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Relevant bibliographies by topics / Mary of the Angels Church

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Academic literature on the topic 'Mary of the Angels Church'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Mary of the Angels Church"

1

Tulić, Damir, and Mario Pintarić. "Gli angeli zaratini a Ceregnano: una proposta per Gregorio Morlaiter." Ars Adriatica 7, no. 1 (December 19, 2017): 227. http://dx.doi.org/10.15291/ars.1394.

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In the small town of Ceregnano, not far from Rovigo in Veneto, a new parish church was built in the 18th century. Its richly ornamented high altar has a monumental tabernacle with two large marble angels in adoration. The author has established that the altar was made in the tradition of analogous works produced by Giorgio Massari, and that the accurate date of its construction is 1778, the year carved at the rear of the tabernacle dome. Moreover, models have been found for the Ceregnano angels, namely the marble statues of angels at the high altar of the Benedictine church of St Mary in Zadar, produced between 1759 and 1762 by the famous Venetian sculptor Giovanni Maria Morlaiter. More precisely, the Ceregnano angels were made after Morlaiter’s terracotta models for the angels of Zadar, preserved at the Ca’Rezzonico museum in Venice. A stylistic analysis of sculptural decoration at the Ceregnano altar has allowed the author to attribute it to Giovanni Maria’s son Gregorio Morlaiter (Venice, 1738 – 1784), heir to his father’s workshop. The same master has been attributed with a small tabernacle with putti installed in 1776 on the high altar of the church of Sant’Andrea della Zirada in Venice.

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Schwartz, Nancy. "Dreaming in Color: Anti-Essentialism in Legio Maria Dream Narratives." Journal of Religion in Africa 35, no. 2 (2005): 159–96. http://dx.doi.org/10.1163/1570066054024631.

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AbstractThe article examines dreaming and dream narratives in Legio Maria, sub-Saharan Africa's largest African instituted church with a Roman Catholic background. Most Legios valorize a Black Christ and Black Mary but do so while espousing anti-essentialist attitudes towards racialization of the sacred. The social, cultural and symbolic hybridity of the Joluo (Kenya Luo), who still form the majority of the membership in this multi-ethnic, multi-national church, has influenced Legios' religious outlook. Legios' views are contrasted with some white and black theologies that take more monochrome, particularistic positions on the color of the Trinity, the Virgin Mary, Satan, saints, angels and demons. I discuss how Legios' eclectic altar iconography and dreams interact and influence one another. The article demonstrates that Legio Maria's theology of color has resonances with the perspectives on postmodern humanism and postmodern blackness formulated by scholars like Michel Foucault, Kwame Anthony Appiah, Vincent Anderson and bell hooks.

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Ditlevsen, Kirsten. "Maria - et forbillede for kristne? Grundtvigs syn på Jomfru Maria." Grundtvig-Studier 42, no. 1 (January 1, 1991): 112–33. http://dx.doi.org/10.7146/grs.v42i1.16062.

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Mary - a Model for Christians..... ? Grundtvig’s View of Virgin MaryBy Kirsten DitlevsenThe Protestant Church has always tended to keep warily aloof from the Virgin Mary, and still does. After the Reformation, Mary played a very insignificant role in the church, at least up to the time of Grundtvig. The fact is that Grundtvig begins to take an interest in Mary, inspired by the church father Irenaeus. Grundtvig compares Eve in the Garden of Eden with Mary in Nazareth. Both women were met with an angel’s talk. A false angel beguiled Eve into violating the word of God; while a true angel came to Mary to announce to her that she was to give birth to the Saviour of the world. Mary immediately accepted being part of God’s plan of salvation, thus excusing Eve, her mother. In the words of Irenaeus: Mary’s virgin obedience makes up for Eve’s virgin disobedience.Inspired by Irenaeus, Grundtvig sees Mary as a guarantee of the humanity of Jesus. Jesus had a true human being as his mother, and Grundtvig describes her as an entirely ordinary mother, definitely not infallible. She is conscious that she is a humble and poor woman, whom God had granted His grace. Mary had not imagined that she should be found worthy of meeting and conversing with an angel, as it happened at the Annunciation. But nothing is impossible to God.Grundtvig makes Mary into a model for Christians because she trusts Jesus fully and firmly at the wedding in Cana; in the same manner we should trust Him so that he will help us as He helped His mother.Grundtvig also makes Mary an image of the church. Grundtvig speaks about the spiritual Virgin Mary as the mother of all Christians, i.e., the congregation. A spiritual mother is as necessary for human life as a physical mother, says Grundtvig. In the same way as the Holy Ghost overshadows the Virgin Mary, so the Holy Ghost overshadows the spiritual Virgin Mary - the congregation of the Lord.In Mary we are faced clearly with the true Christian heart. Mary believed in God with all her heart, and thus her faith is a model for how we must take in the word of God.In many of his sermons Grundtvig gives a high priority to what he sees as characteristically .female., in particular in the sermons from the 1850s. Women think with their hearts, while men think with their reason; thus women have a deeper understanding of Our Lord and His Gospel.Grundtvig advocates the idea that women too should be able to preach the Gospel, for just as it was a woman who gave birth to the Son of God, so the great Gospel about the Crucified and Resurrected was also born by a woman’s lips. And Jesus himself had the most loving relationship to women, Grundtvig says, and treated them as equals to men, so the example of Jesus must be sufficient recommendation for his servants, the clergymen. Grundtvig gives a higher priority to women and women’s experience in his sermons; thus, since half of Christendom are after all women, there is certainly reason enough to study his sermons.

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Holló, László. "The Situation of Catholic Instruction in Transylvania during the Communist Takeover." Studia Universitatis Babeș-Bolyai Theologia Reformata Transylvanica 65, no. 2 (December 20, 2020): 33–52. http://dx.doi.org/10.24193/subbtref.65.2.02.

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"In less than one year, the Catholic Church, just like the other denominations, lost its school network built along the centuries. This was the moment when the bishop wrote: “No one can resent if we shed tears over the loss of our schools and educational institutions”. Moreover, he stated that he would do everything to re-store the injustice since they could not resent if we used all the legal possibilities and instruments to retrieve our schools that we were illegally dispossessed of. Furthermore, he evaluated the situation realistically and warned the families to be more responsible. He emphasized the parents’ responsibility. First and foremost, the mother was the child’s first teacher of religion. She taught him the first prayers; he heard about God, Jesus, the Virgin Mary, and the angels from his mother for the first time. He asked for the mothers’ and the parents’ support also in mastering the teachings of the faith. Earlier, he already instructed the priests to organize extramu-ral biblical classes for the children and youth. At this point, he asked the families to cooperate effectively, especially to lead an ardent, exemplary religious life, so that the children would grow up in a religious and moral life according to God’s will, learn-ing from the parents’ examples. And just as on many other occasions throughout history, the Catholic Church started building again. It did not build spectacular-looking churches and schools but rather modest catechism halls to bring communities together. These were the places where the priests of the dioceses led by the bishop’s example and assuming all the persecutions, incessantly educated the school children to the love of God and of their brethren, and the children even more zealously attended the catechism classes, ignoring their teachers’ prohibitions. Keywords: Márton Áron, Diocese of Transylvania, confessional religious education, communism, nationalization of catholic schools, Catholic Church in Romania in 1948."

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Radovanovic, Janko. "New contribution to studying fresco of Holy Virgin Milkprofferer in Pec." Balcanica, no. 32-33 (2002): 253–62. http://dx.doi.org/10.2298/balc0233253r.

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In the church dedicated to Holy Virgin Odigitria in the Patriarchate of Pec, the foundation of Archepiscope Danilo II, among several images of Virgin Mary the greatest attention of the researchers was attracted by Holy Virgin the Milkprofferer (Nurturer). Mother of God was painted on the southern wall of the narthex, sitting in the throne with the child Christ suckling in her lap. On the left and right side two angels are represented, showing their respect. To the right, three young women or girls approach, greeting her with their arms outstretched. The fresco was painted about 1330. Close links between the theological ideas expressed in the Akathist service (praise to Holy Virgin Odigitria) and the fresco of Holy Virgin the Milkprofferer are evident. Those ideas found their expression also in the fresco of Holy Virgin the Milkprofferer in the monastery Matejci near Kumanovo, painted a quarter of a century later.

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Stoenescu, Livia. "Retooling Medievalism for Early Modern Painting in Annibale Carracci’s Pietà with Saints in Parma." Religions 12, no. 8 (August 5, 2021): 609. http://dx.doi.org/10.3390/rel12080609.

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Annibale Carracci (1560–1609) drew on the Italian Renaissance tradition of the Man of Sorrows to advance the Christological message within the altarpiece context of his Pietà with Saints (1585). From its location at the high altar of the Capuchin church of St. Mary Magdalene in Parma, the work commemorates the life of Duke Alessandro Farnese (1586–1592), who is interred right in front of Annibale’s painted image. The narrative development of the Pietà with Saints transformed the late medieval Lamentation altarpiece focused on the dead Christ into a riveting manifestation of the beautiful and sleeping Christ worshipped by saints and angels in a nocturnal landscape. Thus eschewing historical context, the pictorial thrust of Annibale’s interpretation of the Man of Sorrows attached to the Pietà with Saints was to heighten Eucharistic meaning while allowing for sixteenth-century theological and poetic thought of Mary’s body as the tomb of Christ to cast discriminating devotional overtones on the resting place of the deceased Farnese Duke.

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Tulić, Damir. "Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali." Ars Adriatica, no. 6 (January 1, 2016): 155. http://dx.doi.org/10.15291/ars.182.

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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.

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Byrne, Georgina. "‘Angels Seen Today’. The Theology of Modern Spiritualism and its Impact on Church of England Clergy, 1852–1939." Studies in Church History 45 (2009): 360–70. http://dx.doi.org/10.1017/s0424208400002631.

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In 1852 an American medium, Maria Hayden, crossed the Atlantic, landed in London and began offering séances in fashionable salons. From this point on, and certainly well into the twentieth century, spiritualism proved attractive to many. What spiritualism offered was, primarily, an extravagant claim: that it was possible for the living to communicate with the departed. By various means, people from all classes, religious traditions and geographical locations ‘tried’ the spirits, seeking to make contact with famous characters from history or departed family members. Spiritualism offered, sometimes, spectacular signs and wonders: flying furniture, levitating mediums and ghostly presences, all of which attracted the attention of journalists. Fashions for such signs came and went; the claim to communicate with the dead, however, remained at the heart of spiritualism.

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O’Brien, Susan. "Making Catholic Spaces: Women, Decor, and Devotion in the English Catholic Church, 1840-1900." Studies in Church History 28 (1992): 449–64. http://dx.doi.org/10.1017/s0424208400012614.

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Nanda took in her surroundings… At the end of the corridor stood a statue of Our Lord in white robes wearing a red, thorn-circled heart on his breast like an order. The bent head with its pale brown hair and beard was girlish and gentle; the brass halo had been polished till it winked and reflected each flicker of the little glass lamp that burned on the pedestal… At the end of the passage hung a large oil painting of Our Lord, showing his five wounds … Between the lines [of desks] stood a statue of Our Lady, supported on each side by angels with folded wings and flying girdles. Nanda thought it was a privilege to be near so holy company. Her desk was empty but for a small picture of the Sacred Heart gummed inside the lid. … ‘I never thought there were so many holy pictures in the world,’ she thought to herself. Every room she had entered since she had arrived at the Convent of the Five Wounds had had its picture or statue.’

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McClelland, V. Alan. "O Felix Roma! Henry Manning, Cutts Robinson and Sacerdotal Formation 1862–1872." Recusant History 21, no. 2 (October 1992): 180–217. http://dx.doi.org/10.1017/s0034193200001576.

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On whit Monday, June 1st, 1857, the first general chapter of the Oblates of St. Charles Borromeo in the diocese of Westminster was held at Bayswater, one month before the splendid new gothic-conceived church of Thomas Meyer was solemnly blessed by Cardinal Wiseman and dedicated to St. Mary of the Angels, a title reflecting Manning’s enduring devotion to St. Francis of Assisi and the Franciscan Third Order. Subsequent building, extensions and additions were to be the work of John Francis Bentley. The founding group of Oblates was small, all its members being admitted as novices of the community on the day of the first general chapter. When the first biennial elections were held, Manning was confirmed by Wiseman as Superior and henceforth known to the community simply as ‘the Father’. Before the year was over the group was to be joined by three new novices and two postulants, all of whom eventually persevered in their vocation. By the time Manning died in 1892, the Oblates had been able to number a total of forty-six priests in their ranks in the space of only thirty-five years, thus easily outstripping the recruitment pattern of Brompton Oratory, the closest to the concept of the Oblates in both spiritual formation and organisation. Over the eighty years immediately following Manning’s demise, a further thirty-three priests were to be counted among the Oblates.

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Dissertations / Theses on the topic "Mary of the Angels Church"

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Smith, Mark S. H. "Enhancing the congregation's appreciation for the scriptural doctrine of angels." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Smith, Mark S. H. "Enhancing the congregation's appreciation for the scriptural doctrine of angels /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Renehan, Caroline Anne. "The Church, Mary and womanhood : emerging Roman Catholic typologies." Thesis, University of Edinburgh, 1993. http://hdl.handle.net/1842/27258.

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This thesis is about the exploration of two distinct theological disciplines and the hope of finding conciliatory mediation between them. The Roman Catholic Church as hierarchical Institution is one side while Christian feminism within that context is on the other. Rosemary Radford Ruether has been chosen to state the Christian feminist case while certain selected documents and teachings of the Church have been chosen to portray Roman Catholic tradition and teaching. The theological mediation point between the two is to be found particularly in one aspect of Marian theology. However, it is not possible simply to claim that theological conciliation is to be found in Marian theology without first stressing that this discipline in itself is fraught with difficulties which have accumulated throughout the centuries. Therefore, it has been necessary to divide Marian theology into three different classifications. These have been built into the thesis and are known as theatypology, christatypology and ecclesiatypology respectively. An outline and explanation of the tradition that gave rise to the introduction of these typologies is explained and justified in the text. Specifically within the ecclesiatypical context it will be shown that certain theological aspects are found which are common to the normally opposing patriarchal and feminist disciplines.

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Owen, Rachel. "Mary of Magdala the evolution of an image /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04172007-205028/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Louis A Ruprecht, Jr., committee chair; Kathryn McClymond, Timothy Renick, committee members. Electronic text (115 p. : ill., maps) : digital, PDF file. Description based on contents viewed Dec. 5, 2007. Includes bibliographical references (p. 112-115).

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Rehatta, Gabriel. "The meaning of the Dormition of Virgin Mary." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Hearden, Maura E. "The Mother of Christ as a symbol of Christian unity a case study for ecumenical dialogue /." 24-page ProQuest preview, 2008. http://proquest.umi.com/pqdweb?did=1538430211&sid=2&Fmt=2&clientId=10355&RQT=309&VName=PQD.

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Stickley, Myron William. "The role of the church as God's arena of learning for the angels a biblical study of Ephesians 3:10 /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Morrow, Bethany. "Eve, the Virgin, and the Magdalene women and redemption in the early church /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1416.

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Whalen, Michael Dennis. "Liturgical theologies of Mary an analysis and comparison of the missals of 1570 and 1969 /." Theological Research Exchange Network (TREN), 1988. http://www.tren.com.

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Fledderus, France. "The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278129/.

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The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.

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Books on the topic "Mary of the Angels Church"

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Chmiel, Mary Fidelia. The heart of Mother Angela: Mother Mary Angela Truszkowska and the Felician Sisters against the backdrop of nineteenth century religious thought in Poland. Pittsburgh, Pa: Shemco Corporation, 1986.

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Wilkinson, David J. Cirencester Anglo-Saxon church and medieval abbey. Cirencester: Cotswold Archaeological Trust, 1998.

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Virtue, Doreen. Mary, Queen of Angels. Carlsbad, Calif: Hay House, 2012.

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Marcy, Mary. The tongue of angels: The Mary Marcy reader. Selinsgrove [Pa.]: Susquehanna University Press, 1988.

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Mary. Maryknoll, N.Y: Orbis Books, 2009.

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Angels for kids. Brewster, Massachusetts: Paraclete Press, Inc., 2013.

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Benedict. Mary. Washington, D.C: United States Conference of Catholic Bishops, 2008.

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Taylor, Barbara Brown. Bread of angels. Cambridge, Mass: Cowley Publications, 1997.

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Tushar, Rao, and Heritage Network (Velha Goa, India), eds. Walking with angels. Goa: Heritate Network, 2006.

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The truth about angels. Salt Lake City, Utah: Bookcraft, 1996.

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Book chapters on the topic "Mary of the Angels Church"

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Rancour-Laferriere, Daniel. "Daughter Zion, Mother Church." In Imagining Mary, 68–87. 1 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315121550-4.

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Wright, Terence. "Realising Christianity: Mary Barton." In Elizabeth Gaskell 'We are not angels', 21–41. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1057/9780230378155_2.

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Spretnak, Charlene. "Why the Church Deposed the Queen of Heaven." In Missing Mary, 145–78. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1007/978-1-4039-7854-7_6.

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Flisfisch, María Isabel. "The Eve—Mary Dichotomy in the Symphonia of Hildegard of Bingen." In Medieval Church Studies, 37–46. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.3592.

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Halemba, Agnieszka. "Virgin Mary, Ukraine and the underground Greek Catholic Church." In Maria in der Krise, 331–46. Köln: Böhlau Verlag, 2013. http://dx.doi.org/10.7788/boehlau.9783412212025.331.

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Zook, Melinda S. "Devoted Daughters of the Church: Elizabeth Burnet and Mary Astell." In Protestantism, Politics, and Women in Britain, 1660–1714, 160–96. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137303202_6.

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Kouymjian, Dickran. "The Armenian Monastic Complex of St. Mary, Famagusta." In The Armenian Church of Famagusta and the Complexity of Cypriot Heritage, 61–97. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-48502-7_3.

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Monnickendam, Andrew. "Mary Brunton: From the Soul of the Baroque to Tron Church." In The Novels of Walter Scott and his Literary Relations, 25–63. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137276551_2.

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Zook, Melinda S. "An Incomparable Queen: Mary II, the Protestant International, and the Church of England." In Protestantism, Politics, and Women in Britain, 1660–1714, 125–59. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137303202_5.

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Panou, Eirini. "The Church of Mary in the Probatic Pool and the Haghiasmata of Constantinople." In Patristic Studies in the Twenty-First Century, 635–50. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/j.baiep.5.107537.

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Conference papers on the topic "Mary of the Angels Church"

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Ribichini, Luca. "Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the music of visual proportion” (Le Corbusier). The article sustains that the church is nothing but a giant acoustic machine dedicated to Virgin Mary which main purpose is the listening of the prayers. Infact in the Christian religion Mary is the very vehicle between God and man , she has a human but also divine nature since she is the mother of Jesus. To get in contact with the divine it is necessary to pray Mary, she can listen to man's prayers but she can also pass down God's word to man. In support of this hypothesis there stands an analogy between the chapel's map and the image section of a human ear, highlighting the coincidence between the altar position and that of cochlea, which shape is so dear to le Corbusier that he makes use of it very often in his work. Keywords: Ronchamp; acoustic landscape; human ear, architecture as chrystallized music. DOI: http://dx.doi.org/10.4995/LC2015.2015.719

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Reports on the topic "Mary of the Angels Church"

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Health hazard evaluation report: HETA-91-158-2161, Immaculate Heart of Mary Church, Cincinnati, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control, National Institute for Occupational Safety and Health, November 1991. http://dx.doi.org/10.26616/nioshheta911582161.

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