développé par Erwin Panofsky que nous utilisons tout au long de notre analyse. Nous avons pu constater comment les Révélations de Sainte Brigitte de Suède ont foncièrement influencé l’imagerie de l’Adoration des Bergers. Toutefois, Jan de Beer imprègne son retable d’un second discours, celui de l’aveuglement de l’humanité face à la lumière divine. Le déploiement d’un discours autre que celui relatif à l’Adoration des Bergers s’est glissé dans le symbolisme caché, et en s’introduisant, il témoigne d’une part du désir intime d’une relation directe avec Dieu, telle que prônée par les protestants quelques années avant le Concile de Trente, mais aussi, d’autre part, des idées de la culture humaniste, qui est une réflexion spirituelle sur le salut des âmes.
This M.A. thesis treats the triptych of the Adoration of the Shepherds (1510-1530) by Jan de Beer (1475-1538), in the collections of the Montreal Museum of Fine Arts (MBAM) since 1975. The project is twofold, and engages on one hand provenance studies, and secondly iconography. First the provenance of the triptych is examined, and brings to light significant documents detailing of the artwork’s journey in the tumultuous twentieth century. While this Antwerp-mannerist triptych appears on page nine on the list of objects “whose history is incomplete between 1933 and 1945,” recently published by the MBAM, our research now confirms the passage of the work, in 1934, in the Galgoz castle of the Erdődys, an aristocratic family known throughout Hungary, Slovakia, and Croatia. A new document regarding the sales contract signed by Vilmos Erdődy (1887-1959) and Theodor Fischer on December 5th, 1934 in Vienna has also come been found, as well as the 1937 auction catalogue documenting its sale. Attention is therefore paid to the historical, political and economic contexts experienced by the Erdődy family before the turning point in 1934. A thorough review of the SAP Panel’s legislation and recommendations will enlighten us regarding the conditions and possibilities of a forced sale. Secondly, the triptych’s iconography is examined in great detail, following a theoretical framework developed by Erwin Panofsky. Amidst several other popular texts of the time, the Revelations of Saint Bridget of Sweden can be shown to have fundamentally influenced the imagery of the Adoration of the Shepherds. However, Jan de Beer infuses his altarpiece with a second layer of meaning, what Panofsky would call its iconology, that of the blindness of humanity in the face of divine light. The deployment of this secondary discourse is by means of hidden symbolism, which, by introducing itself stealthily, testifies on the one hand to the intimate desire for a direct relationship with God some years before the Council of Trent, but also of the ideas central to a humanist culture: a spiritual reflection on one’s own salvation.

Madeleine duBois de Fontaines (1578-1637) was the first French prioress of the Teresian Carmelites in France. During a period of over thirty years as a Carmelite nun, Mere Madeleine de Saint-Joseph served as mistress of novices and was elected prioress for two tenns in the Carmel of the Incarnation, faubourg St. Jacques in Paris. She established and was elected prioress of a second Parisian Cannel nt the rue Chapon; and helped to establish and stabilise the Carmels in Lyon and Tours. Madeleine de Saint-Joseph's contribution to the development ofCannclitc life and French spirituality was a significant one due to many factors. Among these were: her leadership of the Carmelite community in Paris; her association with Pierre de Berulle; her influence on the members of the French aristocracy; and her deftness at spiritual direction. Within the corpus of her writings, there is significant evidence of what may be called theistic mystical experience. An analysis of the writings of Madeleine de Saint-Joseph also indicates mystical practice and doctrine that Mere Madeleine developed during the course of her lite. The present study introduces the study and presents a survey of relevant literature written by or about Madeleine de Saint-Joseph. Secondly, it explores the notions of mystical consciousness, knowledge, experience, offers a working definition of mysticism, relating these to Lonergan's cognition theory and work on religious experience, and to the feminist critique of philosophy of religion. Thirdly, the study contextualises the life and work of Madeleine du Bois de Fontaincs within sixteenth and seventeenth century french civil and ecclesiastical society. Fourthly, it determines by theological, phenomenological, and philosophical analysis that Mere Madeleine de Saint-Joseph is a true mystic; and finally, it presents the mystical doctrine and teachings of Madeleine de Saint-Joseph within a theological context. Thereby, it is hoped that this study recognises the valuable contribution to mystical literature of this relatively unknown and unreCQgnised woman.
Christian Spirituality, Church History & Missiology
D.Th. (Christian Spirituality)

BARTOŠOVÁ, Radka. Parasociální interakce jako vztah mezi mediálními postavami a publikem. Praha, 2016. 67 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních věd, Institut komunikačních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce PhDr. Irena Reifová, Ph.D. Abstract This thesis in its theoretical work focuses on the topic parasocial interaction, a specific relationship between fans and celebrities. This fundamental concept is initially set in a broader context. Closer are characterized by celebrities as a publicly-known media figures, and the audience as active recipients of stimulus. There is a concept called. Ordinary stars, as well as focus on issues not only fandom, but also specific terms such as adoration and celebrity stalking celebrities. After outlining the basic theoretical insight is explored basic concept - parasocial relationship. The practical part with respect to the overall theme of the work is carried out using semi-structured interviews with rock stars, fans steady on one side and ordinary fans of the stars on the other. Based on the results and authentic materials are analyzed each category. The work aims to explore how similar concepts related to celebrities, as well as different approaches to media stars.

This diploma thesis deals with the life and work of the Dutch painter Geertgen tot Sint Janse in the context of the beginning of Dutch Renaissance. This diploma thesis contains an analyses of Triptych with The Adoration of the Kings from the Prague Castle Collections. In particular, the art influences and the possible inspiration by the work of Albert van Ouwater is discussed. The Adoration of the Kings is an important piece of art not only in the context of Dutch Renaissance painting but also in the context of European Renaissance at the end of 15th century. The rich symbolic apparatus of the tryptich refers to the medieval tradition, but the beginning of illusionism can be recognised from the painting as well.

Sickness and healing expenence is universal, but the context in which both are perceived and dealt with is particular. Culture and the individual constitute the universal context. The social structures, values, beliefs, the symbol system of a culture and the tendency of the individual to act upon his existence within cultural parameters, inform the particular context. The relationship that exists between culture and the individual is best described as dialectic. The concept of dialect is the theoretical tool to analytically show how this relationship works out in real life. At the base of this relationship operates conflict. Sickness, or permanent ill health since early childhood as shown in an in-depth case study, triggers conflict on at least two levels: the personal-psychological and the socio­ cultural level. To effectively deal with sickness and the inner conflicts caused by it, is to channel the motivation to resolve them by way of employing a symbolic idiom, a cultural symbol that attains personal meaning. G. Chewe P. of Bemba ethnicity, the main actor of this thesis, demonstrates how his life experience of sickness made various symbols become operational, how he filled them with personal meaning, and that there was no hiatus between the public and private domain. Healing requires more than medical aid. Cultural symbols that become personal symbols are often tied into religious experience of some kind. Individuals who successfully employ personal symbols eventually achieve healing because the symbolic idiom helps them to resolve intrapsychic conflict. Missiology cannot escape from two realities: culture and the individual. If anything, missiology must be interested in culture and the individual. Missiology, in the role of aide-de-camps of the Christian Mission, shows the history of how individuals connect to God, and how God transforms them in their cultural environment. To be able to achieve both goals, the issues of context and conflict must be addressed. This thesis seeks to account for the dialectic between culture and the individual, how context and conflict shaped the person and the Christian G. Chewe P. of Bemba ethnicity, and how he acted upon this context to resolve his travail.
Christian Spirituality, Church History and Missiology
D. Th (Missiology)