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We can draw some conclusions from the beatification of 522 martyrs of the twentieth century in Spain, held in Tarragona on 13 October 2013. It was so far the beatification of the largest number of the martyrs in the history of the Church. This celebration showed the link with the martyrs of the third century. All of them can say the same: they died for their faith in Jesus Christ. They forgave their executioners. Their glorification is a proclamation of peace and reconciliation and a lesson for all Christians. The courage of the martyrs was at the end not their own merit, but the grace of Christ. The martyrdom manifested the fuller identification of the disciples of Christ with the offering of their Master, Jesus Christ and with God the Father and the Holy Spirit for the redemption of the world. The uplifting witness of the martyrs helps the nowadays Christians to renew their life in the power of the Holy Spirit for the good of the Church and the world.
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While presenting the common aspects of contemporary glass development, this article focuses on sacral stained-glass creation of Rasa Grybaite. An analysis of her most important stained-glass ensembles in the western Lithuanian churches shows that the ensembles are dedicated to highlighting Lutheran traditions. Also, the thematic and artistic features of these stained-glass works are properly discussed. Moreover, her exhibition works and museum-related activities are presented.
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The present paper tends to examine the image of the founder of the Palaiologan dynasty, Michael VIII (1259‒1282), in the historical works written during the reign of the last Byzantine dynasty and after the Fall of Constantinople in 1453. With the analysis of Michael’s coming to the throne and the union of the churches in Lyons in 1274, it looks as if the first ruler of the Palaiologoi was mostly remembered, in historiography and among the most learned, elite circles of the capital, as a usurper of the throne and rights of his minor predecessor, Emperor John IV Laskaris. The blinding of the son of Theodore II was an event that had far reaching consequences not only during the reign of Michael VIII, but also his consequent heirs.
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During the Second World War a large number of Polish priests, religious and lay people were displaced to the Soviet Union, mostly because of deportation decided by Soviet officials. Their faith, directly determining also the way of their lives as displaced people, became a specific phenomenon in the whole history of Catholic Church.
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In this excerpt of the doctoral thesis defended at the Faculty of Theology at the Pontifical Lateran University in 2009, the author, after an analysis of the historical context of the persecution of the Church in Latvia in the years 1940-1991 and the presentation of the figure of Christ in sermons, theological literature and popular piety, offers the perspectives of a new proclamation of Jesus Christ, drawing on the thought of John Paul II and the documents of Vatican II. Contents: 1. The renewal of man in Trinitarian Christocentrism. 1.1. The mystery of the Incarnation: the fundamental theological perspective. 1.2. The Paschal Mystery as the revelation of God's Trinitarian Love and divine sonship of man. 2. «We are called to proclaim Christ» in the communion of Christian life. 2.1. The proclamation of Jesus Christ: the most urgent task of the Church. 2.2. Proclaiming Christ in the communion of Christian life. 3. Unity of Christians as a condition for the effective proclamation of the Gospel. 3.1. The «ecumenical dimension» of the visit of Pope John Paul II in the Baltic countries. 3.2. Some aspects of the current ecumenical situation.
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Skromne ramy artykułu nie pozwalają na wieloaspektowe zaprezentowanie tego zagadnienia. Założeniem autora było przedstawienie w sposób syntetyczny roli Kościoła w dziejach naszego kraju na rzecz pokoleń Polaków, ze szczególnym uwzględnieniem kształtowania w nich świadomości narodowej, kształtowaniu idei polskości i budzeniem postaw patriotycznych.
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It was Count Antoni Ostrowski who initiated the construction of the St. Anthony Church in Tomaszów Mazowiecki. This construction was carried out in 3 stages. The work of the first stage was, alas, stopped by the Russian government after the November uprising. Second stage lasted from 1862 until 1864. The church was built but in another location in the center of the city. It was built according to the project of prof. Henryk Marconi. The church had three naves, two towers without apse nor transept, because only such a project was admitted by the governmental power to realize. Nevertheless the architectural plan has planned its enlargement. The transept, the apse and the presbytery could be built without damaging the beauty of the church; on the contrary, this enlargement would add magnificence to it. Stanisław Ostrowski was the head of the Construction Committee, while the parish priest Ludwik Dąbrowski coordinated all the work. 3rd stage was held in the years 1888-1892. The transept and the presbytery were built with an apse. It is Konstanty Wojciechowski - one of the best architects of churches in the second half of the nineteenth century. who designed the plan for this expansion.
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The Bucharest Bible, printed in 1688 and also known as the "Serban Cantacuzino Bible", is a unique book in Romanian culture. Editing the Bible from 1688 was a complicated process that had to solve church terminology not previously encountered. Six years before the group of scholars responsible for writing the Bible in Romanian began to form. By having a broadcasting area covering practically all the territories inhabited by Romanians, and that its text was taken up in a very short time in the cult of the Church, each new translation of the Bible into Romanian directly influenced the evolution of spirituality, the language and, last but not least, even the Romanian artistic expression. The Bible appears in history as a symbol of national unity, because its intense circulation and the effort made to print it contributed to preserving the Romanian unity of language.
More...Bethlen Gábor elveszett graduálja és az Öreg graduál
Die als Bethlen-Gradual bekannte liturgische Handschrift ist in der zweiten Hälfte der 1620er Jahre in der Zusammen-arbeit von István Geleji Katona und János Keserűi Dajka entstandenen. Dieses liturgische Buch brachte das verbesserte Gesangsmaterial der ungarischen Gregorianik zusammen.Die Verfasser betrachteten dieses Gradual als die Hauptquelle der folgenden Gradual-Handschriften und damit als eine Quelle des liturgischen Lebens der reformierten Kirche in Siebenbürgen. Auch wenn der so entstandene Liederstoff schon ursprünglich nur als Handschrift zu verbreiten gedacht war, wurde doch 1636 in Weißenburg mit der Unterstützung des Fürsten Siebenbürgens György Rákóczi I eine gedruckte Auflage herausgegeben. Die 200 gedruckten Exemplare wurden vom Fürsten als Spende (Geschenk) an die damals be-deutenden reformierten Gemeinden verteilt. Dieses gedruckte Gradual steht mit anderen, vom Fürsten geförderten Druckschriften, in engem Zusammen-hang und beweist das theologische und liturgische Interesse des Fürstenhofes.
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No thorough musical, literary or theological study has so far scrutinized together the Psalter of the Vizsoly Bible (1590) and that of the Old Gradual (1636). It happens not seldom in manuscripts that duplicates of the same psalm are inserted by the editor, just as in the Gradual of Kálmáncsa (1623–1628). Two Psalters survived in print, that of I. Székely (1538) and C. Helth or Heltai (1560). These psalms were to be sung during the service. Humanists had discarded the practice of translation of the 13th–15th century Hungarian codices, the wording of which had been measured to Hebraica veritas, i. e. translated as close as possible to the Hebrew original.
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Neben den Gesangbüchern galten anderthalb bis zwei Jahrhunderte lang die Gradualbücher als die für den protestantischen Gottesdienst unbedingt nötigen Bücher. Es waren die ungarischen liturgischen Bücher, die die muttersprachigen liturgischen Sätze enthielten. Die bedeutendste unserer Gradual-Quellen ist das etwa 800 Folio-Seiten umfassende sog. Alte oder Große (Öreg) Gradual mit Noten, das György Rákóczi I. in 200 Exemplaren in großem Format in der Fürstlichen Druckerei zu Weißen-burg (Gyulafehérvár) herstellen ließ. Das Material des ge-druckten Graduals wurde laut Vorwort anhand von ungefähr vierzig Gradualbüchern in langer und mühsamer Arbeit von den Redaktoren erstellt. Die Liste der Hand-schriften, aus denen es als Quelle ausgewählt und korrigiert wurde, ist heute leider nicht mehr bekannt. So weiß man z.Z. nur, dass die Redaktoren bei ihrer Arbeit ungefähr vierzig Bände benutzten, die vor 1623 auf dem Ge-biet des mittelalterlichen Ungarns entstanden waren. Da die mit Holzschnitttechnik gedrucktenNoten des Großen Graduals bei weitem nicht fehlerlos sind, können mehr als die Hälfte der 272 im Gradual mit Noten gedruckten Antiphonen nicht ohne Korrektur verwendet werden. Der Vortrag stellt zwei Quellen bzw. Quellen-Gruppen vor, die uns bei der Interpretation und Korrektur der Melodien der Antiphonen des Großen Graduals Hilfe sein können.
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Die Klagelieder sind Bestandteil der Gesänge der Karwoche und sie sind wichtige Gesänge des mit Warten und Buße gefüllten Triduum Sacruums. Heute ist das Singen der Lamentationes fast nur im röm.-kath. Bereich üblich. In früheren Jahrhunderten gehörten sie aber auch zur Liturgie der reformierten Kirche. Das beweist einerseits die Tatsache, dass die Blätter der Exemplare des Großen Graduals in Klausenburg und Debrecen, die ich persönlich untersucht habe, am Seitenrand ziemlich abgenützt sind. Anderseits beschäftigen sich viele (Visitations-) Protokolle der Landeskirche mit dem Vortrag der Lamentationes in der Karwoche. Leider entfiel der Liturgie dieser Brauch in der späteren Entwicklung der reformierten liturgischen Praxis wegen der persönlichen Meinung etlicher Pfarrer und Kantoren. Damit gerieten bedauerlicherweise auch reichere, spezifisch ungarische Melodien, die von den lateinischen Vorlagen abwichen, in Vergessenheit. Für jede lateinische Melodie gab es vier ungarische Varianten.
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Die Bestandaufnahme ist nur ein vorläufiger Teil der Arbeit.Abstammungsverhältnisse einstellen für das heute gefeierte Große Gradual scheint mir aus folgenden Gründen fast unmöglich:der Bestand der erhalten gebliebenen siebenbürgischen Quellen– insbesondere der ungarischen – ist geringfügig; das Große Gradual ist anthologieartig – mit nur einigen Messe- und Stundengebetstücken – zusammengestellt, (die Proprium gesänge wurden in der Reformation durch Gemeindelieder ersätzt), aber einen solchen Inhalt gab es in den mittelalterlichen katholischen Gradualen nicht. (Ausserdem enthalten unsere Quellen keine Passions- und keine melodischen Unterrichtsformeln.) Jedoch kann Fleiss dem Forscher immer Überraschungen bringen – also empfehle ich ausführlichere liturgische und melodische Untersuchungen mit den in der Tabelle bezeichneten Quellen G4,G5, G6, G7 der ungarischen Tradition. Ein anderes Forschungsgebiet wäre, das Große Gradual mit den siebenbürgischen Frühdruckschriften der deutschen Reformation zusammenzubringen.
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The present report aims to present the “hidden” Gradual treasure of the Transylvanian Unitarian Church by providing a list and description of the Unitarian Graduals kept in the Main Archives of the Transylvanian Unitarian Church and as well as in the congregations. The closing table compares the commonly used antiphons within the Hungarian Protestant Churches.
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Ein fast vollständiges Exemplar des vor 375 Jahren in Gyulafehérvár (Alba Iulia/Karlsburg)gedruckt erschienenen, altprotestantisch-reformierten liturgischen Gesangbuches wird in der ungarischen Stadt Nagykőrös aufbewahrt. Es ist eines der erhalten gebliebenen wenigen Gradualbü-cher im Karpatenbecken, das Fürst Georg Rákóczi I. der reformierten Kirchengemeinde dieser Stadt kurz nach der Erscheinung im Jahre 1637 schenkte. In diesem Beitrag stellen wir detailliert die Geschichte des Graduals bis auf unsere Tage dar, wie sie sich aus unseren schriftlichen Quellen erschließen lässt. Im zweiten Teil geht es um unsere aktuellen liturgischen und kirchenmusikalischen Fragen, die im Hinblick auf das reiche Erbe des Christentums und der Reformation be-handelt werden.
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Throughout the pastoral ministry of Oscar Romero, his relations with the apostolic nuncios in San Salvador changed its dynamics. Romero’s increasing role in the local Church was accompanied by the growing trust he enjoyed among the successive nuncios. His special experiences, though, which were the result of the difficult social situation of the country, significantly deteriorated those relations, which also affected the way he was perceived in Rome. However, those difficulties did not prevent him from searching for solutions aimed at the country’s welfare or for ways to relieve the strained intra-ecclesial relations.
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The article describes the 25-year history of the “The Koszalin-Kolobrzeg (Kołobrzeg) Guest”. On the example of its 25 years of activity, it is evident how quickly changes in the functioning of the media have been progressing. For only 25 years, the appearance of the newspaper and the way of journalistic work have changed radically. Since the appearance of the website, the change is even more visible. The article also deals with the issue of the identity of the local office of the weekly in relation to the main editorial office, and also presents its activities, which go far beyond the editing of the newspaper and the website.
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The present paper wishes to establish the chronologic and explanatory coordinates regarding the change of the first round seal belonging to the convent of Cluj-Mănăștur with one of a similar shape yet minimal differences, a procedure which took part during the year 1383. Determined by the discovery of several documentary falsification practices, the seal replacement took place fairly quickly, within only three and a half months, so that the activity of this place of authentication could be resumed with celerity. Starting from several original charters, kept in the collections of the national archives of Romania and Hungary, the present study marks therefore the temporal circumstances that determined this change, as well as the basis for the compositional structuring of the new conventual seal.
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The Orthodox parish in Supraśl exists together with the Supraśl Monastery and is inseparably connected with it. Although the history of the monastery dates back to the 90s of the 15th century, the parish was created in 1800. In 1839, the monastic community returned to the Orthodox Church, after two hundred years of being under the “occupation” of the union. The outbreak of the First World War caused the evacuation of monks into the depths of Russia. In 1918, the Polish government took over church property. Parishioners were allowed to use only a small cemetery church - the care of the faithful was taken by by the Wasilków parish, from which in 1931 a branch parish of Supraśl was separated. During the Second World War, the Nazi army blown up the main monastery church. The post-war period is the time of struggles for regaining the church and buildings, as well as the constant development of parish life. In the early 1980s, Bishop of Białystok Sawa began to make efforts to revive the monastery. In 1984, Fr. Miron came to Supraśl and became the rector of the parish and the head of the monastery. Monastic life began to develop, and along with it, the spiritual life of parishioners deepened. In 1993, the state finally returned the monastery to the Orthodox Church. Currently, the Supraśl parish conducts its active activities outside the walls of the Monastery, which was evidenced e.g. by the consecration of the church in honor of St. Luke the Surgeon in the village Łaźnie in 2019.
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