Catholic Liturgy

Resumo: Descreve o desafio da prática formativa, no que se refere ao ensino do vernáculo a candidatos ao presbiterado, à luz das contribuições dos estudos linguísticos para a educação e das recomendações do Magistério da Igreja para a formação de presbíteros. Para isso, expõe a visão de língua que norteia a prática, um percorrido histórico da formação da língua portuguesa no Brasil, a função da escola no ensino do vernáculo, aquilo que orienta a Igreja na formação dos seminaristas para se tornarem futuros padres de espírito missionário, abertos à cultura do encontro, e, por fim, a prática por nós abordada nos últimos quatro anos em resposta a essas demandas. Nota-se que adotar uma posição linguística aberta à diversidade cultural, respondendo, por conseguinte, ao que orienta a Igreja para a formação presbiteral, num processo de aprendizagem da língua padrão, como instrumento para expressão escrita e oral mais formal, ajuda os seminaristas a se sentirem valorizados no seu falar materno, preparando-os para a missão do encontro com os diferentes. Conclui-se que o conhecimento da própria língua com suas variações, assim como de outras línguas estrangeiras, são caminhos para uma capacidade de adequação e encontro com o outro.

Entre septembre 1699 et novembre 1709, les agissements de quatre archiprêtres de la cathédrale de Vannes, c'est-à-dire de quatre de ses musiciens ou chantres, défraient la chronique locale. Jean Richin, Michel Clavier, Jean-Baptiste Bressy et Étienne Colon de Voneuil ne cessent de s'opposer à leurs employeurs. Se faisant remarquer par de très nombreux manquements dans l'exercice de leurs charges, ils obligent les chanoines à multiplier les sanctions.
Partant d’un ensemble de faits parfois pittoresques mais qui
restituent la vie de la micro-société de la cathédrale, l’examen de
cette décennie permet d’aborder des questions aussi diverses que les relations entre les chanoines et leurs « dépendants de l’intérieur »,
les relations au sein du bas chœur, les stratégies déployées par
le chapitre pour tenter de rétablir l’ordre. L’étude des dossiers de
procédures rassemblés contre les archiprêtres, éclairés par le recours aux comptes du chapitre et aux registres de délibérations capitulaires, mais aussi par le renouvellement récent de nos connaissances sur les bas chœurs des cathédrales – en particulier sur les musiques –, permet plus globalement de décrire le chapitre cathédral de Vannes au tournant des XVIIe et XVIIIe siècles. Au-delà, l’ouvrage s’interroge sur les logiques de l’institution capitulaire d’Ancien Régime, sur les racines des comportements déviants de certains ecclésiastiques et, partant, sur les limites de l’entreprise de formation et de moralisation du clergé des deux derniers siècles de l’Ancien Régime.

In the archives of the Olomouc Metropolitan Chapter a unique set of 38 letters written by Jakob Ernst von Liechtenstein-Kastelkom (1690-1747) to Canon Georg Heinrich von Mayerswald (1676-1747) written between 1738 and 1740 has been preserved. These sources offer a unique insight into the everyday life of the new Moravian shepherd. The paper aims to analyse the daily concerns of the new Olomouc Ordinary, which he shared with his friend, Canon Mayerswald. The specific character of the addressee, who was both a high dignitary of the Olomouc Chapter and the bishop's friend, is reflected in the content of the letters. The correspondence primarily addresses legal matters surrounding his
accession to the See of St. Methodius, as well as the state of the bishopric's finances. Occasionally, the letters contain information about Kastelkorn's state of health. This collection represents the only coherent set of sources on the history of the bishopric written by Kastelkorn himself. Mayerswalďs letters were probably destroyed when the archbishop's přiváté correspondence was shredded after his death. The letters primarily focus on the concerns of the incoming Ordinary regarding the condition of the diocese he was taking over and the related legal matters. Jakob Ernsťs awareness of the problematic financial situation of the episcopal estates shortly after his election as Moravian Ordinary is particularly noteworthy. At the same time, Kastelkorn's efforts to fulfil both the secular and spirituál roles of prince and bishop are evident. He sought to implement an economic reform of the episcopal estates, address feudal matters, conduct pastora! visits, renovate the episcopal residences, and refurbish the cathedral. Information of a personál nátuře makes up only a minor part of the content of the bishop s letters. Such references include mentions of Kastelkorn s health issues (such as headaches) and the death of his younger brother, Rudolf Maximilian (+1739).

This essay outlines the characteristics that are essential to sacred music as outlined by the Catholic Church in the documents Tra le sollecitudini from Pope St. Pius X and Sacrosanctum Concilium from the Second Vatican Council. It argues that, based upon these principles, praise and worship music—typical of charismatic contexts—does not align with the Church's vision for liturgical music. While acknowledging the personal and devotional fruits of the genre, the essay maintains that it is unsuitable for the universal Sacred Liturgy of the Roman Rite.

Note: This is not meant to be a scholarly analysis, but rather an argument based on relevant and highly cited Church documents that provide context for the overall position.

L’enorme massa di documenti disponibili con l’apertura del pontificato di Pio XII (1939-1958 sta alimentando interessanti filoni d’indagine relativi, ad esempio, al rapporto tra Vaticano e Resistenza durante l’occupazione tedesca, al ruolo della Chiesa nell’Italia occupata (1943-1945) o alla “diplomazia dell’assistenza”, ossia alle iniziative vaticane per i prigionieri e profughi di guerra. Per quanto riguarda l’immediato e lungo secondo dopoguerra, si continua a indagare sul ruolo della diplomazia vaticana di fronte alle ricomposizioni territoriali e frontaliere e sul ruolo della Chiesa cattolica nella ricostruzione, nella giustizia postbellica e nei processi di decolonizzazione. Sono poi ricercati e studiati anche altri aspetti caratterizzanti del periodo pacelliano come il controllo della disciplina del clero e la normalizzazione del pensiero teologico, i rapporti della S. Sede con il movimento liturgico, con il capitale, il ruolo dell’anticomunismo nella geopolitica della S. Sede e della donna nell’associazionismo cattolico e civile.

Anchored on recent human technology, questions are agog whether liturgical celebrations and Artificial Intelligence (AI) can co-exist or not. These questions emanate from myriad standpoints, of convergence and divergence, premised on many assumptions. For instance, AI refers to computer systems that can perform tasks that historically required human intelligence, such as learning, reasoning, worshipping, and problem solving on their subject matters. Admittedly, AI learns from extensive data and experience. However, AI prevents the public nature of the liturgy that requires physical presence from happening. Celebrants and participants rely on automated machines for worship from their church premises and comfort zones. When one is physically present at the liturgy, it is expected that one responds to the parts of the liturgical celebrations as designated. For AI, the sense of physical contact, ethical concerns, faith, and obligations might be lacking and one’s participation might end up being more of a spectator than a worshipper. Accordingly, the writer is not unaware of these dangers of over-reliance with AI, as well as the possible compatibility of liturgical formation with AI-powered devices. This is the task of this paper to establish whether mutual relationship exists or both are acts of strange bedfellows.

Implikacje homiletyczne motywu „Ecclesia militans” w tekstach liturgicznych mszału rzymskiego dla diecezji polskich. W artykule podjęto problem idei Kościoła „wojującego”, która wprawdzie zniknęła z terminologii teologicznej, jednak pozostaje obecna zarówno w tekstach liturgicznych, jak i w działalności duszpasterskiej. Kościół „pielgrzymujący” zachowuje świadomość, że walka jest wpisana nie tylko w!jego historię, ale także w!jego tożsamość i stanowi codzienną konieczność. W toczonej walce prosi Boga o obronę, a świętych o wstawiennictwo. W tekstach liturgicznych Kościół wielokrotnie nawiązuje do idei walki, która dzięki temu staje się jedną z kwestii, znajdujących swój wyraz w homilijnym przepowiadaniu słowa Bożego.

Fransız Yazınının önemli yazarlarından Fas asıllı Tahar Ben Jelloun’un “Ülkemde” adlı yapıtı, 1960’lı yıllarda Fransa’dan kendi ülkesine göç etmek isteyen Muhammed adlı karakterin yaşamının betimlendiği önemli eserlerinden biridir. Yaşamı boyunca kendi kültürü ile yaşadığı toplumun değerleri arasında kalan Muhammed, köyünde ailesine ev yapmak için ülkesine dönmek istemektedir. Fransız ve Arap toplumu arasında sıkışıp kalan Muhammed’in yaşamını konu alan “Ülkemde” adlı roman, metni
bir anlam bütünü olarak görüp kabul eden göstergebilimsel çözümleme yönteminin metin çözümlemede önerdiği araçlar kullanılarak çözümlenmiştir. Öncülüğünü Saussure’ün yaptığı birçok kuramcının katkı
sağladığı ve son olarak da Rus biçimcilerin çalışmalarını temel alarak Yapısal Anlambilim (Sémantique Structurale) adlı yapıtıyla Greimas’ın Göstergebilim kuramı yazınsal eleştiri yöntemleri arasında kabul
edilmektedir. Göstergebilimsel çözümlemede metinler anlamsal katmanlardan oluşmaktadır. Derinden yüzeye 3 katman belirler ve derin- yüzey yapı biçiminde ele aldığı metinleri anlam açısından inceler.
Göstergebilim derin yapıda temel düzey ve anlatı düzeyi, yüzey yapıda da söylemsel düzeyi çözümler. Bununla birlikte dile bir dizge olarak bakan göstergebilimsel çalışmalar, dilsel göstergenin gösterilen ile gönderge arasındaki ilişkiye dayanır. Çalışmanın yaklaşımı da Greimas’ın göstergebilimin temel ilkelerinden oluşmaktadır. Bu bakış açısıyla çalışmanın söylemsel düzeyinde “Ülkemde” romanında yer alan kişi ve kişilerin eylem alanları yer ve zaman ögeleri çözümlenmiştir. Anlatısal sözdizimde eyleyenler şeması ve anlatı izlencesi; temel düzeyde de göstergebilimsel dörtgen kullanılır. Bu bağlamda göstergebilimin metin çözümleye sunduğu araçlar kullanılarak “Ülkemde” yapıtının anlam evrenine girilmekte ve böylelikle bütünceyi oluşturan metnin yüzeyinden derinine doğru üretim koşulları göstergebilimsel çözümleme yöntemi ile ortaya konulmaktadır.

Waddell … from the WorshipConcord website, 2009 *Update … the WorshipConcord site has been inactive since 2010. I think the work here is important enough to preserve and share for ongoing access and discussion in the church.

+++ Here I offer a more detailed treatment of the lex orandi lex credendi principle. It is an adaptation (and continuation) of work I have presented elsewhere. If you are interested in grist for the mill of a more detailed theological conversation about worship, then read on, but a caveat. We realize that our readers here at WorshipConcord come from a broad spectrum of theological training and background, anywhere from a good basic reliance on the Bible and Luther's Small Catechism to a more developed ability to move around in and understand in more detail the 1580 Book of Concord in German and Latin (Die Bekenntnisschriften). This is why I shared the basic version first, "Rethinking Lex Orandi Lex Credendi." I also want to reiterate what I have stated elsewhere. This conversation, not entirely but in large part, needs to be focused on assumptions and methodology. It should not be focused on personalities or take the form of ad hominem. When we focus on assumptions and methodology, this drives at the heart of the issue. Consequently, it is not ad hominem to address the assumptions and methodologies of specific individuals. This is a fair approach to any issue the church faces. We are accountable to each other. None of us is above accountability. I include myself in this. And as I have stated before, I am open to the persuasion of others, as long as that persuasion is based on the hard data of the only authoritative sources we know as Lutheran Christians: Scripture and the Lutheran Confessions; also so long as that persuasion is based on the methodology of reading texts in their contexts. JAW

This paper examines the pedagogical relevance of eco-driven homily for the celebrants and participants in Africa today. Admittedly, homily constitutes an intrinsic part of the liturgical action. It is a means of downloading the scriptural passage to life-experience with the aim of fostering a deeper understanding of God’s Word in order to bear fruits among the faithful. As such, it is a veritable tool for human transformation. A dictum holds that “what we hear can change our behaviour towards positive human relation.” The implication is that priests and other ministers of the Word should always remember how far this aspect of liturgy could build up a fruitful Christian community especially in this era characterized by ecological crises, oil spillage, desertification, deforestation and pollution. Employing descriptive-analytical method, the paper argues for the pedagogical relevance of eco-driven homily, the need for liturgical educators such as priests, seminarians (future priests) and pastoral agents to increase eco-driven homily where it is practised already. In other instances, where they are not in place, efforts should be made in this direction. As a result of well-prepared homilies, worshippers should leave the Church with more determination to use available opportunities to advance the course of ecosystem.

ment ofbelie£ He examines the grounds for belie£: the necessity ofcreeds, and provides a complete commentary, biblical, doctrinal, and interpretative, on each phrase. Nearly four hundred closely-packed pages -we shall need to rename the "plain man" who gets through all this! But of course it is for reference; and at this price it should be bought by college and sixth-form students, by people insistently asking what they are supposed to believe, and (may one suggest?) by the clergymen whom they ask. Part I of God and the Human Condition deals with the human mind in its quest, and understanding, of God, using traditional terms and definitions, Clearly these come alive for Dr Sheed, but his stated purpose (p. ix) is to write for to-day'sman, in terms of to-day's ways of thinking, speaking, asking. Whether to-day's man will feel that his intellectual difficulties have been resolved, or even charted, on this route is much more doubtful.

This paper contains some reflections on the Christian sacrifice in the light of St Augustin and Joseph Ratzinger. It consists essentially in fulfilling the double commandment of loving God and loving one's neighbour and it is celebrated in the Sacrament of the Altar, the Holy Eucharist. It is offered to God by the "Christus Totus," that is, the by Body of Christ as a whole, which consists of Christ, the Head, and we, his members.

If we look at the history of the Georgian church chants from the early stages of Christianity to the modern times, all the parameters of the functioning of the cultural memory become clear. From the time of its creation to the present, this cultural phenomenon carries the function of an exhibit on the one hand, and on the other hand, comprises in itself the impulse of internal development, which is manifested in the aspiration of generations towards a stable phenomenon. The Great Canon of St Andrew of Crete is one of such monuments in the Georgian reality. It bears significant importance from the liturgical as well as scholarly points of view. It is a monument with a great research history. Its establishment within the Georgian ecclesiastical world took place simultaneous with the formation of the Georgian church service. The article presents the attitude of the Georgian hymnographers and scholars of church music and chants towards this monument from its creation (seventh century) up to the modern times. In Georgia, like other Christian countries, the historical path of chants goes from oral tradition to neumatic and finally to the notation systems. However, the path of the oral tradition is especially long in Georgia. Due to the difficult political situation, the notation system established in Europe from the eleventh century entered Georgia only at the end of the nineteenth century. This situation especially intensified the phenomenon of cultural memory, thus, Georgian chants were passed down orally, in a traditional manner from generation to generation for almost six centuries. This, too, was a kind of internal protest, the cultural memory opposed the dramatic political environment. In the nineteenth century, the Russian Empire abolished the autocephaly of the Georgian Church, threatening to eradicate the original traditions of the Georgian sacred music. In the 1880s, with the great efforts of The Committee for the Revival of Georgian Chant, it became possible to maintain a continuous Georgian heritage with the historical and cultural past and transfer church hymns to a five-line notation system. It should be noted that in the twentieth century the Soviet iron curtain was able to break down the 70-year-old chain of the cultural memory. Therefore, the study of hymns recorded in the late nineteenth and early twentieth centuries became the basis for restoring historical reality and returning traditional hymns to the church service. The Great Canon itself, like other church works, was created on the basis of the Scripture. In this way, it is a bearer of the historical memory. As Doru Costache mentioned, the Canon's "structure reiterates the pattern of nine scriptural odes and, albeit indirectly, by way of a Christian selection of passages, it mirrors the Scripture. Undoubtedly, this is a solid mode of connecting with Christianity's scriptural universe" 1 .

“Bir sözcük var ki, sanattan bahsedildiğinde o sözcüğün gündeme gelmemesi mümkün değil. O da ‘güzel’
sözcüğü.” diyen Turgut Cansever, güzellik meselesini her fırsatta dile getirmiş, insanın dünyadaki en büyük
vazifesinin dünyayı güzelleştirmek olduğunu savunmuştur. Bu fikri profesyonel yaşamında düstur edinen
Cansever, mimarlığı “mamur kılma” görevi olarak tanımlamıştır. Turgut Cansever’in güzellik anlayışını
şekillendiren iki unsurdan biri tasavvuf düşüncesi, diğeri ise Hartmann’ın varlık felsefesidir. Böylece Hartman’ın
varlık tabakalarından başlayıp dünyayı güzelleştirme sorumluluğuyla birlikte yükselerek güzelliğe ulaşan bir
hiyerarşi kurgusu oluşturmuş, tasarımlarında bu katmanlarla ilerlemiştir. “Zühd”, “rıza” ve “yanılgıdan uzaklık”
kavramlarını -İslam sanatının her adımında bulunduğunu belirtmiştir- mimari tasarım kararlarını verirken temel
parametreler olarak varsaymıştır. Bu ilkelerle inşa edilen eserlerinden biri de Antalya’da bulunan Karakaş
Camiidir. M.S. 130 yılında inşa edilen Hadrianus Kapısı karşısında yer alan cami, eski bir plan üzerine
tasarlanmıştır. Bu çalışmada köklü bir referans karşısında var olan Karakaş Camii, Turgut Cansever’in güzellik
anlayışı üzerinden okunmuştur. Çalışmanın amacı mimarlık tarihimizde başarılı ve yenilikçi uygulamalarıyla var
olan ve literatürde sık çalışılan ödüllü mimar Cansever’in güzellik anlayışını çözümlemek ve ileride yapılacak olan
çalışmalara bir altlık sunmaktır. Materyal olarak Karakaş Camii’nin seçilmesinin nedeni, eserin Cumhuriyet
sonrası dönemde köklerin ve yeniliğin birlikteliğine ve taklit ile özgünlük arasındaki dengeye imkan tanımasıdır.
Çalışmanın özgünlüğü, Turgut Cansever’in daha önce hiçbir eserinin güzellik bağlamında okunmamış olmasıdır.
Elde edilen bulgular sonucu Karakaş Camii’nde geleneğin ve çağın getirilerinin bir arada kullanıldığı, Osmanlı ve
Selçuklu Dönemi tezyinatının yer yer taklit edildiği, orantı ve simetrinin kullanıldığı görülmüştür. Aynı zamanda
amaca uygunluk, küçük nesnelerin güzelliği, düzgünlük, kademeli değişim, zarafet, narinlik, çağrışımlarla
hatırlatma, mekâna ruh katma, ışık ve renk gibi unsurlar da Karakaş Camii’nde görülen güzellik unsurlarındandır.
Böylece Cansever, çağın fırsatlarından olan teknolojiyi ve diğer teknikleri kullanarak yanılgıdan uzaklık anlayışını
doğrulamıştır. Karakaş Camii’ni var olan planın üzerinden şekillendirmek ve bunu yaparken de sadeliği, hakikati
ve çekingenliği tercih etmek ise rıza ve zühd kavramlarının yansımalarıdır.

How did Thomas Aquinas (ca. 1226-74) come to know the Bible?1Throughout his writings, Thomas frequently quotes passages from the Old and New Testaments,2 sometimes in versions that closely correspond to the text later codified in the Sixto-Clementine Vulgate but often in versions that differ in minor or significant details.3 Like

This study examines the historical development of the New Testament pericope system in the Byzantine liturgical year, emphasizing the Apostolos and Gospel readings in the Eucharistic liturgy. While Gospel pericopes have been widely studied, this research highlights the Apostolos pericopes and their integration into the Byzantine lectionary tradition. It explores the transition from continuous-text readings to structured lectionaries,
the influence of the Jerusalem tradition, and the adaptation of the five-day pericope system. *e study also addresses the late inclusion of the Catholic Epistles and their role in pre-Lenten preparations. Through manuscript analysis, it offers insights into the codification of New Testament pericopes in Byzantine worship.

The Tridentine Latin Mass (TLM) is rapidly growing in popularity. The movement that has formed around it has grown so attached to it as to threaten the unity of the Catholic Church. I attended TLMs in multiple distinct settings, studied the worshippers' ordinary theology, and proceeded hermeneutically using the Circle Method. The most useful insight to emerge from this is that the theological aesthetics of the post-Conciliar Mass could be more deeply symbolic and synergistic with Conciliar intellectual theology. The TLM's aesthetics offer worshippers assurances of certainty, but these assurances are empty. Therefore, parishes should facilitate the self-expression of the faithful, both to foster engagement with mystery and to inspire liturgical aesthetics. From these expressions, contextually meaningful symbols will emerge, which, through communal discernment guided by the Holy Spirit, may prove worthy to the task of enhancing liturgical aesthetics.

Si enim iuxta apostolum Paulum Christus Dei uirtus est Deique sapientia [cf. 1 Cor 1:24]; et qui nescit scripturas, nescit Dei uirtutem eiusque sapientam: ignoratio scripturarum [referring the Old Testament], ignoratio Christi est. Jerome, Commentariorum in Isaiam. Prologus (PL 24,17). 1 The last half-century has been a unique time in the history of the relationship of the 'liturgical' churches with their scriptures. For the first time since the four tellings of 'the gospel' by Matthew, Mark, Luke and John gained currency in the liturgy, 2 a feature of church life that predates their status as part of 'the scriptures,' 3 we have a thought-out and planned system for making use of them. The lectionary, or at least its 1 'If, as the apostle Paul said, the Christ is the power of God and wisdom of God; then, whoever does not know the scriptures does not know either the power of God nor the wisdom of God: ignorance of the scriptures is ignorance of the Christ.' The last phrase is frequently quoted, but is usually taken as referring to the gospels -but, as is clear from the context, Jerome is referring to 'the scriptures' of the first Christians (not to the whole canon much less to the New Testament) and his concern is with ignorance of what we refer to as the Old Testament. 2 This must have occurred in the period before 150 CE, not only from what we learn from Justin but because of the way the four were already being gathered in codices; see T.C. Skeat, 'The Oldest Manuscript of the Four Gospels,' New Testament Studies 43(1997)1-34. 3 We can distinguish between a time in the second century when our four gospels had 'authority' and before that time (c. 180) when they we came to be considered as 'canonical

The liturgy is the great school of discipleship: there the kerugma is not only heard but embraced, our identity with the Christ is affirmed, and our hope given expression. However, liturgy is not an abstract essence but an artefact of many people with differing backgrounds, appreciations of what they are doing, and, indeed, widely varying levels of ritual skill. Liturgy can range from a mere token affair imagined as the acting out pre-scripted texts to occasions that can be events of human poetry and moments of the Spirit's presence. This link between mission and the perceptible quality of celebrations was famously expressed: Faith grows when it is well expressed in celebration. Good celebrations foster and nourish faith. Poor celebrations weaken and destroy faith. To celebrate the liturgy means to do the action or perform the sign in such a way that the full meaning and impact shine forth in clear and compelling fashion. 1 These statements has become maxims, while the general truth is known to all engaged in mission who have probed into factors that lead some to embrace Christianity and other to abandon it. Liturgy matters! But how should we assess a 'good liturgy' and what are the characteristics of 'poor celebrations'? Moreover, the steady fall in attendance at liturgy suggests that part of the problem lies in people judging liturgy as failing. So, if liturgy is important, it is an important to give thought to what constitutes good liturgy and how to distinguish good from poor celebrations. 5 See H.W. Hollander, 'The Idea of Fellowship in 1 Corinthians 10.14-22, ' New Testament Studies 55(2009)456-70. 6 Sacrosanctum concilium, nn. 15-18. 7 M. Douglas, Natural Symbols (New York, NY 1970). 8 Most Catholics still refer to the area surrounding the eucharistic table -imagined as 'the altar' -as the 'sanctuary'; most older buildings still have division markers separating the area of the sacerdotium from that of the laos (as if these are really distinct). 9 M. Douglas, Purity and Danger: An Analysis of the Concepts of Pollution and Taboo (London 1979); it was exemplified prior to 1971 in 'the churching of women' after childbirth.

This article explores the transformative changes in Catholic liturgy during the twentieth century and their implications for the stability of religious meaning and cultural identity in the West. In critical dialogue with Chantal Delsol's diagnosis of the decline of Christianitas, this study argues that the reform of ritual following the Second Vatican Council, rather than political entanglements, played a decisive role in weakening the public credibility of Catholic truth claims. Drawing on Roy A. Rappaport's theory of ritual as a stabilizer of cultural meaning, the author analyzes how this postconciliar liturgical reform altered the semiotic structure of Catholic worship-shifting communication from indexical to symbolic forms and reorienting the liturgy from a vertical-concentric order to a more decentralized horizontal dynamic. The chosen method combines theoretical reflection with liturgical anthropology to assess how changes in the Roman Missal, ritual posture, and spatial arrangement disrupted the transmission of canonical messages. The conclusion suggests that this semiotic transformation undermined the liturgy's capacity to ritually confirm the truths of faith, contributing to the broader civilizational disintegration observed by Delsol. Ultimately, this article contends that any future revitalization of Catholic culture will depend less on political influence and more on recovering the liturgy's ritual capacity to sustain belief in transcendent truth.

Krimanchuli refers to a certain kind of high-pitched top voice in Georgian traditional polyphonic singing (songs with three or four voices), performed with a specific technique and creating a distinct acoustic effect. The aim of this article is to further determine the krimanchuli phenomenon by putting a special emphasis on its musical character and its function in Georgian traditional polyphonic songs; to represent other specific top voices (with a closer look at gamkivani) from Georgian folk music, which are similar to krimanchuli, and to reveal their different musical characteristics; and to demonstrate traditional patterns and contemporary variations (if present) of krimanchuli through performance practices of leading Georgian folk musicians, so-called mokrimanchuleebi (krimanchuli performers) of different times.

This paper is a theological synthesis written as a final requirement for the first cycle in theology at St. John Vianney Theological Seminary. This was presented and defended as part of the Comprehensive Exam in S.Y. 2020.  The author used the theme “Halad” (both as a verb and as a noun), a Visayan term (a Filipino dialect) for the English word “Offer,”  as a theme for his theological synthesis. For him, the theme captures what Christian theology is all about.

After the Spanish Civil War, most parishes that had suffered the destruction of their movable walls had to face a debate on the orientation and adaptation of the sacred art that was to replace the previous one. The discussion included the currents of the new liturgy, the more conservative positions of faithful restitution, the economic difficulties or the reception and consideration that was had in those years of the aesthetics of the Baroque. The study analyses the circumstances exposed and wonders about the weight that the different aspects had in some singular areas such as Valls, Igualada or Cassà de la Selva.

Jean Sibelius (1865-1957) composed choral music throughout his entire active career. The earliest mixed-choir works date from his period of study at the Helsinki Music Institute (probably from 1888 or 1889) and the last work for mixed choir is a setting of his Finlandia-hymni dating from 1940. In total, Sibelius's mixed-choir oeuvre consists of 30 works. The objective of the present study is threefold: firstly, to gather all the sources for the 30 mixed-choir works; secondly, to analyse the source material and to construct source chains; and thirdly, to study Sibelius's writing process and the evolution of each mixedchoir work from their earliest sketches to present-day editions. The source material is divided into two groups: musical sources and biographical sources. The main focus lies on the musical sources. Chronologically, the musical sources form three categories: manuscripts, contemporary editions, and posthumous editions. Manuscripts include sketches, drafts, autograph fair copies, fair copies by people other than Sibelius (if used in the publication process), proofs, and Handexemplare. The dividing line between contemporary and posthumous editions is the year of Sibelius's death (1957). The biographical sources consist of Sibelius's diary, correspondence, and work lists. The study also consults newspaper reviews, as well as other sources when they shed light on the dating of the works in question. The analysis of the source chains aims to map the evolution of Sibelius's mixed-choir works. The theoretical foundation of the analysis is based on the methodology of Genetic Criticism (critique génétique). Genetic Criticism does not seek to establish one definitive or singular version of any given work, but rather focuses on the study of the writing process. As a deviation from traditional Genetic Criticism, the present study does not limit the source chain to manuscript sources, but also considers published editions, including present-day editions. Each source -be it a sketch, fair copy, or a modern edition -is considered an equal representation of a stage in the work's evolution. Thus, the analysis is not restricted to Sibelius's writing process, but rather it also aims to describe how the works have evolved during their existence. In the present study, analysis of the source chains consists of three parts: analysis of the writing process, analysis of the publication process of the first edition, and analysis of the textual transmission in subsequent editions including those published after Sibelius's death. The extension of the research material to include published material has required some modifications to the theory of Genetic Criticism. Tuovinen, Tarja Lehtinen, and Inka Myyry), the archives of Breitkopf & Härtel (Dr Andreas Sopart), the Sibelius Museum (Sanna Linjama-Mannermaa), the National Archives of Finland, Suomalaisen Kirjallisuuden Seura, Svenska Litteratursällskapet i Finland and Kallion seurakunta for their kind help with the sources. Furthermore, I would like to thank Seppo Suokunnas for the help he provided with sources in the archives of SLEY and Tuomas Meurman with those in the archives of Ylioppilaskunnan Laulajat. I am grateful to David Hackston for the thorough proofreading and language checking in this book. The owners of Sibelius's rights kindly gave me permission to include manuscript facsimiles in this book. Excerpts from printed sources are included in the book with kind

At the turn of the 19th century Jean Sibelius (1865-1957) wrote several Karelian inspired or otherwise patriotic choral songs. Sibelius arranged many of these songs for different choral ensembles. In the following article I will discuss the problems arising, when preparing the critical edition of Sibelius’s choral arrangements. I will focus especially on the role of the original version used as a reference source in the editing of the arrangement.

Badacz niezależny MEDALIKI Z TARCZĄ ŚWIĘTEGO BENEDYKTA Krzyż św. Benedykta, przedmiot niniejszej notatki, jest jednym z bardziej rozpowszechnionych i znanych katolickich medalików. Jest poświęcony Krzyżowi Świętemu i ojcu monastycyzmu zachodniego, św. Benedyktowi z Nursji. Przedstawiono przykłady medali z Tarczą św. Benedykta według tradycyjnego wzoru i po zmianach w 1880 r. Święty Benedykt urodził się w 480 r. w Nursji 1 . Pochodził z rodziny właściciela ziemskiego z okolic obecnie położonych w Umbrii. Z woli rodziców po ukończeniu pierwszego etapu edukacji udał się do Rzymu, gdzie podjął studia literackie i prawnicze. Jednak niespokojne i rozwiązłe życie młodzieży skłoniło go do schronienia się na pustkowiu. Mając dwadzieścia lat został pustelnikiem w Subiaco, gdzie najpierw pod opieką starszego mnicha, a potem samodzielnie prowadził życie pustelnicze. Tam zyskał sobie wielu uczniów. Wobec nieporozumień z pobliskim klasztorem przeniósł się na południe i w roku 529 założył klasztor na Monte Cassino w miejscu dawnego pogańskiego sanktuarium. Tam właśnie opracował nowy model wspólnoty monastycznej, żądając od zakonników potrójnych ślubów: stałości, zachowania obyczajów monastycznych i posłuszeństwa, które do dnia dzisiejszego składają benedyktyni. Od imienia świętego zakon posługujący się jego regułą nosi nazwę benedyktynów. Łączył w sobie wymagania dyscypliny z szacunkiem dla osoby ludzkiej. Nie wiadomo, czy miał święcenia kapłańskie. Niektórzy wierzą, iż miał dar przepowiadania przyszłości, czynienia cudów oraz uzdrawiania modlitwami. Benedykt zmarł w 547 roku w wieku 67 lat. Pochowano go we wspólnym grobie z jego siostrą Scholastyką w oratorium św. Jana Chrzciciela. Relikwie świętego po kilkakrotnych przeniesieniach ostatecznie wywieziono 11 lipca do Fleury we Francji na przełomie VII i VIII wieku. Już w chwili śmierci był postacią kultową, jednak wraz z rozprzestrzenianiem się zakonu benedyktynów był coraz bardziej gloryfikowany. Pierwsze przedstawienia św. Benedykta to XIII-wieczne freski z bazyliki św. Ermeta w Rzymie. Od XVI wieku był przedstawiany we Włoszech jako mężczyzna w średnim wieku z brodą i siwymi włosami. Jednak ten obraz stał się popularny dopiero w innych częściach Europy w sztuce baroku. 1 W Nursji w środkowych Włoszech znajduje się Klasztor św. Benedykta -męski klasztor benedyktyński, ufundowany w X wieku, zamknięty w 1810 roku, a następnie reaktywowany w 2000 roku. Do Nursji pierwsi mnisi benedyktyńscy przybyli już w X wieku, by żyć w miejscu narodzin swojego założyciela. Do dziś w krypcie bazyliki pw. św. Benedykta zachowały się pozostałości rzymskiego budynku z pierwszych wieków n.e., uznawanego za dom rodzinny św. Benedykta i Scholastyki. Zakonnicy zostali wypędzeni z Nursji w 1810 roku, po kasacie benedyktyńskiej kongregacji Celestynów. Klasztor został zamknięty, bazylika przeszła pod nadzór diecezji, a zabudowania klasztorne wyprzedano prywatnym właścicielom.

L’Ufficio Nazionale per i beni culturali ecclesiastici e l’edilizia di culto della Conferenza Episcopale Italiana,
il Dipartimento dei Beni Culturali della Chiesa della Pontificia Università Gregoriana,
l’Istituto di Liturgia della Pontificia Università della Santa Croce,
l'Accademia di Belle Arti di Roma,
l'Accademia di Belle Arti de L'Aquila,
promuovono e organizzano una Scuola Estiva rivolta agli studenti delle Accademie di Belle Arti di Roma e de L’Aquila, interessati a confrontarsi con la Committenza ecclesiastica e a formarsi allo «spirito dell'arte sacra e della sacra liturgia» (Sacrosanctum Concilium, 127).

Music historiography has traditionally understood and described collective singing in the early modern era as an almost exclusive prerogative of Protestant communities. Recent and less recent studies, however, have recorded numerous occurrences of Catholic communal singing, for instance during processions, pilgrimages or popular missions. In spite of this, and even though several traditions (such as the Italian lauda) have been investigated in some depth, a comprehensive assessment of such singing practices and of their role in the surrounding soundscape is still wanting. Starting from a discussion of the causes of this ‘selective deafness’ in historiography, and moving on to a case study of late-fourteenth- to early-seventeenth-century Milan, the present article aims to start filling the lacuna and to demonstrate that communal singing was an important (if not always uncontroversial) element of Catholic sonic cultures in the early modern era.

The essay investigates the connection between matter and material. In architecture, in fact, the use of a material requires a deployment of forces for the transformation of a primary data into secondary constituents compatible with use and construction. The architect interprets the potential of multiple consequential relationships, giving shape and poetic substance to a doubling of matter into material as subjects of a unitary representation. The choice of a material, therefore, in addition to building the architecture, qualifies the purposes of a welcome by aligning the characteristics of a poiesis directly connected to the use of the material as a necessary and irreplaceable element of the composition. In the current dimension, it is necessary to keep firm, in the choice of the material of an architecture, the priorities dictated by a reason internal to the building within the hierarchies arranged by the compositional theme. A choice which, bringing back those intentions of adequacy already evoked by György Lukács for architecture, knows how to compose a cohesion between space, measure and materials, united in the definition of that value, evoked several times by Mies, capable of elevating the construction beyond its own use.

The 12 steps are divided in 3 parts. Part I (ACTS1) brings us into God's presence: (1) Adoration, (2) Contrition, (3) Thanksgiving, (4) Supplication, especially the grace to pray. Part II (MLDS2) helps us to communicate with God: (5) Meditation, (6) Listening, (7) Dialogue, (8) Silence. Part III (RLLU3) leads us to union with God: (9) Relaxing before God, (10) Letting God love us, (11) Letting our soul love God, and (12) Union in love with God. Sign Meaning Comments A Adoration God is infinitely higher than us. It is only fair for all creatures, as all the Angels, to adore God with all our heart, soul, mind & strength. C Contrition If the righteous fall seven times and rise again (Prov 24:16), it is vital to ask God humbly to forgive us of all our sins and faults.

This study offers a systematic and comparative account of three major medieval commentaries on the rite of the Holy Mass: St. Thomas Aquinas’s exposition in the “Summa theologiæ,” Pope Innocent III’s “De sacro altaris mysterio,” and “De mysterio missæ” attributed to St. Albert the Great. At its centre stands the Roman Canon—the core of the Latin Mass tradition—whose enduring liturgical use prompted centuries of theological reflection. Bridging perspectives of doctrine, sacraments, and liturgical exegesis, the dissertation addresses the long-standing tension between the spiritual and philological schools of interpretation. By retrieving the Thomistic doctrine of spiritual signification—grounded in sacred doctrine and operative in Scripture, sacraments, and liturgy—it proposes a theological resolution. This Thomistic ressourcement demonstrates that the spiritual sense is not a subjective imposition, but an objective content of the rites themselves—signifying the passion of Christ, the sanctification of the Church, and the final consummation of the mystical body. In doing so, it contributes to the renewal of liturgical theology and highlights Aquinas’s synthesis as a vital key for understanding the Holy Mass in the Western tradition.

Catholic Servant (April 2025): 1, 9. (Reprinted in Catholic World Report afterward.) In this article, I: explain the Catholic (and Orthodox) attention to the Blessed Virgin Mary, especially in Lent; give a brief history of what we know as "The" Akathist Hymn in its development and, more certain, its usage; and finally look at a few of the salient themes. In my conclusion, I observe recent attention to this hymn in the west, particularly from Popes John Paul II and Benedict XVI, who considered this hymn a part of the universal Catholic patrimony.

Este escrito trata del encuentro de Jesús con el joven rico y los pasajes siguientes del Evangelio de Marcos. El comentario se propone hacer visible la riqueza teológica y pastoral del texto de Marcos. Y toma distancia de las imposiciones arbitrarias de la crítica textual, e invita a leer dicho pasaje, y todo el Nuevo Testamento, como un acto de fe y de oración bajo la guía del Espíritu Santo. 

This essay addresses Jesus' encounter with the rich young man and the following passages from the Gospel of Mark. The commentary aims to highlight the theological and pastoral richness of Mark's text. It distances itself from the arbitrary impositions of textual criticism and invites us to read this passage, and the entire New Testament, as an act of faith and prayer under the guidance of the Holy Spirit.

This paper examines the connection between a liturgical paradigm of marital spirituality and the experience of hope in contemporary marriage. Today’s marital relationships are increasingly challenged by shifting social norms, economic strains, and digital-age complexities, often resulting in disillusionment and despair. This study argues that liturgical spirituality can restore hope and enrich marriages by helping couples recognize their union’s spiritual purpose. Through theological and sociological perspectives, the research explores liturgical elements that nurture hope in married life.
By integrating these disciplines, this study addresses a key question: how does a liturgical paradigm of marital spirituality influence social dynamics and enhance marital quality, fostering hope? Practical strategies and interventions are proposed within this framework to strengthen marital bonds. The See-Judge-Act method of Joseph Cardinal Cardijn and symbolic interactionism serve as complementary approaches, offering insights into marital interactions. Symbolic interactionism highlights how spouses interpret and respond to expressions of hope, rituals, and liturgical practices, impacting satisfaction and well-being. Ultimately, this study underscores the significant role of spirituality in shaping marital relationships within family sociology. The liturgical paradigm of marital spirituality is vital in fostering hope, strengthening bonds, and enhancing the overall quality of contemporary marriage.