Academic literature on the topic 'St. Francis of Assisi'

Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02

In the small town of Assisi in Italy, there is a chapel dedicated to Mary Magdalen. This well known figure from the New Testament Gospels is an anomaly. To many she is the prostitute turned disciple: to others she is a key witness to the resurrection. The frescoes show this Magdalen, but they also show her in strange scenes not found in the Bible. The Gospels tell us that Mary Magdalen was with Jesus in his ministry, at the crucifixion and at the resurrection. Early church fathers picked up on this and linked her with other unnamed women in the Gospels to develop an ideal model of discipleship. From there, legends developed this conflated Magdalen into the embodiment of chastity, penitence and devotion. As such, she became the focus of one of the greatest cult followings of the Middle Ages and her relics where at the heart of the fourth most visited pilgrimage site in Christendom. In the thirteenth century, a young man, Francis of Assisi helped to revolutionise and revive the life of the Church by his personal example of poverty, benevolence and pure devotion; virtues embodied by the Magdalen. It is then understandable that a chapel dedicated to her should be found in the basilica built to honour Francis. However, the reasons behind the chapel's existence and location also have a great deal to do with the power and influence of the secular (Angevin) and religious establishment of the time as well as the controversies burgeoning within the Franciscan Order including the roles of second order women and the influence of the two factions of Franciscanism, Spirituals and Conventuals. Finally, it must not be forgotten that the Magdalen chapel, a means of theological and political dogma, was also a very tangible and real visual sermon to the masses of pilgrims who flocked to visit the shrine of Francis. This project is an attempt to uncover the identity of the woman in and the meaning of the Magdalen Chapel in the Lower Church of the Basilica of St Francis in Assisi.

Orientador: Alexandre Soares Carneiro<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-23T00:00:45Z (GMT). No. of bitstreams: 1 Maerki_Thiago_M.pdf: 1616067 bytes, checksum: bbf1766d5d4d8f0c4d65216a0767d576 (MD5) Previous issue date: 2013<br>Resumo: A Legenda Maior, escrita por São Boaventura no século XIII, ocupa um lugar central dentre as hagiografias medievais que narram à vida de São Francisco de Assis e foi por muito tempo considerado a biografia oficial do fundador, responsável, pois, pela visão do santo mantida até o século XIX, quando estudos inovadores foram iniciados por Paul Sabatier. Apesar disso, são poucos os trabalhos que se dedicam à análise literária do texto hagiográfico boaventuriano, mais explorado pela História e pela Filosofia, ciências que não deixaram de apresentar recortes importantes sobre a obra. A primeira nos dá suporte para entender o conturbado momento interno da Ordem dos Frades Menores, o qual influenciou decisivamente a construção da narrativa; a segunda nos ajuda a compreender o pensamento místico do autor, influenciado, sobretudo, por Santo Agostinho e a pensar as Vidas de santos enquanto adoção de um "modo de vida" moldado pela ascese. Nesse sentido, procuramos analisar a personagem santoral à luz do pensamento de Pierre Hadot, principalmente no que diz respeito à associação entre "vida filosófica" e "vida cristã". Através de uma leitura interdisciplinar, desvendamos uma maneira específica de organização da narrativa, em que a construção da vida de Francisco é espelhada na teoria mística de Boaventura, narrando o itinerário da personagem em sete degraus de ascensão, partindo das criaturas até chegar à união com o criador, quando ocorre a estigmatização do santo. Para finalizar, analisamos os conceitos de figura, sermo humilis e gloria passionis, largamente explorados por Erich Auerbach, como recursos retórico-literários importantes para a economia da narrativa e para a construção da personagem Francisco<br>Abstract: Legenda Maior, written by St. Bonaventure in the thirteenth century, occupies a central place among the medieval hagiographies that tell the life of St. Francis of Assisi and was considered for a long time the official biography of the founder, responsible, therefore, for the saint's image kept until the nineteenth century, when innovative studies were started by Paul Sabatier. However, not many papers focus on the literary analysis of Bonaventure's hagiographic text, more explored by History and Philosophy, sciences that presented important views on this book. The former helps us understand the troubled internal situation of the Order of Friars Minor, which strongly influenced the construction of the narrative; the latter lets us know the author's mystical thought, especially influenced by St. Augustine, and consider the saints' Lives as the choice of a "way of life" shaped by asceticism. In this sense, we sought to analyze the holy personage from the perspective of Pierre Hadot's thought, especially with regard to the association between "philosophical life" and "Christian life." With an interdisciplinary approach, we reveal a specific way to organize the narrative in which the construction of Francis' life follows Bonaventure's mystical theory, narrating the character's journey in seven levels of ascension, starting from creatures to eventually attain union with the creator, when the saint's stigmatization occurs. Finally, we analyze the concepts of figura, sermo humilis and gloria passionis, widely examined by Erich Auerbach as important rhetorical and literary devices for narrative economy and for the construction of the figure of Francis<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária

Thesis (D.M.A.)--Boston University PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>Cantico delle Creature is an original piece of music for soprano and string quartet composed in 72 tone per octave equal temperament, dividing each semitone into six equal parts called twelfth-tones. This system of tuning makes it possible to combine just intonation and spectral principles based on the harmonic series with real imitation, modulation, and polyphony. Supplemental text discusses several aspects of microtonal structure and pedagogy, including the representation of the first 64 partials of the harmonic series in 72 tone equal temperament, performance of natural string harmonics, the relationship between interval size and vibration ratio, pitch to frequency conversion, and analysis of several passages in the musical score.

Contrary to the view of many interpreters that Francis of Assisi (1181--1226) dabbled in church renovation for a few years following his first conversion experience in 1205, architecture remained a central preoccupation until his death in 1226. His creative practice ranged from hermitage planning to the clothing design of its occupants, from architectural legislation to the composition of psalms to be sung in the hermitage churches. Through the medieval art of memory, Francis formed his architectural intentions around two contemplative foci: first, the symbol of the tau, which became his attire, prayer position, signature, talisman for healing the sick and the crucifixion of Christ imprinted on his flesh in the stigmata; and second, the chapel of the Portiuncula, which Francis renovated himself to be the cave of the annunciation and the nativity, the womb of Mary and a portion of heaven on earth where angels descended. With its hedge-bound monastery. it became the prototype for construction among his followers. As the art of memory aimed at an ethics, so did his architecture strive to inspire communal good through narratives of compassion, voluntary penance and humility.<br>The Portiuncula was copied throughout the Franciscan order, but as the order grew its commitment to poverty waned. As a result, buildings began to deviate from Francis' ideals. Rather than resort to prescriptive architectural legislation, Francis addressed this dilemma through an intricately choreographed performance of his death whose poetic image would be unforgettable for those who wished to imitate him in word, deed and architecture. Two years after this event the Basilica of San Francesco in Assisi, built by his friend and hand-chosen successor, Br. Elias, rapidly rose to house the newly canonized saint. Its earliest form, narrative and symbolism, also widely imitated, seems to illustrate aptly Francis' architectural vision: if the Portiuncula was the Bethlehem of the order, the Basilica's tau plan became its Jerusalem. From these two prototypes Italian mendicant architecture for the next century drew its meaning and form.