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This article explores Moses Cordovero's (1522–1570) commentary on the Rosh Hashanah liturgy and its reception among Italian and East-Central European Jews, highlighting its intersections with broader issues in early modern Jewish history, such as manuscript and print cultures, individual mobility, and the dissemination of knowledge. Through an in-depth analysis of three documents—an annotated printed Mahzor and two manuscripts written in Ashkenazi script—the article demonstrates how individuals enhanced and adapted Cordovero's kabbalistic intentions for their own liturgical practices. The study traces the journey of Cordovero's commentary from manuscript to print and back into manuscript, emphasizing the personal stories and material transformations that made this text a practical tool for prayer. Ultimately, the article provides insights into the dynamic interplay between Cordoverean kabbalah and local liturgical rites, illustrating how early modern Jews actively engaged with and reshaped their devotional texts. [ABSTRACT FROM AUTHOR]

La liturgie, vue en tant que trilogie dramatique, est une actualisation de la vie de Jésus Christ, ayant comme point culminant le sacrifice liturgique. Structurée en Proscomidie, la Liturgie de la Parole et la Liturgie Eucharistique, celle-ci poursuit la communication avec la divinité et le renforcement de la communauté religieuse. Depuis les débuts du christianisme, la liturgie a généré le sentiment de communion, unissant les croyants, quelle que soit la race ou la classe sociale. Les événements liturgiques sont destinés à actualiser les moments essentiels de la vie de Jésus Christ, soulignant la présence de celui-ci dans le monde. Au Moyen-Age, le théâtre développé autour de l’Eglise avait le rôle de promouvoir la foi à travers la solennité et la rigueur doctrinaire. Le drame liturgique, une pratique religieuse et sociale, à évolué par la traduction des textes dans la langue du peuple, permettant l’apparition du profane. Les premiers jeux théâtraux se déroulaient dans les espaces des monastères, organisés par des professeurs et des élèves, et se concentraient principalement sur des textes bibliques et hagiographiques. Ceux-ci ont contribué à l’éducation chrétienne en offrant des modèles exemplaires. En Italie, la tradition du théâtre religieux a été entretenue par les confréries religieuses qui promouvaient les textes en dialogiques paraphrasant des passages bibliques. Le drame liturgique se déroulait dans des églises, ayant les prêtres en tant qu’acteurs et les croyants pour le public, accentuant l’importance de l’action parlée de de l’implication active des participants. Ainsi, la liturgie n’était pas seulement une cérémonie religieuse, mais aussi un moyen d’éduquer et de consolider la communauté chrétienne.

Copyright of Bohemistyka is the property of Instytut Filologii Slowianskiej Uniwersytetu im. Adama Mickiewicza w Poznaniu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Religiöse Bildung in der Schule war lange Zeit liturgisch geprägt bis liturgische Bildung nicht mehr als Aufgabe des Religionsunterrichts, sondern der pfarrlichen Katechese gesehen wurde. Gegenwärtige Ansätze versuchen eine Liturgiedidaktik zu entwickeln, die auf den Lernort Schule angepasst ist. Dabei stellt das Defizit an gottesdienstlicher Erfahrung eine zentrale Herausforderung dar. Darauf wird unter anderem mithilfe der performativen Didaktik reagiert, um praktische Erfahrungen zu ermöglichen, die in Reflexion eingerahmt die Basis für die Auseinandersetzung mit Liturgie bilden.

La présente étude se concentre sur la question générale du temps liturgique dans la vision théologique du Père Schmemann. Dans ses études, il montre que la base théologique de tout le culte de l'Église est le souvenir ou l'anamnèse, par lequel l'ensemble de l'oeuvre salvatrice de Dieu dans l'histoire est actualisé et porté au présent. L'anamnèse est le principe fondamental du culte liturgique, et elle doit être liée à l'eschatologie, qui n'aura pas lieu seulement à la fin des temps, dans un avenir lointain, mais qui est anticipée dès maintenant par le culte liturgique. Par l'anamnèse liturgique, souligne le Père Schmemann, il y a une descente de Dieu dans le temps de ce monde, d'où le concept de Liturgie du Temps, qui signifie une ouverture et une transparence du temps mondain dans le Royaume de Dieu, une intensification de ce temps par la présence du Christ dans ses cadres. Les différentes valences de la Liturgie du Temps dans l'oeuvre du Père Schmemann constituent également une partie importante de la présente étude. [ABSTRACT FROM AUTHOR]

The article endeavours to draw some comparison between the experience of St. Mary Magdalene de' Pazzi, the 16thcentury Italian Carmelite mystic, and the renewal of the Liturgy proposed by the Second Vatican Council, in the Constitution on the Liturgy, Sacrosanctum Concilium, 1963. This reform called for the full, active, and conscious participation of all the faithful, and it showed the unity there must be between the Liturgy of the Word and the Liturgy of the Eucharist. In the experience of the Italian mystic, the Word that was proclaimed in the Liturgy, particularly in the Eucharist, captured her whole attention, in mind and heart, when meditated upon when she had received Holy Communion. Revelation contained in the proclamation of the Word became the content of her encounter with God, leading to that moment when her encounter took her beyond words and concepts into intimate union with God. [ABSTRACT FROM AUTHOR]

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Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Theologia Catholica is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Santa Maria of Taüll : The Eucharistic and Angelic Painted Programme of the South Aisle The paintings on the south aisle of Santa Maria of Taüll located in the second bay, just after the bell tower, concentrate several themes related to the Eucharist : the appearing of Gabriel to Zechariah, the Divine Lamb, a nimbed figure dressed in liturgical garments and two fish flanking a cross. The first theme is particularly significant since it includes two clues that clarify the thinking of the designer : a chalice stands on the altar and it is the archangel who holds the censer and not the father of John the Baptist. As in several other Catalan churches, it is therefore the censing of the Oblates that refers to the sacrifice of the Mass. We can therefore assume that an altar was erected near these images and that it was dedicated to the angels, because the paintings above the appearing of Gabriel represent warrior angels and that this scene is adjacent to the bell tower. As in many elevated places of worship dedicated to Saint Michael or to the angels, two themes have therefore been connected with these winged beings. There are consequently high probabilities that the singular iconographic program of Taüll was intended to accompany the cult of the angels celebrated in the nave, in the tower or in both places.

In diesem Artikel wird es den mariologischen Ansatz von Joseph Ratzinger analysiert. Dessen erster Teil skizziert drei methodische Aspekte, die für eine redliche Auslegung der Enzyklika „Redemptoris Mater” von Papst Johannes Paul II. wichtig sind. Nach der Skizzierung dieser drei methodischen Aspekte werden drei inhaltliche Schwerpunkte der Enzyklika präsentiert. Der zweite Teil des Artikels analysiert das Buch „Die Tochter Zion” von Joseph Ratzinger. Hier werden die drei großen Mariendogmen ausgelegt, und zwar: Maria, Jungfrau und Gottesmutter, ihr Freisein von der Erbsünde und die Aufnahme des Leibes und der Seele Marias in die himmlische Herrlichkeit. [ABSTRACT FROM AUTHOR]

The monastery of the Český Krumlov Minorites boasts an outstandingly well-preserved archive fund - Minorité Český Krumlov, which is stored in the State Regional Archive in Třeboň. As the monastery was a joint double convent for both the Minorites and Poor Clares, the Minorite archives also tell of the life of local nuns. Most of the Minorite collection documents are from the times of Superior Hyacinth Sperl (1690-1754), who was in charge of the Český Krumlov monastery from 1726 until 1750. The main source of information about this time above is the five-volume monastery chronicle Liber magistralis. Addiotional data about life in the monastery were drawn from the 1738 document Directoriu superioris Crumloviensis and Rituale Ecclesiae Conventus Crumloviensis. Important days were celebrated in the monastery by brothers and sisters, as well as by members of the Third Order and the Czech and German fraternity. The Minorites were on very good terms with the patron of the monastery, Prince Joseph Adam of Schwarzenberg, who oft en came for a visit. The monastery was also significant burial ground with a broad range of liturgy. The Minorites therefore provided housing and food for sixteen boy musicians-boys who accompanied liturgies and celebration meals. With the wide range of liturgies and excellent music production, the Minorites attracted throngs of people from across society to the monastery. [ABSTRACT FROM AUTHOR]

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Copyright of Studia Universitatis Babes-Bolyai, Theologia Catholica is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Jugendliche an dem Umbau eines für sie vorgesehenen liturgischen Raumes zu beteiligen ist theologisch und architektonisch sinnvoll, wenn nicht sogar notwendig. Dies zeigt der vorliegende Artikel an dem konkreten Projekt ‚Kapelle aufmöbeln‘ der Jugendpastoral im Bistum Osnabrück, welches gemeinsam mit dem Architekturbüro ‚die Baupiloten BDA‘ entwickelt wurde, auf. Neben der Projektvorstellung werden zentrale Ergebnisse präsentiert. Die Wünsche junger Menschen an einen Sakralraum aber auch an Liturgie werden durch eine, dem Projekt angeschlossene, ethnografisch forschende Studie konkretisiert. Involving adolescents in the rebuild of a liturgical room designated for them is useful in a theological and architectonical sense if not even necessary. The following article reveals this statement referring to the concrete project “Revamping a Chapel” by the youth pastoral section of the diocese Osnabrück, which was developed in cooperation with the architecture firm “die Baupiloten BDA”. Not only the project itself but also main results will be explained. The adolescents’ whishes regarding a sacred room and liturgy are substantiated by an ethnographical research, which is added to this project.

This article considers the utility of a liturgical lens for locating and analyzing religion in the public sphere. Dominant paradigms in the study of religion tend to either dissolve the religious/secular distinction or base it on overly cognitive content. Drawing on the work of James K. A. Smith, the article outlines an approach which instead locates religion in embodied practices that shape human desire. I suggest the religious/secular binary is better conceptualized as a continuum in which liturgical intensity is the primary criterion of religiosity. A liturgical continuum better articulates the contested nature of public space and the religious aspects of political life. [ABSTRACT FROM AUTHOR]

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Nelle Lodi di Dio altissimo c’è un’ininterrotta sequenza di “Tu sei…” rivolta a Dio. Al cuore di questa preghiera c’è l’affermazione “Tu sei Bellezza”, preceduta e seguita da una lunga serie di predicati nominali che dovevano giustificare e sostanziare quell’affermazione. Quella Bellezza affermata da S. Francesco può essere incontrata, contemplata, vissuta – ovviamente da chi crede – nella liturgia. In the Praises of God of St. Francis there is an unbroken sequence of "You are ..." addressed to God. At the heart of this prayer is the affirmation "You are beauty", preceded and followed by a long series of nominal predicates that justify and substantiate that statement. That Beauty established by St. Francis can be encountered, contemplated, and lived - of course by those who believe - in the liturgy. Dans les Louanges de Dieu il y a une séquence ininterrompue de «Tu es ...» adressée à Dieu. Au cœur de cette prière il y a l'affirmation «Tu es beauté", précédé et suivie d'une longue série de prédicats nominaux qui doivent justifier et supporter cette affirmation. Cette beauté, établie par saint François, peut être rencontrée, envisagée, vécue - bien sûr par ceux qui croient - dans la liturgie.