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Europa kakvu je mi danas poznajemo počiva na temeljima zapadne kršćanske kulture i mentalitetu koji su svoju karakterističnu notu dobili upravo u vrijeme Karla Velikog i njegove reforme koja je obuhvatila sve sfere života i slojeve društva u pokušaju obnove Rimskih institucija. Correctio je dio pokreta Karolinške renesanse, a odnosi se na ispravke crkvenih liturgijskih i doktrinalnih knjiga, pokušaj obnove Rimskog Carstva na zapadu kroz obnovu institucija, pismenosti, nauka te stvaranje svetog kršćanskog carstva koje počiva na vjeri, a koju njeguju samostani- monasteria, a prenose klerici. U radu se traže uzroci, prikazuje proces reformi i njihovo provođenje te posljedice cjelokupnog procesa. Europe that we know today lies on foundations Western Christian culture and mentality, which got their characteristic note at the time of Charlemagne and his reform, which encompassed all spheres of life and layers of society in an attempt to restore Roman institutions. Correctio is part of the Carolingian Renaissance movement, and refers to the corrections of church liturgical and doctrinal books, the attempt to restore the Roman Empire in the west through the restoration of institutions, literacy, science, and the creation of a holy Christian empire based on faith, nurtured by monasteries- monasteria, and transmitted by clerics. The paper looks for the causes, shows the process of reforms and their implementation, as well as the consequences of the entire process.

U ovom ćemo radu promišljati o životu i djelu blaženog Ivana Merza te ćemo posebno istaknuti utjecaj svete euharistije na njegov duhovni život i djelovanje. U prvom dijelu rada prikazat ćemo blaženikovo odrastanje i školovanje. U drugom dijelu rada prikazati ćemo njegovu aktivnost u katoličkoj organizaciji pod imenom „Hrvatski orlovski savez“ te utjecaj književnosti i liturgije na njegov život i stvaralaštvo. U trećem dijelu rada prikazat ćemo utjecaj i snagu svete euharistije u Merzovom mladenačkom životu te posebno ljepotu Merzovih misli koje su nadahnute svetom euharistijom, a ostale su sačuvane u njegovoj pisanoj baštini. Blaženi Ivan Merz primjer je vjernika laika koji zajedno ujedinjuje svoju katoličku vjeru i ljubav prema domovini. Poseban je primjer mladima kojima je potreban lik bl. Ivana Merza kao istinskog životnog uzora koji se bori duhom i tijelom protiv zla ovoga svijeta te slavi Boga cijelim svojim bićem. In this paper, we will reflect on the life and work of Blessed Ivan Merz and we will especially emphasize the influence of the Holy Eucharist on his spiritual life and work. In the first part of the paper, we will show the childhood and schooling of Ivan Merz. In the second part of the paper, we will present his activity in a Catholic organization called the "Croatian Eagle Alliance" and the impact of literature and liturgy on his life and work. In the third part of the paper, we will show the influence and power of the Holy Eucharist in Merz's youthful life and especially the beauty of Merz's thoughts inspired by the Holy Eucharist, which are preserved in his written heritage. Blessed Ivan Merz is an example of a faithful layman who unites his Catholic faith and love for his country. He is a special example for young people who need the image of the Blessed Ivan Merz as a true role model who fights with spirit and body against the evil of this world and glorifies God with all his being.

Članak donosi transdisciplinarni pristup crkvenim vratnicama kao umjetničkom djelu za liturgiju. Vratnice se najprije dovodi u odnos prema njihovoj univerzalnoj antropološko-kulturnoj osnovi, a potom se razlažu teološki slojevi tradicije koji su definirali to mjesto – simbol crkve i njima u znatnoj mjeri obogatili kršćansku kulturu. Osim toga u članku je riječ o specifičnim arhitektonskim i umjetničkim procesima simbolizacije povezanim s oblikovanjem svetoga praga koji se raščlanjuju u trostrukoj perspektivi: tijelo, prijelaz, prisutnost. U tom pogledu vratnice artikuliraju specifično simboličko-obredno djelovanje i percepciju koja inicira čovjeka u susretu sa svetim. Potom se analiziraju vratnice hvarske katedrale suvremenoga hrvatskoga kipara Kuzme Kovačića, u kojima se plodno objedinjuju vjera i kultura, suvremenost i tradicija, svetost i ljepota., The article brings a transdisciplinary approach to church doors as works of art for the liturgy. Doors are first brought into relation according to their universal anthropological-cultural basis, and then there is a breakdown of the theological layers of tradition which defined that place – the symbol of the church and thus significantly enriched the Christian culture. In addition, the article deals with specific architectural and artistic processes of symbolization associated with the formation of the sacred threshold, which are broken down in a triple perspective: body, transition, presence. In this regard, the doors articulate a specific symbolic-ritual action and perception that initiates man in the encounter with the sacred. Then, there is an analysis of the doors of the Hvar Cathedral by a contemporary Croatian sculptor Kuzma Kovačić, in which religion and culture, modernity and tradition, sacred and beauty are fruitfully united.

Šī darba nosaukums ir “Bērnu un jauniešu līdz 18 gadu vecumam iesaistes prakse evaņģēliski luteriskas baznīcas norisēs un liturģijā”. Darba pētījuma pamatā ir trīs lielu evaņģēliski luterisku draudžu baznīcu dievkalpojumu novērošana bērnu iesaistes liturģijā kontekstā. Pētījuma četrās daļās secīgi tiek analizēta bērnu un jauniešu līdz 18 gadu vecumam iesaistes liturģijā nepieciešamība un teorētiskais pamatojums, Evaņģēliski luteriskas baznīcas attieksme pret bērnu iesaisti, kas pausta LELB satversmē, Baznīcas likumā, trīs šajā bakalaura darbā novēroto baznīcu draudžu mācītāju viedokļos, kvantitatīvas aptaujas pētījumā par bērnu un jauniešu līdz 18 gadu vecumam pieredzi attiecībā uz iesaisti baznīcas norisēs, kā arī lauka pētījuma laikā ar tiešās novērošanas metodi novērotajā par bērnu iesaisti evaņģēliski luteriskas baznīcas liturģijā. Darba noslēgumā praktiski ieteikumi bērnu iesaistei Evaņģēliski luteriskas baznīcas norisēs un liturģijā., The title of this work is “Engagement praxis for children and youth under the age of 18 in the liturgy of an Evangelical Lutheran church”. The work study is based on the observation of the services of three large evangelical Lutheran church congregations in the context of the liturgy of child and young people under the age of 18 involvement. Four consecutive sections of the study analyze: firstly – the necessity and theoretical justification for the involvement of children and young people under 18 years of age in the church liturgy, secondly – the attitudes of the Lutheran Church in Latvia to the involvement of children, expressed in the LELB Constitution, the Church Law, thirdly – the three pastors views on children including in the liturgy of three churches observed in this bachelor's work, fourthly – in a quantitative survey on children and experience of young people under 18 years of age with regard to involvement in church activities, as well as in the field study on the involvement of children in the liturgy of a evangelical lutheran church, observed by the direct-leaving method. Work concludes with practical suggestions, how to include children and youth in Evangelical lutheran church activities and liturgy. Keywords: liturgy, children's spirituality, secularization, children age characteristics, practical theology.

Preaching or service of the Word represents a significant part of every liturgy or worship which is why this liturgical context is worth closer examination. In this paper, this issue is addressed through an overview of other contexts that, together with liturgy, shape the dynamics of preaching: historical, pastoral, and theological contexts. What follows is an analysis of four models of worship structure that differ in the way preaching relates to other elements of worship – Word and table as complementary (Roman Catholic perspective), Word and table as complementary (Protestant perspective), Word as the center of worship, and Word as a catalyst. The account of each model presents the key arguments used to support this particular understanding of preaching, the crucial features of the proclamation of the Word, its most significant hallmarks, as well as its main advantages and disadvantages. Toward the end of the paper, the author suggests an additional model, partly endorsed by the findings of his empirical research. According to this model, preaching can be perceived as a space of freedom, surprise, deliverance, and change within the wider liturgical environment as a space of security, stability, order, and identity affirmation. In conclusion, it is suggested that our understanding of preaching is enriched every time we manage to lift our eyes above the limitations of our church traditions and personal experiences, and that study of the liturgical context serves as a good choice for the beginning of such research.

Cilj je ovoga rada pokazati pogled Josepha Ratzingera/pape Benedikta XVI. na uskrsnuće iz eshatološke, biblijske i liturgijske perspektive, ističući pri tome motiv odnosa koji se provlači kroz sve tri perspektive i donoseći nekoliko praktičnih naputaka za svakodnevno življenje uskrsnuća. Nakon predstavljanja obrata u razumijevanju smrti i uskrsnuća, u radu je obrađena novozavjetna vjera u uskrsnuće, zatim mjesto koje istina uskrsnuća zauzima u kršćanstvu te odnos uskrsnuća i tjelesnosti. U drugome poglavlju prikazane su različite zgode i prispodobe iz evanđelja čiji pravi smisao otkrivamo u svjetlu uskrsnuća. Proslava Kristova uskrsnuća u liturgiji Crkve tema je trećega poglavlja. Posljednje poglavlje ukazuje na specifičnost Ratzingerove teologije i kod govora o Kristovu uskrsnuću te donosi nekoliko savjeta za življenje uskrsnuća, naslanjajući se na misli francuskog mislioca Fabricea Hadjadja. Ovim radom došli smo do zaključka kako za Ratzingera vjera u uskrsnuće čini srž kršćanske vjere te da jedino polazeći od uskrsnuća, koje se uprisutnjuje i slavi u liturgiji Crkve, možemo u punini razumjeti Sveto pismo. The goal of this thesis is to show Joseph Ratzinger Benedict XVI.’s view on the resurrection from an eschatological, biblical and liturgical perspective and, in doing so, emphasizing the relation that is found between them while also bringing forth a few practical instructions on how to live on a daily basis with the awareness of the aforementioned resurrection. Having presented the turn in understanding death and resurrection the thesis will interpret the New Testament’s faith in the resurrection, and after that the place which the truth of resurrection holds within Christianity and the relation between resurrection and corporeality. In the second chapter are presented multiple distinct events and parables from the Gospel whose real meaning is revealed under the light of resurrection. The celebration of Christ’s resurrection in Church liturgy is the theme of the third chapter. The last chapter features the specifics of Ratzinger’s theology during his speech about the resurrection of Christ, which also brings forth a few advices about living with the awareness of said resurrection, leaning into the thoughts of French thinker Fabrice Hadjadj. With that we come to the conclusion that for Ratzinger it is the faith in the resurrection that forms the core of the Christian faith, and only by starting with the resurrection, which is celebrated and presents itself in Church liturgy, can we entirely understand the Holy Scripture.

V magistrskem delu avtor predstavi osmero marijanskih homilij svetega Amadeja iz Lozane, pri čemer izpostavi ključne tri marijanske skrivnosti – ponižnost, čistost in materinstvo – ki jih najdemo pri izbranem avtorju in ki tematizirajo vso sočasno meniško literaturo zgodnje sholastike. Po začetni predstavitvi življenja in časa svetega Amadeja, vloge homiletike, ključnih ohranjenih rokopisov, izdaj in recepcije besedila, je v nadaljnih poglavjih predstavljena vsaka skrivnost posebej. Po osnovini kulturno–filozofski konceptualizaciji ponižnosti in čistosti v prvih dveh osrednjih poglavjih, je razumevanje obravnavanih kreposti oziroma skrivnosti nadgrajeno s svetopisemskim pojmovanjem in v zgodovinsko–bogoslovnem preseku naobrnjeno na Blaženo Devico Marijo. Tretje poglavje spričo zapletenosti prinaša le biblično konceptualizacijo z razširjenim zgodovinsko–bogoslovnim delom. V vseh treh osrednjih poglavjih nato sledi še predstavitev in prevod ključnih odlomkov Amadejevih homilij ter izpeljava vseh treh skrivnosti v liturgičnem izrazu tematskih marijanskih praznikov. Magistrsko nalogo avtor sklene s sintezo vseh treh skrivnosti: ponižnost je rodovitni temelj čistosti in čistost je precedenz materinstva. Krona materinstva Božje porodnice Marije pa je sam Kristus. Dans sa thèse de maîtrise l'auteur présente huit homélies Mariales de saint Amadée de Lausanne, mettant en évidence les trois mystères mariaux clés – l'humilité, la pureté et la maternité – trouvés chez l'auteur choisi, qui thématisent toute la littérature monastique contemporaine de la scolastique primitive. Après une première présentation de la vie et du temps de saint Amadée, du rôle de l'homilétique, de la réception des textes et des principaux manuscrits conservés, l'auteur présente chaque mystère séparément dans les chapitres suivants. Selon la conceptualisation culturelle et philosophique de base de l'humilité et de la pureté dans les deux premiers chapitres centraux, la compréhension des vertus ou des mystères discutés est mise à jour avec un conception biblique et puis présentée en coupe historico–théologique inversée à la Bienheureuse Vierge Marie. Compte tenu de la complexité, le troisième chapitre apporte qu'une conceptualisation biblique avec une part historico–théologique. Les trois chapitres centraux sont suivis d'une présentation et d'une traduction d'extraits clés des homélies d'Amadée et d'une dérivation des trois mystères dans l'expression liturgique des fêtes Mariales. L'auteur conclut sa thèse de maîtrise en synthétisant les trois secrets: l'humilité est le fondement fertile de la pureté est le précédent de la maternité. La couronne de la Marie, Mère de Dieu, est le Christ lui–même.

Članak se bavi pitanjem odnosa forme i sadržaja u kontekstu crkvenog bogoslužja razmatrajući i uspoređujući bogoslužja i način štovanja slobodnih crkava u odnosu na liturgijske crkve. Posebni naglasak je na kritičkom promišljanju o »liturgiji« slobodnih crkava, detektiranju eventualnih pogrešnih praksi i pružanju mogućih rješenja za njihovo korigiranje u svijetlu Novoga zavjeta. Također, »liturgija« slobodnih crkava uspoređuje se s crkvama čvrstoga liturgijskoga obrasca i nastoji se komparativnim pregledom dvaju različitih bogoslužnih tradicija ustvrditi što liturgijske crkve u bogoslužnom smislu mogu ponuditi neliturgijskim, odnosno, slobodnim crkvama. Tako se u prvome dijelu članka predstavljaju i kompariraju ishodište i osnovne karakteristike bogoslužja slobodnih crkava, odnosno, bogoslužja liturgijskih crkava, dok se pak u drugom dijelu članka daje pregled međusobnog (ne)shvaćanja slobodnih i liturgijskih crkava, odnosno, iznose se argumenti za kritiku liturgijskih bogoslužja te argumenti za kritiku bogoslužja slobodnih crkava. U trećem, i zaključnom dijelu, članka poseban je fokus na problematici bogoslužja slobodnih crkava pri čemu se nude moguća rješenja kako potencijalno korigirati ono što je problematično u bogoslužjima slobodnih crkava na temelju Novog zavjeta i nekih naglasaka koji su prisutni u liturgijskim crkvama, a koji su također u skladu s Novim zavjetom.

Fokus istraživačkog postupka usmeren je na sagledavanje crkvene umetnosti iz ugla artificiranih bogoslužbenih predmeta. Uloga umetnički oblikovanih predmeta u artikulaciji izgleda pravoslavnog bogosluženja pripada domenu proučavanja vizuelne kulture. Liturgijska funkcija predmeta određuje im morfološke karakteristike i način vizuelne dekoracije. Piktoralne predstave na liturgijskim predmetima pojašnjavaju njihovo značenje i simboličku ulogu. Istovetnost ikonografskog repertoara i tema povezuje proučavano polje crkvenih slika sa svetom liturgijskih objekata i materijalnih predmeta. Svedeni na sopstvene predstave bogoslužbeni predmeti nose amblematska značenja sinonimna ključnim teološkim pojmovima poput bogosluženja, Evharistije ili Novog zaveta. Složena bogoslovska značenja materijalizovana su sistemom oblika, formi i vizuelnih predstava na njima. Materijali kojima su opredmećeni liturgijski objekti nosioci su odgovarajućih samostalnih značenja dopunjujući tako poimanje predmeta koje grade. Uloga bogoslužbenih predmeta kao „instrumenata za vršenje Svetih tajni“ bila je tokom XIX veka snažna i posrednička, oblikujući religijsku stvarnost unutar složenog sistema recepcije određene relacijama sveštenika i vernika. Temporalni okvir proučavanog fenomena je razdoblje „dugog“ XIX veka čija unutrašnja dinamika podrazumeva niz kulturnih promena i modela različitog ili uporedog trajanja. Topografski istraživanje obuhvata crkvenu teritoriju Mitropolije beogradske odnosno prostora autonomne i potom samostalne srpske države. Kulturni simptomi karakteristični za XIX vek uporedno su kontekstualizovani sa drugim društvenim mehanizmima koji utiču na razvoj umetnosti poput patronatskog, dinastičkog i državno-političkog. Bogoslužbenim predmetima tokom trajanja XIX veka sakralizovani su važni istorijski događaji i nacionalna stvarnosti. Osporavajući hijerarhiju pokretnih objekata istraživanje se oslanja na multidisciplinarnost kao mogućnost širokog i individualizovanog sagledavanja sačuvanog sloja materijalne kulture bez namere da prouči svaki crkveni predmet. Isključujući binarne podele i suprotstavljena uopštavanja mogućih modela kao što su varoške spram seoskih crkava ili manastirske prema parohijskim umetnički oblikovane predmete sagledavamo u okvirima vizuelne kulture epohe tragajući za njihovim mestom unutar prepoznatljivog „liturgijskog ambijenta“ karakterističnog za razdoblje XIX veka. Uže posmatrani spram istorijsko-umetničkih krarakteristika, bogoslužbeni predmeti nastajali od kasnog XVIII do ranog XX veka su artefakti koji svedoče o postepenom napuštanju poznobarokne pravoslavne kulture i prihvatanju aktuelnih vizuelnih i kulturnih tokova centralnoevropske umetnosti klasicizma i bidermajera. Najpre kroz import a potom od strane domaćih majstora i radionica koji počinju potom da stvaraju autentične predmete vezane za kulturu istorizma. Istovremeno viša srpska crkvena jerarhija sledila je model ruskog pravoslavlja koje napustivši barokne okvire sopstvene crkvene kulture stvara rusko–vizantijski stil kao varijaciju evropskog istorizma. Nakon otvaranja niza pitanja vezanih za pravoslavnost srpske crkvene umetnosti i formulisanja nacionalnog stila krajem XIX veka, aproprijacija ruskog modela posredovana je u značajnoj meri uvozom bogoslužbenih predmeta. Rana industrijalizacija i proizvodnja crkvenih utvari u domaćim radionicama nastaje kao odgovor narastajućih zajedničkih potreba pravoslavne klijentele rasute između Osmanskog carstva i Dvojne monarhije, zabrinute za očuvanje verskog identiteta. Uvažavajući, bez razlike, sve rečene modele i predmete koji koegzistiraju u crkvenoj stvarnosti XIX veka otvara se mogućnost njihove uporedene analitičke klasifikacije. Vraćenjem iznova na povest oblika i slika kontekstualizovano polje materijalnih objekata postaje predmet samostalnih strukturalnih i ikonoloških tumačenja unutar crkvene vizuelne kulture. The focus of the research process is aimed at viewing the church art from the aspect of artistically formulated liturgical objects. The role of thеsе objects in the articulation of the orthodox liturgy belongs to the domain of the visual culture study. The liturgical function of the objects determines their morphological characteristics and the manner of visual decoration. Pictorial representations on liturgical objects explain their meaning and their symbolic role. The exactness of the iconographic repertoire and themes brings together the studied field of sacral images with the world of liturgical items and material objects. Brought down to their own depictions, liturgical objects carry emblematic meanings synonymous to the key theological notions such as the liturgy, Eucharist or the New Testament. Complex liturgical meanings have been materialised through a system of shapes, forms and visual depictions on them. The materials used to create liturgical items are carriers of the relevant independent meanings thus supplementing the comprehension of the objects they create. During the 19th century, the role of liturgical objects as “Instruments for the celebration of the Sacred Mysteries” was powerful and mediating, constructing religious reality according to a complex reception system as established by the relations between the clergy and the congregation. The temporal framework of the studied phenomenon is the period of the “long” 19th century, the inner dynamics of which entailed a number of cultural changes and models of different or parallel duration. In terms of topography, the study includes the church territory of the Metropolitanate of Belgrade, that is, the territory of the autonomous and later independent Serbian state. The cultural symptoms characteristic of the 19th century were contextualised parallel to the other social mechanisms that influenced the development of arts, such as the ktetorship, dynastic and the state and political ones. In the course of the 19th century, the liturgical objects were used to sacralise important historical events and the national reality. While questioning the hierarchy of movable items, the research relies on a multidisciplinary approach as a possibility for achieving a broad and individualised view of the preserved layer of material culture with no intention to study every single church object. Excluding binary divisions and generalisations of the possible models such as urban versus rural churches and monasteries’ versus parishes’ churches, we view the artistically shaped objects within the scope of the visual culture of the epoch searching for their place in the recognisable “liturgical setting” typical of the period of the 19th century. When observed more narrowly against the backdrop of their historic and artistic characteristics, the liturgical objects created from the late 18th century to the early 20th century constitute artefacts that bear witness to the gradual abandonment of the late Baroque orthodox culture and to the acceptance of the current visual and cultural trends of the Central European Classicism and Biedermeier arts. First through import and then by the domestic masters and workshops that then started to create authentic objects linked to the culture of Historism. At the same time, the senior Church hierarchy followed the Russian orthodox model which, having left the Baroque realm of its own church culture, created a Russian-Byzantine style as a variation of the European Historism. After the opening of a number of questions related to the orthodoxy of the Serbian church art and the formulating of the national style at the end of the 19th century, the appropriation of the Russian model was mediated to a significant degree through the import of liturgical objects. Early industrialisation and production of liturgical objects in national workshops appeared in response to the growing joint needs of an orthodox clientele torn between the Ottoman Empire and the Dual Monarchy, and concerned about the preservation of their religious identity. Taking into account, without any differentiation whatsoever, all of the said models and objects that coexisted in the church reality of the 19th century, there appears a possibility of their parallel analytical classification. Returning again to the history of shapes and images, the contextualised field of material ecclesiastical objects is becoming the subject of independent structural and iconological interpretation within the scope of the church visual culture.

U bogatoj građi knjižnice Zavoda za povijesne znanosti HAZU u Dubrovniku u zbirci povjesničara i etnologa Vida Vuletića Vukasovića nalazi se i dosad znanstveno neobrađena manja ćirilična rukopisna knjiga formata 18×14 cm. Ukupno 93 sačuvana lista sadržavaju dijelove različitih bogoslužnih obreda istočnog kršćanskog (pravoslavnog) karaktera pisanih crkvenoslavenskim jezikom srpske redakcije. Cilj provedenog paleografskog istraživanja prikazanog u ovom radu je što preciznije opisati pronađeni rukopis, predložiti njegovo adekvatno imenovanje, pokušati dati odgovore o vremenu i mjestu njegova nastanka te ukazati na moguće grafijske ili jezične zanimljivosti., This previously unstudied smaller liturgical book in Cyrillic of unknown provenance is a part of the collection of a writer, historian and ethnologist Vid Vuletić Vukasović (1853-1933), today kept in the Library of the Institute for Historical Sciences of the Croatian Academy of Sciences and Arts in Dubrovnik. The manuscript contains a total of 93 preserved pages with various parts of liturgical rites of the Eastern Christian (Orthodox) Church. Given its contents, the following name is proposed for the manuscript: “Služabnik iz Zbirke Vida Vuletića Vukasovića” (The Služabnik from the Collection of Vid Vuletić Vukasović). Palaeographic research presented in this paper aims at drawing attention to certain graphical or linguistic curiosities of the text, and discusses the question of its datation and provenance. The graphical characteristics of the letters which classify the script used in the book as poluustav(semi-uncial) include the lenghtening of weaker letter lines which tend to cross the text line, the usage of certain Greek letters (ksi, psi, theta), and the usage of Greek accents. Morphologically, the letter forms do not feature characteristics or innovations that would represent unusual or unrecorded phenomena. In terms of the relationship between phonemic and graphemic composition, we can identify the features of the so-called Resava orthographic reform⸺increased usage of Greek letters, recording the phoneme [ja] with the letter ain the postvocalic position, writing the letter ̈їin place of the sound / i / in front of / j /, increased usage of Greek accents. On the basis of the mentioned characteristics, the document under study may be roughly dated to the second half of the fifteenth or the first half of the sixteenth century. From which part of the broad area stretching from South Serbia, Kosovo, Montenegro to East Herzegovina the manuscript originates is unfortunately unknown, but further investigation of the legacy of Vid Vuletić Vukasović may reveal information on the acquisition of the manuscript.

Misal kneza Novaka (1368.) najstariji je datirani misal rimske kurije pisan glagoljicom i hrvatskim crkvenoslavenskim jezikom. Zbog njegove vrijednosti koja proizlazi iz sačuvanosti od 1368. do danas te zbog činjenice da je bio predloškom na temelju kojega je priređivan hrvatskoglagoljski Prvotisak misala predmetom je znanstvenoga istraživanja skupine hrvatskih i austrijskih znanstvenika. Ovaj rad donosi temeljna istraživanja Misala kneza Novaka koja su potrebna da bi se sadržaj misala mogao digitalno obraditi u TEI sučelju te na taj način učiniti njegov sadržaj dostupnim široj znanstvenoj i akademskoj zajednici. U obzoru je našega istraživanja struktura sadržaja misala, odnosno njezine liturgijsko-tekstološke cjeline koje će biti predmet daljnjih istraživanja. Rad je koncipiran tako da u prvom dijelu prikaže povijest i sadržaj rimskoga misala, a potom i ovoga misala. Potom se donosi istraživanje liturgičkoga nazivlja koje će biti temeljem za daljnju obradu u računalnome sučelju. Ovim se radom postavlja metodologija suvremenoga pristupa istraživanju glagoljskih misala u okružju suvremene digitalne humanistike., The Missal of Count Novak (1368) is the oldest dated missal according to the use of the Roman Court written in Glagolitic script and the Croatian Church Slavonic language. This missal has been subjected to scientific research by a group of Croatian and Austrian scientists due to its great value, arising from the fact it has survived in excellent condition since 1368, as well as the fact it was used as the template for the first Croatian printed missal. This paper presents the ground research of the Missal of Count Novak that is necessary for the TEI processing of the content of the current Missal so it could be accessible to the broader scientific and academic community. The scope of our research is the structure of the content of the Missal, its liturgical and textological ensemble that will be the subject of the further research. The first part of the research will provide an overview of the history and content of the first Roman-rite missal, and then of the Missal of Count Novak. It will then provide an insight into liturgical terminology, which will serve as the foundation for further digital research and analysis. This research establishes methodology for a modern approach to researching Glagolitic missals in the modern, digital humanities.

Knjiga obrađuje muzikološki i teološki opus petorice suvremenih skladatelja, predstavnika novog vala umjetničkog stvaralaštva prožetog kršćanskom duhovnošću i liturgijom. Uz uvodni dio (Prolegomena), knjiga je podijeljena u pet tematskih cjelina: Exaudi orationem meam. Molitva u glazbi Arve Pärta ; Destinacije ljepote Jamesa MacMillana ; Prozori vječnosti Oliviera Messiaena ; Ranjeni glas hvale Henryka Góreckoga, Sonorne ikone Johna Tavenera. Uz svako poglavlje nalaze se umjetničke fotografije skladatelja. Novi val glazbenog stvaralaštva sakralne tematike – o kojima je u esejima dr. Žižića riječ – ostavilo je dubok trag u suvremenoj kulturi razbuđujući umjetničku imaginaciju i stvarajući nove oblike religioznoga osjećanja. Osjenjena iskustvom svetoga suvremena sakralna glazba u različitim segmentima može se prispodobiti biblijskim ljestvama Jakovljevim. Skladatelji su svoju glazbu oblikovali i tumačili kao molitvenu gestu (A. Pärt) anđeosko žuborenje (J. Tavener), kao „anđeoski pohod“ ili milosni naviještaj (J. MacMillan), kao molitveno uzdignuće „ranjenoga glasa hvale“ (H. Górecki) ili pak kao anđeoski nagovještaj „kraja vremena“ (O. Messiaen). Njihova se glazbena djela uspostavljaju poput velebnih stuba ljepote, mjesto uzdignuća do svetoga kao i njegova silaska, iskazujući osebujnu sakralnu vertikalu obasjanu eshatološkim obzorjima. Petorica skladatelja svojim su djelima uspostavili suvremene estetske kanone u kojima se utjelovljuju nova duhovna traganja za postojanom poetikom otajstvenoga. Pokazali su da ljepota ponovno pronalazi put do svetoga: glazba provire i dovršava se u bogoslužnoj molitvi.

Članak tematizira teološka promišljanja Josepha Ratzingera o glazbi u kontekstu liturgije Katoličke Crkve. Uvodno se kratko opisuju krize i izazovi te novija teološka učenja koja crkvenu glazbu u postkoncilsko doba dovode do stanja kulturološke shizofrenije i teoloških lutanja. Središnji dio članka posvećen je Ratzingerovoj teološkoj interpretaciji crkvene glazbe čija je posebnost otkrivanje i promišljanje biblijskih uporišta o glazbi u liturgiji. U tom se kontekstu nalaze i odgovori na izazove i krize koje su snašle crkvenu glazbu, ali se i jasno otkrivaju temeljna biblijsko-teološka načela koja određuju istinsku narav i ulogu glazbe u kršćanskom kultu. Zaključno se donose neka načela i putokazi za crkvenu glazbu danas., The article discusses Joseph Ratzinger’s theological reflections on music in the context of the Catholic Church liturgy. In the introduction, crises and challenges are briefly described, as well as the recent theological teachings that lead the church music in the post-Council period to a state of cultural schizophrenia and theological wandering. The central part of the article is about Ratzinger's theological interpretation of church music, the specifics of which is the detection and analysis of biblical foundations for music in liturgy. In this context, there are also answers to the challenges and crises that befell church music; moreover, the basic biblical-theological principles that determine the true nature and role of music in the Christian cult are clearly revealed. In conclusion, some principles and guideposts for church music today are presented.

Ovaj rad pokušava kroz razmatranje himana toga dana barem djelomično približiti otajstvo koje Crkva na Veliku subotu slavi. Osobita pažnja usmjerena je na otajstva križa, smrti i silaska u podzemlje u himnima stožernih časova. Prvo poglavlje ovoga rada bavi se himnom kao literarnim oblikom. Drugo poglavlje posvećeno je Velikoj suboti koja je smještena u središte liturgijske godine – sveto Vazmeno trodnevlje. Središnje otajstvo Velike subote kojim se bave teolozi, počevši od crkvenih otaca do suvremenih teologa, jest Kristov silazak nad pakao. Liturgijsko se osmišljanje Velike subote kreće upravo oko ovog otajstva pa taj dan Crkva zajedno s Kristom počiva i u šutnji i razmatranju iščekuje Uskrsnuće. Treće poglavlje ovog rada razmatra način na koji su ova otajstva prikazana u himnima Jutarnje i Večernje Velike subote. Liturgija časova u čitanjima, himnima, psalmima i molitvama toga dana živi Kristovu odsutnost, ali s nadom u Uskrsnuće koje će se proslaviti već navečer istoga dana.

Polazeći od zaokreta i rasta u razumijevanju prezbiterata i episkopata na Drugom vatikanskom saboru, autor uvodi u liturgijsko razumijevanje ministerijalnog svećeništva na temelju usporedne analize obrednog slavlja ređenja. Prezbiterska i biskupska služba ima se uvijek razumijevati iz njihova služiteljskoga, odnosno zajedničarskoga odnosa jednih s drugima kao i s Božjim narodom. Autor obrađuje zadanu temu kroz tri cjeline: otkriće liturgijskog temelja ministerijalnog svećeništva, biskup i svećenik kao eklezijalni subjekti u svjetlu ređenja biskupa i svećenika, prema liturgijskoj teologiji zajedništva: neke naznake za lex vivendi. Kontekstualnom i poredbenom analizom ređenja te s osobitim naglaskom na izvornom euhološkom kontekstu, autor zaokružuje razmišljanje iščitavanjem vlastitosti suodnosa svećeničke i biskupske službe čiji je identitet i zajedništvo bogoslužjem Crkve darovano i oblikovano., Starting from the change and development in the understanding of the presbyterate and the episcopate at the Second Vatican Council, the author introduces the liturgical understanding of ministerial priesthood based on a comparative analysis of the ceremonial rite for the ordination of priests. The ministry of presbyters and bishops must always be understood from their ministerial, that is, their communal relationship with one another as well as with God’s people. The author develops the given topic in three units: the discovery of the liturgical foundation of ministerial priesthood; the bishop and priest as ecclesial subjects in the light of the ordination of bishops and priests; according to the liturgical theology of communion: some indications for lex vivendi. Through the contextual and comparative analysis of ordination and with a special emphasis on the original euchological context, the author concludes the reflection by reading the distinctiveness of the correlation of priestly and bishop’s ministry, whose identity and communion is given and formed by the worship of the Church.