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Journal articles on the topic 'Mysteries of the Rosary'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Rahardja, Dewi. "A Bible-Based Review on the Five Glorious Mysteries of the Rosary." International Journal of Humanities and Social Science 10, no. 2 (April 30, 2023): 94–103. http://dx.doi.org/10.14445/23942703/ijhss-v10i2p112.

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2

Rahardja, Dewi. "The Five Joyful Mysteries of the Rosary – A Review Based on the Biblical Backgrounds." International Journal of Humanities and Social Science 9, no. 4 (August 30, 2022): 8–16. http://dx.doi.org/10.14445/23942703/ijhss-v9i4p102.

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3

Rahardja, Dewi. "The Five Luminous Mysteries of the Rosary – A Review Based on the Biblical Backgrounds." International Journal of Humanities and Social Science 9, no. 5 (October 30, 2022): 30–38. http://dx.doi.org/10.14445/23942703/ijhss-v9i5p105.

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4

Rahardja, Dewi. "A Review of the Five Sorrowful Mysteries of the Rosary Based on the Biblical Backgrounds." International Journal of Humanities and Social Science 10, no. 1 (February 28, 2023): 53–62. http://dx.doi.org/10.14445/23942703/ijhss-v10i1p108.

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5

Insh, Fern. "Recusants and the Rosary: A Seventeenth-Century Chapel in Aberdeen." Recusant History 31, no. 2 (October 2012): 195–218. http://dx.doi.org/10.1017/s0034193200013571.

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Provost Skene’s House, Aberdeen, is home to a painted ceiling depicting scenes from the lives of both Christ and the Virgin. This decoration has intrigued scholars and visitors alike for around sixty years since it was renovated and unveiled to the public in the early 1950s. The ceiling, painted in the seventeenth century, has suffered a considerable amount of damage. Unfortunately, half of the original decorative scheme has been lost. In addition to this, panels that do survive have been modified slightly during restoration. This article examines some of the early-modern continental prints used as sources by the original painters in order to determine that they were Scottish, and not travelling artists from the Low Countries. It also reconstructs the majority of the historic layout of the ceiling, by examining pre-restoration photographs of lost details in conjunction with further early-modern print sources. The article will attempt to identify some of the images which have been lost from the ceiling and argue that the original cycle of images depicted The Mysteries of the Rosary. It will also examine how the painted ceiling, created in the aftermath of the Reformation, survived both the effects of anti-Catholic legislation in Scotland and time. Finally, the relationships between the patron and his local recusant community are discussed in conjunction with the significance of the deliberate inclusion of the IHS monogram within the ceiling’s design.

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6

Bonilla Soto, Carlos. "Esboço para uma leitura iconográfica dos objetos artísticos marianos na Costa Rica." Siwo Revista de Teología 17, no. 1 (April 25, 2024): 1–89. http://dx.doi.org/10.15359/siwo.17-1.4.

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This article provides an iconographic reading of the figure of Mary of Nazareth based on the description and contextualization of artistic objects in Costa Rica. The study uses only the first two levels of reading proposed by Panofsky (1987). First, the pre-iconographic description, as a practical experience that facilitates familiarization with the objects and the circumstances that surround them, and second, the iconographic analysis to trace the constitution of the world of images, stories and allegories that underlie artistic assets. The study join the different Marian titles seen in different plastic artistic supports, into three large categories: 1. Joyful Mary; 2. Glorious Mary and 3. Mary Sorrowful, which are associated with the narrative of the mysteries of the Rosary, and are also linked to the way in which the Marian cult developed from Divine Motherhood dogmas, the Assumption to heaven and the Mary’s compassion towards her Son`s death.

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7

Borowik, Aneta. "Modernity in the service of faith. Complex of the Holy Rosary Mysteries Chapels in the Katowice-Panewniki Calvary." Kwartalnik Naukowy Fides et Ratio 48, no. 4 (December 30, 2021): 298–345. http://dx.doi.org/10.34766/fetr.v48i4.424.

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Henryk Buszko and Aleksander Franta were among the most outstanding figures in the post-war architectural community. They designed not only housing estates and secular public buildings, but also temples, including the church dedicated to the Exaltation of the Holy Cross and Our Lady of Healing the Sick in Katowice, recognized as one of the best contemporary religious projects. Fortunately, at the Institute of Architecture Documentation of the Silesian Library in Katowice, there are documents on the history of its construction, but also the ideological premises. Architecture is a field between art and technology that combines two approaches: rational and ideological. In the article were presented the creative profiles of Henryk Buszko and Aleksander Franta, the history and form of the temple as well as the ideas guiding architects during its design.

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8

WEAVER, ANDREW H. "Divine Wisdom and Dolorous Mysteries: Habsburg Marian Devotion in Two Motets from Monteverdi's Selva morale et spirituale." Journal of Musicology 24, no. 2 (2007): 237–71. http://dx.doi.org/10.1525/jm.2007.24.2.237.

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Despite recent scholarly interest in Monteverdi's Selva morale et spirituale (1641), many aspects of this large, complex print remain enigmatic, and the intended context for much of the music in the collection has long been a matter of pure conjecture. Yet two of the most anomalous features of the Selva morale, the solo motets Ab aeterno ordinata sum and Pianto della Madonna, can now be placed into the context of the Habsburg court in Vienna during the reign of Ferdinand III (1637––57). Both of these works play directly into the most important aspects of Habsburg Marian devotion. Ab aeterno is a setting of Proverbs 8:23––31, a text that although very rare for seventeenth-century motets would nonetheless have been widely understood as a celebration of the Immaculate Conception of the Blessed Virgin. The Pianto, a Latin contrafactum of Monteverdi's celebrated Lamento d'Arianna, would have been perfectly suited for the Habsburgs' Fifteen Mysteries Celebration, a Lenten devotion in praise of the Most Holy Rosary. Various types of evidence, including liturgical and other religious writings, Habsburg sermons, and additional musical works, support these interpretations of Monteverdi's motets and reveal their importance to the imperial court. That the composer did indeed include the motets in his print with the Habsburg court in mind is further indicated by similarities between the Selva morale and an earlier publication stemming directly from Ferdinand III's court: Giovanni Felice Sances's Motetti a voce sola of 1638.

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9

Krawiec-Złotkowska, Krystyna. "Matka i Syn w "Ogrodzie rozkosznym Miłości Bożej" Adriana Wieszczyckiego." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 58, no. 1 (June 7, 2023): 223–35. http://dx.doi.org/10.36770/bp.782.

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The article examines family relationships shown in the poetic cycle entitled The Delightful Garden of God’s Love by Adrian Wieszczycki. Attention is drawn to the status of the Holy Family, especially to the figures of Mary and Jesus, and their role in the work of salvation was analyzed. It is noticed that the Mother of God and her Son – apart from the strictly human relationship – are connected by a bond that goes beyond the canon of the traditional family, and thus beyond the accepted patterns of behavior and relationships with other people. The author also analyzed the form of poetic expression, i.e., a combination of the following forms: cloister and emblematic, resulting in a very original and intricate construction. The poems have a meditative character, and the composition of the cycle is based on the mysteries of the Rosary that tell the History of Salvation. The poet created a literary garden in which specific flowers bloom: lilies symbolizing the Immaculate Conception of the Blessed Virgin Mary, the Virgin Mary and Christ, the Lover and the Beloved; roses referring to the attributes of Mary, the Passion of Christ and royal power; and amaranths, which are a symbol of immortality. The Holy Family is an inspiration and a role model for secular families, and its eternal status is constituted by the presence of angels.

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10

Sarno, Megan. "Reflection, Representation, Religion: André Caplet’s Le Miroir de Jésus." 19th-Century Music 44, no. 1 (2020): 36–58. http://dx.doi.org/10.1525/ncm.2020.44.1.36.

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André Caplet’s Le Miroir de Jésus (1923), a song cycle scored for mezzo soprano soloist, women’s choir, string quartet, and two harps, has a lush sound world and dramatic vocal declamation, and it was immediately recognized as a masterpiece by the Parisian musical press. The work’s religious topic—mysteries of the rosary—has long been taken as the unambiguous sign that the piece and its composer were unapologetically Catholic, like the author of the poems, the convert Henri Ghéon. In the context of a secular French nation, unambiguous Catholicism can easily signal reactionary politics. Moreover, since it does not project images of anarchy, flappers, or committed nonchalance toward morality, when interpreted vis-à-vis the narrative of French musical aesthetics in the 1920s, the work’s status changed from masterpiece to footnote. Yet, though the work’s early reception by Catholic writers cemented its classification as a sacred work, Caplet’s own goals were less clear. Through a comparative musical analysis of characteristics that Le Miroir shares with Caplet’s secular works whose themes come from classicism or mystery, I demonstrate his agnostic aesthetic. Through an investigation of archival sources relating to Caplet’s smaller contemporaneous projects, including a 1923 setting of a poem by Baudelaire, his contribution to La Revue musicale’s 1924 Le Tombeau de Ronsard, and his response to a 1924 survey about “new music,” Caplet’s interest in classicism emerges as a salient context for understanding his largest postwar composition. Additionally Caplet’s real-time documentation of his creative process and goals in detailed correspondence with his wife, Geneviève, contributes further evidence of Caplet’s pragmatism. Rather than moralistic and reactionary, Le Miroir can be understood in the context of postwar artists attempting to render spirituality less institutional and more personal.

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11

de Gannes, Nehassaiu. "Rosary." Callaloo 19, no. 3 (1996): 634–35. http://dx.doi.org/10.1353/cal.1996.0116.

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12

Moyer, Marshall Robert. "Rosary." JAMA 331, no. 3 (January 16, 2024): 263. http://dx.doi.org/10.1001/jama.2023.23940.

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13

Barlow, George. "A Rosary." Iowa Review 16, no. 1 (January 1986): 48. http://dx.doi.org/10.17077/0021-065x.3297.

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14

Plomin, Mary Kay. "The Rosary." Oncology Times 30, no. 23 (December 2008): 32. http://dx.doi.org/10.1097/01.cot.0000342997.55102.16.

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15

Deffieux, Xavier, Alessio Carloni, and Hervé Fernandez. "Rosary ovaries." American Journal of Obstetrics and Gynecology 199, no. 1 (July 2008): 93.e1–93.e2. http://dx.doi.org/10.1016/j.ajog.2008.04.026.

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16

Mitruev, Bembya L., and Zhargal D. Dugdanov. "Гадание, опирающееся на ламу Цонкапу." Монголоведение (Монгол судлал) 12, no. 1 (July 31, 2020): 105–21. http://dx.doi.org/10.22162/2500-1523-2020-1-105-121.

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Introduction. Rosary divinations used to be most widespread in Tibet, Mongolia, Buryatia, Kalmykia and other Buddhist regions. Various types of this divination include ones implying appeals to Yidam deities, Buddhist protector deities, and prominent spiritual teachers. The latter are rare enough, and such rosary divinations are of particular interest. Goals. The article introduces into scientific discourse a Tibetan text of the Lama Tsongkhapa rosary divination. This is an example of divination text based on a religious figure. Materials. The rosary divination text was received from Rev. Zhargaal D. Dugdanov, a Buddhist priest affiliated to Ivolginsky Datsan (Buryatia, Russia), and has never been published in Russian before. Results. The article analyzes traditional rosary divination techniques, translates, transliterates the text, and publishes its facsimile.

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17

Dooley, David. "During the Rosary." Hudson Review 52, no. 1 (1999): 103. http://dx.doi.org/10.2307/3852589.

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18

IBBERTSON, P. "The acromegalic rosary." Lancet 337, no. 8734 (January 1991): 154–56. http://dx.doi.org/10.1016/0140-6736(91)90812-4.

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19

Hopkins, K. D., R. H. Jones, and P. H. Sönksen. "The acromegalic rosary." Lancet 337, no. 8745 (April 1991): 860–61. http://dx.doi.org/10.1016/0140-6736(91)92576-n.

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20

Capps, Donald, and Michael Carroll. "Praying the Rosary." Journal for the Scientific Study of Religion 27, no. 3 (September 1988): 429. http://dx.doi.org/10.2307/1387382.

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21

Hallazgo, Julie. "The "Rosary Musicians"." Philippiniana Sacra 21, no. 63 (1986): 433–43. http://dx.doi.org/10.55997/ps3004xxi63a4.

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22

Yang, Hongfan. "Propagating the Rosary in the Early Qing—A Case Study of del Rosario’s Comprehensive Manuscript." Religions 15, no. 2 (February 16, 2024): 230. http://dx.doi.org/10.3390/rel15020230.

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Studies on the Rosary in the late Ming and early Qing usually focus on works written by Jesuits and mostly stem from an artistic aspect. This article, however, shifts the focus to The True Peace of Humankind, a manuscript written by the Dominican missionary Arcadio del Rosario in the seventeenth century, the first comprehensive book on the Rosary in Chinese. It first summarizes the early-stage propagation of the Rosary in China by the Jesuits and then examines the structure and content of The True Peace of Humankind. It is noteworthy that the manuscript repeatedly uses an analogy with flowers to highlight Mary’s intercession. Dating back to the Catholic tradition in Europe, the propagation of the Rosary through analogy with flowers resembles the propagation of reciting Buddhist prayers in Chinese society. This article applies contextual studies to explore two main questions: how is del Rosario’s manuscript different from the previous texts on the Rosary written by the Jesuits? What is the significance of the manuscript in the context of the Chinese Rites Controversy?

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23

Syvachuk, Nataliia. "Mythological images in ukrainian spring play folklore." Philological Review, no. 1 (May 29, 2024): 67–83. http://dx.doi.org/10.31499/2415-8828.1.2024.306935.

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Ukrainian mythology is an important component of the all-Slavic cultural heritage. Over the centuries, it was destroyed, it was considered forbidden, so it is impossible to restore it completely, however, valuable material is preserved in folklore texts, which makes it possible to reconstruct some images. Such valuable material is legends, tales, fairy tales, Christmas carols, Kupala songs, freckles, etc. We paid attention to such mythical images of spring ritual folklore, such as: Jaschur, Podolyanochka, Belodanchik, «willow board», « crooked dance», «rosary», «bunny», etc. The freckle game «Podolyanochka» is dedicated to the goddess of the earth, her awakening in the spring, it is a relic of ritual actions of an initial nature. At the heart of the freckle game «Korovai» is the ancient custom of changing the initiator's childhood name to an adult one. The ancient game «Jaschur «contains a mysterious image of the lord of the underground and underwater elements, to whom young girls were once sacrificed. In the spring game «Bilodanchyk» there is a real custom of giving girls and women as wives to a water spirit. Theonym indicates that this image belongs to white, bright spirits. Over time, the game acquired a different meaning, related to marriage, as evidenced by the expression «wash your face», «put on a shirt», «pat your head». Scientists believe that this image is the personification of the sacred principle, which related to the love and marriage sphere of being. In ancient times, spring ritual actions began and ended with the freckle game «Crooked Dance». The dance had a talismanic purpose: to clean the environment, to restore order, to establish harmony. This is a syncretic game, a key round-robin, in which preference is given to sinusoidal movement, which symbolizes the trajectory of the sun in a circle, the eternity of life. The choreographic pattern of the dance symbolizes the trinity of generations, order, harmony: everything flows and changes. At the heart of the freckles «Shum», «Pletenytsia», «Zhuchok» – the idea of weaving, swirling energy flows. The participants of the game do not move in a straight line, but in a winding way, because «howling» (twisting) means in the folk worldview the beginning, the birth of life. With his singing and movements, man stimulated the activation of the forest's vital forces, that mysterious forest spirit of Shum. These freckle games are a manifestation of the celebration of life. The game «Willow board» is of ancient origin. A board, a bridge in folk symbolism marks marriage, the transition from virginity to married status. In the folk dream book, the bridge also predicts marriage. Images of water and fire as the embodiment of female and male energy are symbolic. Extinguishing fire (masculine energy) with water (feminine energy) is a remnant of an ancient pagan ritual. The freckle-game «Bunny» is part of the ancient marriage liturgy, which is based on the idea of mating. The freckle-game «Zhelman» has several hypotheses regarding the origin and meaning of the mythical characters we are talking about.

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24

Ward, David. "Mysteries about mysteries." Journal of Modern Italian Studies 13, no. 1 (March 2008): 93–102. http://dx.doi.org/10.1080/13545710701816877.

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25

Meznar, Joan. "Our Lady of the Rosary, African Slaves, and the Struggle Against Heretics in Brazil, 1550-1660." Journal of Early Modern History 9, no. 3 (2005): 371–97. http://dx.doi.org/10.1163/157006505775008455.

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AbstractIn the sixteenth and seventeenth centuries, as first French Huguenots and then Dutch Calvinists threatened Portuguese control of Brazil, Jesuit missionaries promoted devotion to Our Lady of the Rosary as a defense against both heresy and heretics. African slaves, as well as Indians and white settlers, were encouraged to join Confraternities of the Rosary in order to deepen their commitment to the Catholic faith and, by extension, to the Catholic political cause. Using sermons that the Jesuit father Antonio Vieira preached to black Confraternities of the Rosary, the article addresses the appeal these brotherhoods held for African slaves, and ways in which they became centers for the survival of African traditions in Catholic Brazil.

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26

Kiddy, Elizabeth W. "Ethnic and Racial Identity in the Brotherhoods of the Rosary of Minas Gerais, 1700-1830." Americas 56, no. 2 (October 1999): 221–52. http://dx.doi.org/10.2307/1008113.

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The participants in the festivals of the rosary in Minas Gerais tell a story about the beginning of the devotion of the blacks to Our Lady of the Rosary. In the story, a black slave sees Our Lady of the Rosary out in the sea rocking on top of the waves. When he tells his master, the master and the priests rush down to the water, but are unable to coax her to come to shore. In frustration, they leave the task to the blacks. Blacks from different African nations, or different groups of congados in the vernacular, go one by one to the edge of the sea (or a river) and play their instruments, dance and sing to try to convince Our Lady of the Rosary to come ashore. Their efforts only become successful when the most traditional group goes to the shore and begins to play their music. Even this most traditional group has no success, however, until all the other groups return and join them to sing together. Only then does Our Lady of the Rosary come to the shore and sit on the largest drum, showing her acceptance of the devotion of the blacks. Even when the whites take her to their own chapel and lock the door, she escapes and returns to the sea, waiting for the blacks to call her out again and put her in their own chapel.

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27

Thériault, Barbara. "Porter le chapelet. Formes religieuses dans une prison pour femmes." Studies in Religion/Sciences Religieuses 43, no. 1 (January 21, 2014): 172–80. http://dx.doi.org/10.1177/0008429813515416.

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While I was doing fieldwork in a Montreal women’s jail an unexpected detail emerged that intrigued me as a sociologist: the striking presence of the rosary. This detail is at the core of the present article. Conspicuous and discreet, exotic and trivial, the white plastic rosary given by volunteers to incarcerated women was everywhere. Without assuming an inherently religious character, and resisting the temptation to make of it something profound or curious, I ask in this article two simple questions: What is the rosary as an artefact? And how much about chaplaincy at the women’s jail and Catholicism in contemporary Quebec is condensed in this detail? The answers to these questions instruct us on the context of the jail, the study of religion today, and the importance of artefacts.

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28

H. YILMAZ, Kadri. "The Rosary in Divan Poetry." Journal of Turkish Studies Volume 7 Issue 1, no. 7 (2012): 2131–44. http://dx.doi.org/10.7827/turkishstudies.3073.

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29

Kis-Halas, Judit. "Pilgrims on the Rosary Route." Material Religion 14, no. 1 (January 2, 2018): 148–52. http://dx.doi.org/10.1080/17432200.2017.1418229.

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30

Cording, Robert. "Rosary Bead, Netherlands, c. 1500." Spiritus: A Journal of Christian Spirituality 5, no. 2 (2005): 179–80. http://dx.doi.org/10.1353/scs.2006.0003.

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31

Pasi, Gregorius. "Istilah Rosario: Suatu Metafora." Forum 52, no. 2 (October 30, 2023): 95–107. http://dx.doi.org/10.35312/forum.v52i2.579.

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Abstract The rosary is a simple but rich form of marian devotion. This article is intended to present one of these riches, namely the term of rosary itself. Therefore, the title of this article is: “The Term of Rosary: A Metaphor”. The focus of this article is to answer the following two questions. First, what is the impact of using the term of rosary on the marian devotees? Second, how can the term of rosary have an impact on the marian devotees? In order to answer these questions, we use the critical analysis and critical dialectic on the elements related to the theme of this research. Through this critical analysis and dialectical analysis we found the following two things: first, metaphor can transforms the marian devotee’s understanding, feelings dan attitudes towards the marian devotion intended by the metaphor the rosary; secondly, for the metaphor to have an impact on marian devotees, they must first realize that the term is a metaphor not only in the broad sense, but also in the strict sense, besides that, the marian devotees must have an experince related to a rose garden (rosarium) or roses (rosa). Abstrak Rosario merupakan suatu bentuk devosi marial yang sederhana namun kaya. Tulisan ini dimaksudkan untuk menampilkan salah satu kekayaan itu, yaitu istilah “rosario” itu sendiri. Karena itu, judul tulisan adalah: “Istilah Rosario: Suatu Metafora”. Fokus tulisan ini adalah menjawab kedua pertanyaan berikut. Pertama, apa dampak penggunaan istilah “rosario” bagi para devosan marial? Kedua, bagaimana supaya istilah rosario itu berdampak pada para devosan marial? Dalam rangka menjawab pertanyaan itu, kami menggunakan metode analisis kritis dan dialektika kritis atas unsur-unsur terkait tema penelitian ini. Melalui analisis kritis dan dialektika itu, kami menemukan kedua hal berikut: pertama, metafora dapat mentransformasi pemahaman, perasaan dan sikap devosan marial terhadap bentuk devosi marial yang dimaksudkan dengan metafora itu; kedua, agar metafora itu berdampak pada para dovosan marial, pertama-tama mereka harus menyadari bahwa istilah itu merupakan suatu metafora, bukan hanya dalam arti luas, tetapi juga dalam arti sempit; selain itu, para devosan marial harus memiliki pengalaman terkait dengan taman mawar (rosarium) atau mawar (rosa). Kata Kunci: Rosario, metafora, devosi marial, Mazmur, transformasi.

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32

Sammut, Adam. "With a little help from his friends." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 70, no. 1 (November 16, 2020): 118–59. http://dx.doi.org/10.1163/22145966-07001007.

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Around 1617, Caravaggio’s Rosary Madonna (Kunsthistorisches Museum, Vienna) was gifted to the Dominican church in Antwerp by a quadrumvirate of art-lovers – Rubens, Jan Brueghel I, Hendrick van Balen and the merchant Jan Cooymans – who were joined together by the love that is friendship (amor amicitiæ). By enacting the virtues of friendship within Antwerp’s elite circles, the art-lovers could persuade wealthy burghers to sponsor the Rosary Madonna as a civic investment. This process is examined through Rubens’ relationship with Brueghel, the election of Cooymans as ‘prince of the Violieren’ chamber of rhetoric, the artists’ deanships of the Romanists’ guild and their personal acquaintance with Hendrick Goltzius. In the Dominican church, the Rosary Madonna became part of the early modern political economy like few other artworks. As the author demonstrates, the altarpiece indexed the cultural capital of the quadrumvirate, but also their amor amicitiæ, to which it stood as an enduring testament.

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33

COHEN, Julie-Marthe. "Mysteries." Studia Rosenthaliana 38 (December 1, 2006): 358–59. http://dx.doi.org/10.2143/sr.38.0.2019357.

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COHEN, Julie-Marthe. "Mysteries." Studia Rosenthaliana 39 (December 1, 2006): 358–59. http://dx.doi.org/10.2143/sr.39.0.2018756.

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35

Farrell, Kate. "Mysteries." Hudson Review 54, no. 1 (2001): 72. http://dx.doi.org/10.2307/3852817.

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36

Harris, Claire. "Mysteries." Callaloo 16, no. 1 (1993): 31. http://dx.doi.org/10.2307/2931812.

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37

Harris, Claire. "Mysteries." Callaloo 24, no. 3 (2001): 765–66. http://dx.doi.org/10.1353/cal.2001.0151.

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38

Mactal, O.P., Roland. "The Dominican Influence in the Philippines in Terms of Marian Piety: Yesterday, Today and Beyond the 500 Years of Christianity." Philippiniana Sacra 56, no. 170 (December 1, 2021): 1085–108. http://dx.doi.org/10.55997/4005pslvi170a4.

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This research paper revolves around the influence of the Dominicans in the Philippines in terms of Marian devotions. It discusses the rich Marian pious exercises that originated from the Dominican Order also known as the Order of Preachers. These practices were handed down by the Dominican missionaries since 1587. One of the charisms of the Dominicans is the propagation of the Holy Rosary. This pious exercise was highlighted through its history and connectedness to the Friars Preachers and how it helped in the evangelization of the missionaries. The establishment of Marian shrines has been one of the legacies of the Dominican missionaries specially in the northern part of the archipelago which up to now are still in existence. The shrines of Our Lady of the Rosary, La Naval de Manila and the Shrine of Our Lady of the Rosary Manaoag, Pangasinan, are two notable sanctuaries dedicated to the promotion of the Holy Rosary. These Marian liturgical and devotional practices followed the principles of Vatican II’s Chapter Eight of Lumen Gentium and the Marialis Cultus of St. Pope Paul VI. Finally in the last part of the article, it discusses how the Dominicans adopted to the “new normal” of promoting Marian devotions through online means and the use of social media platforms. While at the same time remaining faithful and rooted in the principles set by the Directory on Popular Piety and Liturgy.

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Lyon, Eileen Groth. "“An Unbendable Strength in Our Rosary”." Church History and Religious Culture 101, no. 4 (October 26, 2021): 546–79. http://dx.doi.org/10.1163/18712428-bja10018.

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Abstract The struggle to resist dehumanization and maintain a sense of identity and dignity in the German concentration camps has been a key theme in survivor testimonies. Some prisoners assert the paramount importance of religious faith in mustering the inner strength needed to survive. However, the clandestine nature of religious practice in the camps has meant that memoirs provide only fragmentary glimpses of these practices and their significance in the camps. This article seeks to reconstruct a fuller picture of the religious life of Catholic Poles at the Gusen Concentration Camp in Upper Austria from 1940 to 1945. In particular, the article focuses on the activities of a living rosary group organized by Wacław Milke and Władysław Gębik. This group was unusual in the breadth of its activities and its extensive network of contacts. Not only did it organize religious devotions, but it also provided life-saving practical assistance to other prisoners.

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Stanisław Hajkowski SChr. "Father Justyn and The Rosary Hour." U.S. Catholic Historian 27, no. 3 (2009): 59–82. http://dx.doi.org/10.1353/cht.0.0016.

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Masur, Laura E. "A Conestoga Rosary: Trade, Diplomacy, and Sacred Power in Eighteenth-Century Pennsylvania." Pennsylvania History: A Journal of Mid-Atlantic Studies 90, no. 3 (2023): 479–87. http://dx.doi.org/10.5325/pennhistory.90.3.0479.

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ABSTRACT This short piece investigates the life history of a Catholic rosary from Conestoga Town, an eighteenth-century Susquehannock town and trading center in Lancaster County, Pennsylvania. The rosary was either acquired or modified by Susquehannock Indians, incorporating two unusual elements: blue trade beads and a medal depicting the Protestant King George II and Queen Caroline, indicating political alliance with the English. The object’s appearance shows familiarity with the form and power of Catholic devotional objects, probably learned through interaction with Jesuit missionaries. Yet its modifications and presence in an infant’s grave at Conestoga Town suggest connections to Susquehannock notions of sacred power as orenda.

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Pobóg-Lenartowicz, Anna. "The Dominicans of Opole as promoters of rosary prayer (on the example of the Book of the Rosary Confraternity of Krapkowice of the 18th century)." Saeculum Christianum 30, no. 2 (January 4, 2024): 182–93. http://dx.doi.org/10.21697/sc.2023.30.2.13.

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The article aims to show the role of the Dominicans of Opole in promoting of rosary prayer in the 18th century. The basis for considerations is the Book of the Rosary Confraternity from the parish of St. Saint Nicholas at Krapkowice (currently Opole voivodeship). It has not been the subject of interest to researchers so far. The confraternity was founded by the Dominicans of Opole in 1728 and functioned until 1810 (1812). During this period, over 2,800 people from over one hundred and fifty towns and villages in Silesia enrolled. It contributed to the consolidation of Catholicism among the inhabitants of this part of Silesia.

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Stankiewicz, Aleksander. "„Bitwa pod Lepanto” Tomasza Dolabelli z Kaplicy Różańcowej przy kościele podominikańskim w Poznaniu." Seminare. Poszukiwania naukowe 2020(41), no. 3 (September 30, 2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.10.

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The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.

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Niegowski, Krzysztof. "XXXI Międzynarodowy Festiwal Muzyki Religijnej im. ks. Stanisława Ormińskiego w Rumi (Rumia, 24-26.10.2019)." Seminare. Poszukiwania naukowe 2020(41), no. 3 (September 30, 2020): 141–58. http://dx.doi.org/10.21852/sem.2020.3.11.

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The Article deals with the circumstances of ordering in 1632 the painting “The Battle of Lepanto” with the painter Tomasso Dolabella. This work has so far received numerous references in the literature, but the proposals for its interpretation have aroused discussion among researchers. The painting was originally exposed in the rosary chapel next to the former Dominican church in Poznań, where it was part of an ideological program, referring to the cult of Our Lady of the Snows and Saint Jack. The Foundation of the Rosary Brotherhood was part of the tradition of commemorating the Battle of Lepanto, which was considered a victory thanks to the intercession of the Mother of God.

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Rediehs, Laura. "Candlestick Mysteries*." Quaker Studies 18, no. 2 (March 2014): 151–69. http://dx.doi.org/10.3828/quaker.18.2.151.

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Newnham, David. "Body mysteries." Nursing Standard 27, no. 43 (June 26, 2013): 25. http://dx.doi.org/10.7748/ns2013.06.27.43.25.s32.

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Siegel, Marcia B. "Matriarchal Mysteries." Hudson Review 49, no. 1 (1996): 97. http://dx.doi.org/10.2307/3851948.

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Fiebig, Jeremy. "The Mysteries." Ecumenica 8, no. 1 (April 1, 2015): 85–86. http://dx.doi.org/10.5325/ecumenica.8.1.0085.

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Orlov, Andrei A. "Living Mysteries." Gnosis 7, no. 1 (March 10, 2022): 17–52. http://dx.doi.org/10.1163/2451859x-00701002.

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Abstract The study explores the early Jewish understanding of divine knowledge as divine presence, which is embodied in major biblical exemplars, such as Adam, Enoch, Jacob, and Moses. It demonstrates that the personification of divine knowledge in early Judaism and, especially, in the Jewish pseudepigrapha reveals a distinct “cultic” way of mediating the divine presence and, consequentially, the divine knowledge that can be designated as the “divine presence’s epistemology.”

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A. Molotkov. "Ten Mysteries." Antioch Review 76, no. 3 (2018): 537. http://dx.doi.org/10.7723/antiochreview.76.3.0537.

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