Holy Week

This article examines the celebration of Lazarus Saturday in Hagiopolite liturgical practice between the late fourth and early tenth centuries. Lazarus Saturday occupied a significant place within the liturgical year in ancient Jerusalem, signaling the end of Lent and the beginning of Holy Week. Building on several previous studies concerning the structural development of the Lazarus Saturday rites, this work offers a consideration of the broader themes and beliefs celebrated in these liturgies. It concludes by noting that Lazarus Saturday served as an encapsulation of the community’s Paschal celebration of salvation through Christ and a thematic hinge that connected the events of Holy Week to the lives of worshippers.

Dentro del periodismo especializado en religión, ocupa un lugar preponderante, en determinadas áreas geográficas españolas, la cobertura de actos relacionados con la Semana Santa, lo que se conoce como información cofrade, hasta ahora escasamente abordada desde el ámbito académico. Este trabajo tiene como objetivo fundamental conocer el tratamiento que esta celebración y sus protagonistas, las hermandades, tienen en los medios, y contribuir a su definición como área de especialización periodística, tomando como foco de investigación la prensa local de Málaga. Se analizan 390 textos relacionados con la Semana Santa publicados a lo largo de 2017 en los periódicos Sur, La Opinión de Málaga y Málaga Hoy. Los resultados del análisis permiten confirmar la importancia de este fenómeno en los medios locales, y cómo su tratamiento se caracteriza por el empleo de un elevado número de términos especializados, la agrupación de contenidos y el uso de géneros tanto informativos como interpretativos y argumentativos, todo lo cual cimenta su estatus de modalidad periodística autónoma. Palabras clave: Periodismo especializado; información religiosa; Semana Santa; géneros periodísticos; prensa local. [en] Religious journalism and the information about the Spanish Holy Week Abstract. Within the religious journalism, the coverage of acts related to the Holy Week occupies a special, important place in the media of some Spanish regions, specially in the South of the country. But until now, it's a field barely studied by the scholar research. This work aims to know the treatment that this celebration and its main actors, the Brotherhoods, have in the media, taking the local press of the city of Malaga as our study object. So, we analyze 390 texts related to the Holy Week published during 2017 in the newspapers Sur, La Opinión de Málaga and Málaga Hoy. The results confirm the relevance of this phenomenon in the local media, and how its treatment is characterized by the use of a high number of specialized terms, the group of contents and the use of informative, interpretative and argumentative genres. All these conclusions bolster the autonomous status of this reporting field.

This article is a revised version of a series of 8 messages entitled, 7 Steps to the Cross.  It follows the steps of Jesus from His arrest to His crucifixion in the Gospel of Luke.  It is a study of both the supreme sacrifice of Christ to go to die for our salvation at the cross and that of our fallen human nature that is in dire need of His love and salvation.

Se analizaron 27 monumentos eucarísticos del Jueves Santo en iglesias colombianas desde 2004 a 2017 cada dos años. En estas construcciones se identificó la expresión de la estética kitsch por medio de un análisis iconográfico de las estructuras simbólicas ancladas a las superficies visuales de los objetos que se presentan en los monumentos y de los materiales usados en su construcción. El kitsch religioso no tiene el propósito de suscitar reflexión intelectual en el público, más bien su fin es emocional, apela al poder y al fervor de la tradición religiosa que, en el marco del Jueves Santo, lo envuelve todo. El kitsch religioso no tiene propósitos intelectuales, los objetos están ahí y su presencia es suficiente, es por esto que los monumentos del Jueves Santo son apreciados por los sentimientos profundos de devoción que generan en los asistentes. Los monumentos eucarísticos apartan de la realidad tanto al creyente cotidiano como al practicante eventual y remontan a los episodios que se narran a través de su carácter palimpsestual y la metonimia emocional y efímera. Palabras clave: texto cultural, religiosidad popular, estética kitsch, representación cultural , monumento eucarístico
Abstract: In this work, 27 Eucharistic monuments of Holy Th ursday erected in churches of Colombia between 2004 and 2017 every second year have been analyzed. In these constructions the expression of kitsch aesthetics has been identifi ed through an iconographic analysis of the symbolic structures embedded in the visual surfaces of the objects placed in the monuments, as well as in the materials used for their construction. Th e religious kitsch is not intended to arouse intellectual refl ection in the public, rather its purpose is emotional; it appeals, instead, to the power and fervor of the religious tradition that, in the context of Holy Th ursday, embraces everything. Th ey separate from the reality both the believer and a potential churchgoer, and they evoke the episodes narrated thought their palimpsestual character and emotional and ephemeral metonymy.
Fecha de recepción: 02.03.2018 Fecha de aceptación: 25.06.2018

The Tenebrae Lessons were important components of Holy Week in Baroque France. While François Couperin's settings of the Tenebrae lessons hold a significant place in both the repertoire and scholarly literature, Marc-Antoine Charpentier's voluminous settings of the Tenebrae Lessons deserve a place alongside those by Couperin. This paper first outlines the liturgy of the Tenebrae service. Second, it examines the welcoming and influences of the Italian style on the French Leçons de Ténèbres at a time when Lully’s seizure over stage music was complete. Third, it illustrates the influence of secular music making on this important Liturgical Office. Fourth, it briefly discusses the importance of rhetoric for Charpentier and his contemporaries, and rhetoric's influence on the compositional style of liturgical music.

Ever since the middle ages the Maltese Islands have used clappers and ratchets instead of bells during Holy Week. This article looks at the different types of instruments is use across the Islands, both in the belfries and inside the churches.

Ἡ περίοδος τῆς Μ. Τεσσαρακοστῆς καί τῆς Μ. Ἑβδομά-δος ἀποτελεῖ τό κέντρο καί τήν καρδιά τοῦ λειτουργικοῦ ἔτους τῆς Ἐκκλησίας, τήν βάση καί τό θεμέλιο τῆς πνευμα-τικῆς ζωῆς τῶν μελῶν της. Κατεξοχήν τήν περίοδο αὐτή, ἡ Ἐκκλησία πραγματώνει τήν κύρια ἀποστολή της: νά κατα-θέτει τή μαρτυρία της στήν ζωή τῶν ἀνθρώπων γιά τόν θά-νατο καί τήν ἀνάσταση τοῦ Κυρίου ὡς αὐτόπτης καί αὐτή-κοος μάρτυς. Πρόκειται γιά τό πρῶτο γεγονός τῆς Οἰκονο-μίας τῆς σωτηρίας, πού ἡ Ἐκκλησία ἑορτάζει καί διακηρύσ-σει ἀπό τίς πρῶτες ὧρες τῆς ζωῆς της, πειθόμενη στήν ἐντολή τοῦ θεανθρώπου Ἱδρυτοῦ της: «τοῦτο ποιεῖτε εἰς τήν ἐμήν ἀνάμνησιν» (Λουκ. 22,19). Ἀλλά καί κάθε φορά, πού τε-λεῖ τό μυστήριο τῆς θ. Εὐχαριστίας, ἡ Ἐκκλησία καταγγέλει στόν κόσμο ὅτι ὁ Κύριος Ἰησοῦς Χριστός ἔπαθε καί ἀνέστη γιά τή σωτηρία τῶν ἀνθρώπων, ὅπως ὁ ἀπ. Παῦλος ἐξηγεῖ σαφῶς πρός τήν Ἐκκλησία τῶν Κορινθίων: «ὁσάκις γὰρ ἐὰν ἐσθίητε τὸν ἄρτον τοῦτον καὶ τὸ ποτήριον πίνητε, τὸν θάνα-τον τοῦ Κυρίου καταγγέλλετε, ἄχρις οὗ ἔλθῃ» (Α' Κορ. 11,26) 1. 1 Βλ. Robert Taft, «The Evolution of the Byzantine "Divine Liturgy"», 44 Μέ αὐτό τό δεδομένο λοιπόν καί μαρτυρούμενη ἤδη ἀπό τήν Κ. Διαθήκη ἡ ἀνάμνηση τοῦ θανάτου καί τῆς ἀνα-στάσεως τοῦ Κυρίου θεωρεῖται ἡ πρώτη ἐτήσια ἑορτή, πού καθιερώθηκε στόν ἐκκλησιαστικό λειτουργικό χρόνο, ἀφοῦ πρῶτα εἶχε ἐμπεδωθεῖ στήν ἑβδομαδιαία της ἐπανάληψη 2. Ἡ μακραίωνη παράδοση τοῦ ἰουδαϊκοῦ Πάσχα ἀπό τήν Π. Διαθήκη συνέβαλε ἀποφασιστικά, ὥστε ἡ ἑορτή τοῦ χριστια-νικοῦ Πάσχα νά βρεῖ ἀμέσως τήν πλήρη λατρευτική της ἔκφραση σέ ἐτήσια βάση 3. Μέ κέντρο τήν ἡμέρα τοῦ Πάσχα, ὅπως εἶναι γνωστό, διαμορφώθηκαν σταδιακά ἔνθεν κα-κεῖθεν τά λοιπά λειτουργικά μέρη. Ἀρχικά πρός τά ἐμπρός, πρός τήν ἐπίσης προϋπάρχουσα ἰουδαϊκή ἑορτή τῆς Πεντη-κοστῆς, ἡ ὁποία ταυτίσθηκε μέ τήν ἐπιφοίτηση τοῦ Ἁγ. Πνεύματος, καί μέ τήν προσθήκη τῆς ἀνάμνησης τῆς Ἀνα-λήψεως τοῦ Ἰησοῦ, καί ἀργότερα πρός τά πίσω, μέ τήν προ-παρασκευαστική γιά τό Πάσχα περίοδο τῆς Μ. Ἑβδομάδας καί τῆς Μ. Τεσσαρακοστῆς. Ἡ πλήρης ἀνάπτυξη τῆς μεγά-λης αὐτῆς περιόδου στή μορφή, πού ἔχει σήμερα, ἔλαβε χώρα-τουλάχιστον κατά τό μεγαλύτερο μέρος της-πολύ νωρίς. Ἐπί πλέον, ὅπως δείχνουν τά πράγματα, αὐτό συνέβη καί σέ πολύ σύντομο χρονικό διάστημα. Πρόκειται γιά τίς

Humanitas Musicale Sarda is part of an articulated research project, started in the 80s at university with Professor Roberto Leydi, conceived with the aim of witnessing the richness of the traditional vocal repertoire of the Orosei (Baronia). The Rites of the Holy Week are respectfully inserted into a complex symbolic-religious context and, comparatively, analyzed from an historical-anthropological and ethnomusicological point of view. As the author writes: - Thanks to those singers, I've been able to deepen my concept of musical humanitas that, in sacred songs, unfolds as above all in the "corfarias" (confraternities), in liturgical and paraliturgical rites and in social moments of fraternity. A Humanitas that amplifies, through sounds, the magical channel of collective spiritual elevation obtained by polyvalent prayer, performed by cantores with the aim of connecting souls with their God. A Humanitas which is configured as the set of shared social and spiritual values. In Sardinia, music is characterized, both in profane and in religious component, by an unmistakable executive style - vocal and instrumental - appreciated and esteemed all over the world. In the contribution there's only the cover, a bibliography (minimum) and an index of topics.

The aim is the study of the role of Franciscans who observed the brotherhood of Lucena (Cordova) and the path followed by the penitential brotherhood of Jesus' Passion established in the Mother of God Abbey. Since its foundation in 1578 until the end of 17th century, this religious association has a remarkable vitality and their members take part actively at the local Holy Week by means of the procession of holy Wednesday.

At the climax of the Coptic Great Friday service, the Coptic tradition observes certain ritual practices of a clear physical nature, inviting the bodily participation of those present. These practices are namely a series of one hundred prostrations in each cardinal direction, followed by a seven-fold procession of the cross and burial icon of Christ around the church’s altar and nave. The procession culminates in the “entombment” of this same icon on the altar, covered with rose petals and spices and wrapped in a white cloth. In this article, I explore the phenomenon of bodily participation inherent in these rituals. This is accomplished by analyzing the origins of these rituals in relation to the liturgical traditions of other Eastern Christian communities as well as within the historical development of the Coptic liturgical tradition.

En VIDAL BERNABÉ, I.; CAÑESTRO DONOSO, A. Arte y Semana Santa. Monóvar: Hermandad del Cristo, pp. 59-82. | RESUMEN: En el presente artículo se aborda la lógica barroca que vertebra la celebración de la Semana Santa de Sevilla, tanto en el aspecto festivo, social y ritual, como en el artístico y estético, a través de obras y textos de muy diferente índole y época, con especial atención a la actualidad. Se pretende así explicar por qué el neobarroco se ha erigido como el estilo canónico de las hermandades; por qué se rechazan otras opciones estilísticas, de mayor o menor vanguardia; y qué diferencia a las que han logrado ser aceptadas. Finalmente, se realizan algunas consideraciones sobre la vigencia de la “estética del detalle” en diferentes productos culturales y audiovisuales derivados de esta popular fiesta de la primavera. ABSTRACT: The aim of the present paper is to analyse the neo-Baroque logic that structures the celebration of Holy Week in Seville, both in festive, social and ritual aspect, as in the artistic and aesthetic, through works and texts of a very different nature and age, with special attention nowadays. The aim is to explain why the neo-Baroque has emerged as the canonical style of the brotherhoods; why other stylistic choices are rejected; and what differentiates those who have managed to be accepted. Finally, we write about some considerations on the validity of the "aesthetic of detail" in different cultural and audiovisual products of this popular spring celebration.

Surely one of the most poignant and dramatic liturgical ceremonies of the Armenian Church is Dṙnbac‘ēk‘, “The Opening of the Door,” which takes place in the evening of Palm Sunday. Even in the substantially reduced form in which the ritual is conducted practically universally today in Armenian monasteries and parish churches, the ceremony culminates in a dramatic dialogue between two clergy positioned on either side of the closed church door (or, more commonly today, the altar curtain). Around a lattice of plaintive hymns derived from Psalm 117(118):19-20, one clergy, speaking on behalf of the people, knocks on the door and pleads for admittance, while the other, speaking on behalf of the heavenly Judge, defends the gates of the Kingdom against encroachment by the unworthy. The ceremony reaches its denouement as the door (or the altar curtain) is opened and the people enter the church. This essay compares the the ceremony with similar services in other traditions, and explores its possible origins in connection with the strange custom arising in some medieval Armenian monasteries of expelling the people from the church for the duration of Great Lent and shutting the doors. A complete English translation of the service is included.

The Merchant of Venice contains a puzzling passage by Lancelot Gobbo that refers to Ash Wednesday and Easter Monday, two dates in the Christian religious calendar. The passage is nonsensical, yet it is a commonplace that the utterances of Shakespeare's clowns are often noteworthy. This paper notes that Lancelot refers to an unusual four-fold coincidence of Passover with Easter Monday, the former on the correct Gregorian calendar, the latter on the outdated Julian calendar. The interpretation is tested and leads to the determination of the dramatic time of the play which with other evidence from the script suggests that the paschal moon of 14 Nisan 5357 (April 2, 1597) is a crux of the play. The resulting timeline is consistent with events in the script and leads to a new interpretation for Old Gobbo's dish of doves. The timeline leads also to a solution for a question on equity and the law.

This interview with a historian of Christianity concentrates on the topic of Jesus Christ's Passion in film history. The development from passion play to Jesus-Film includes great directors like Cecil B. DeMille and Pier Paolo Pasolini.
Please cite vol. 16, no. 4, April 2022, pp. 26-30.

Zech 9:9b features a clustering of donkey terms which each have a unique semantic range, but the nuances are often missed or distorted in the English versions.  In order to properly understand and translate Zech 9:9b, one must examine the lexical field for donkeys. Biblical Hebrew employs three terms for the domestic donkey/Equus asinus (hamor, ’aton and ‘ayir) and only one term for the hybrid (pered/pirdah).  This study clarifies the semantic ranges of these four terms and also compares/contrasts the terms in order to sharpen the semantic distinctions and to appreciate the degree of semantic overlap between them.

The worship of the Orthodox Eastern Church involves a multitude
of references hints and images of the Old Testament, in all the sequences
(liturgies) and hymns. Particularly in the Holy and Great Week, the texts of the
Old Testament are used with particular emphasis. On Holy Monday and on Holy
Tuesday there is use of the texts of the Old Testament. Holy and Great Monday,
Tuesday and Wednesday remind us of the eschatological meaning of Pascha. In
this paper we are going to analyze the real and deep influence of the Old
Testament to these days of Holy Monday and Tuesday and why the Orthodox
Church chose to use the Old Testament although the Jews refused Christ and
led him to death. The goal is to show that Orthodox Greek Christians use these
texts from the Old Testament because they have no hostile attitude against
Jews.

This chapter explores the entangled relations of a contemporary and post- traditional festival with a much older festive substrate associated with Holy Week and Carnival. In this sense it is not intended as a systematic study of the Iberoamerican Theater Festival of Bogotá (ITFB), much less as a summary of its more than two decade long history. My more modest goal is to read this festival as a material and rhetorical dispositif arising in response to a social crisis (Castro Gómez, 2011), closely related to what I have called elsewhere regimes of festive alteration (Vignolo, 2015: 138-159): 1 The fiesta-bonanza, distinguished by excess and associated with human, territorial, and resource exploitation on the frontier of capitalist expansion (Braudel, 2002; Taussig, 1980: xii). 2 the fiesta-revolution, dominated by the trope of inversion and aiming to undermine the status quo, disrupt the social order, and scramble established dichotomies (Bakhtin, 1984; Eco, 1984). 3 The fiesta-passio...

In the 16th century, the social and political changes derived from the European religious wars between Catholic and Protestant countries, economic crises, and the CounterReformation had an enormous impact on the evolution of visual culture. These transformations drastically changed the way in which the Catholic faithful interacted with works of art. The exemplary uses given to the images of Jesus Christ, the Virgin Mary, and the saints were promoted as intermediaries between God and people. The intense realism in art served precisely this objective, since the faithful could recognize themself in these figures. In addition, the rise of the brotherhoods and penitentiary guilds led to the popularization of behaviors that imitated the Passion of Christ, such as public self-flagellation. Therefore, the Spanish processional sculpture was fully brought forward by many of these brotherhoods. Processions used theatrical resources and were very successful among the people. In the 17th century, the Hispanic baroque aesthetic was strongly linked to the Catholic Church and was especially evident during Holy Week. The public processions and their artistic resources were very successful, so much so that they have survived to the present, evolving and adapting to each period.

Resumen:
Las retransmisiones deportivas en directo se han consolidado como uno de los formatos radiofónicos de mayor seguimiento en España. Estos espacios reúnen las tendencias y aspectos narrativos que mejor definen el actual panorama de radio. Por un lado, el objetivo de la presente investigación es llevar a cabo un análisis exploratorio de los principales rasgos que identifican a estos programas. Por otro, estudiar las diferencias y similitudes existentes con respecto a las retransmisiones de procesiones en Semana Santa, valorando así el nivel de homogeneidad del formato más allá de la temática en cuestión. La metodología seleccionada se ha basado en la combinación de técnicas cuantitativas y cualitativas, y la muestra se ha elaborado a partir de la selección de diez programas diferentes de Canal Sur Radio. Las retransmisiones en radio se definen por su carácter dialógico y la hibridación de géneros, si bien las principales diferencias se encuentran en el estilo de locución empleado para cada tipo de acontecimiento. Los resultados obtenidos permitirán seguir trabajando sobre la creación de un modelo narrativo que facilite el estudio de los programas radiofónicos.

Abstract:
Sport live broadcastings have grown to become one of the most played format in Spain. At the same time these programs have the narrative tendencies and aspects that best describe the current radio landscape. On the one hand, the goal of the present publication is to carry out an explorative analysis about the main features of this type of program. On the other hand, study the differences and resemblances with regard to processions live broadcastings celebrated in Holy Week, to assess the level of homogeneity of the format beyond the issue. The selected methodology is based on the combination of quantitative and qualitative techniques, and the sample was drawn from a selection of ten different programs Canal Sur Radio. The radio broadcasts are defined by their dialogic nature and hybridization of genres, but the main differences are in the style of speech used for each type of event. The results obtained allow to continue working on the creation of a narrative model that facilitates the study of radio programs.

Quien acceda al interior de la iglesia de origen románico de Nuestra Señora de Vizbayo, antigua parroquia del barrio ponferradino de Otero , se sorprenderá ante una “pintura mural” que asoma bajo los encalados del primer tramo del muro septentrional de la nave, justo por encima del actual zócalo pintado, medio rescatada alrededor de los años 2005-2006 de manera espontánea por debajo de varias capas pictóricas. Se trata de (parte) de una procesión de disciplinantes, es decir, de personas que se mortifican en Semana Santa.

• La Sangre de Cristo, su culto, su devoción, su iconografía, es uno de los temas más complejos interrelacionados y ampliamente representados en el arte religioso católico. Se presenta un avance de catalogación de modelos de representaciones y su sistematización. Un apartado especial está dedicado a las imágenes de esta advocación y su vinculación con las cofradías de Semana Santa.                                                                                                                                           

• The Blood of Crist, its worship, devotion, and iconography, it is one the most complex issues, interrelated an widely represented on the religious catholic art. We present an advance of model cataloguing. A special section is dedicated to the images of this advocation and its entail with the confraternities of Holy Week.

Article for "ITSTIME– Italian Team for Security, Terroristic Issues & Managing Emergencies", the webjournal of the research center of Department of Sociology of the Catholic University of Sacred Heart, Milan: September 4, 2020.
In June 2020, a French newspaper used a photo of the "Incappucciati" (a Catholic procession) of Sorrento (Italy) in an article that talked about something else, namely members of the Ku Klux Klan. This is a gaffe discovered by the Italian anthropologist Giovanni Gugg, who in this article explains the digital responsibility of each of us.

Can we pray together anymore?

In this collection of prayers for Lent, RW Walker explores what difference traditional, queer, and Christ-centred common prayer might make in a chaotic and divided world, a wilderness that seems so filled with death and despair. May these prayers fan a flame of hope in our hearts as we walk the wilderness journey of Jesus—together.

This article was dedicated to the scholar Pietro Sassu. Paolo Mercurio wrote it (in 2014) in a passionate and personal way,  with esteem and gratitude. In the twentieth century, in Italy, Pietro Sassu was one of the most appreciated ethnomusicologists. He led numerous research campaigns on fieldwork in various Italian regions, particularly promoting Sardinian musical heritage. Pietro Sassu prematurely died  in July 2001.

The Merchant of Venice contains a puzzling passage by Lancelot Gobbo that refers to Ash Wednesday and Easter Monday, two dates in the Christian religious calendar. The passage is nonsensical, yet it is a commonplace that the utterances of Shakespeare’s clowns are often noteworthy. This paper notes that Lancelot refers to an unusual four-fold coincidence of Passover with Easter Monday, the former on the correct Gregorian calendar, the latter on the outdated Julian calendar. The interpretation is tested and leads to the determination of the dramatic time of the play which with other evidence from the script suggests that the paschal moon of 14 Nisan 5357 (April 2, 1597) is a crux of the play. The resulting timeline is consistent with events in the script and leads to a new interpretation for Old Gobbo’s dish of doves. The timeline leads also to a solution for a question on equity and the law.

La situación social y cultural consecuente del régimen político encabezado por Francisco Franco manifiesta, entre otras ramificaciones, un reverdecimiento del fervor religioso, nunca del todo adormecido en la católica España. Éste afecta, con particular intensidad, a las poblaciones pequeñas y medianas del país, aquellas que no han llegado a hacer suyos los cambios que el avance tecnológico y la industrialización habían llevado a entornos más evolucionados. Aislados en un paréntesis que se prolonga durante décadas, los españoles posan la mirada en su pasado, recuperando y revitalizando costumbres, creencias y tradiciones que hasta el inicio de la contienda parecían más cosa del siglo XIX que de la nueva centuria. Los salmantinos también rescatan la práctica religiosa, que se traduce en ceremoniales sacros dispares, desde ejercicios espirituales a celebraciones eucarísticas pasando por triduos, sesiones de adoctrinamiento en las lecturas evangélicas y, cómo no, en el auge experimentado por la Semana Santa, particularmente acentuado durante las décadas de los 40 y 50, tal como se encarga de transmitir la prensa local. De hecho, ante la fenomenal respuesta que la sociedad ofrece a la propaganda de los periódicos, en la que se anima a contribuir económicamente con las celebraciones, se decide sistematizar este esfuerzo promoviendo la creación, en 1942, de la Junta de Cofradías y Hermandades.

What is known as religious tourism has experienced spectacular growth in Spain in recent years. To highlight some aspects of the relationship between tourism and religious practices during Holy Week, this paper describes some occurrences involving processions and itineraries, understanding these itineraries to be social ways of creating symbolic spaces within the city layout. The paper analyses the case of a mature coastal tourist destinations in Southern Spain.

There is general agreement among scholars that tourism produces commodification either through the commercialisation of culture by way of its recreation and inclusion in the category ‘heritage’ or through the invention of a tradition and / or spectacularization of specific cultural manifestations such as Holy Week. However, this paper reveals another reality that, due to the predominance of ideas of commercialisation and authenticity in the social sciences discourse, this type of activity often does not receive the attention it deserves. The participant observation in this work shows the persistence of personal, intimate and contemplative ways of experiencing religion or popular Catholicism even in tourism contexts. Far from the more theatrical versions of brotherhood and scenography in tourism territories, the simple everyday forms of religiosity are still prevalent in more hidden corners, where visitors and tourists do not go.

Il quinto di una serie di articoli dedicati ai riti durante la pandemia di Covid-19 del 2020-2021. Qui il tema è un unico rito, effettuato su una nave-cargo in navigazione sull'oceano Atlantico durante la Settimana Santa del 2020: il capitano ha effettuato una processione con il suo equipaggio alla maniera del tradizionale e imponente corteo funebre di Sorrento, sua città di origine.

Con la signatura CLERO, Libro 3016 se encuentra en el Arxiu del Regne de València un manuscrito de polifonía de finales del siglo XVI. Este manuscrito relativamente bien conservado, y con abundante material para el estudio de música litúrgica, no es citado en publicaciones musicológicas hasta hace poco tiempo.

Este desconocimiento proviene básicamente del poco interés demostrado hasta fechas recientes por parte de los musicólogos por conocer los fondos del Arxiu del Regne. Este libro procedente del antiguo monasterio jerónimo de Santa María de la Murta de Alzira el único documento que incluye polifonía en todo el fondo del Arxiu del Regne de València. La importancia de dicho manuscrito compilatorio radica en dos vertientes. Por una parte su uso en la liturgia de Semana Santa y los diversas procedencias de la música (monasterios jerónimos, básicamente El Escorial, la copia manuscrita de impresos muy conocidos y difundidos y la aparición de todo un corpus de música que podemos denominar local) lo que enriquece los estudios sobre circulación de música y músicos.

Por otra parte y quizá más relevante, es el uso y pervivencia de repertorios en este manuscrito a lo largo del siglo XVII y probablemente del XVIII y por ende la interpretación del corpus musical en los oficios de la Semana Santa, como muestran las modificaciones, apuntes y correcciones de texto y música del manuscrito.

Holy Week, inseparable from the mystery of Christ’s Resurrection, is the
center of the liturgical year. Each of the following days has its own specific meaning and extensive hymnographic material. The graphic representation is also connected with the content of liturgical rites. This article discusses the meaning of iconographic representations that are dynamically present at services – by carrying them from the presbitery to the middle of the church or carrying them around the temple in a procession (the icon of Christ the Bridegroom on Holy Monday, the icon of Christ crucified on Good Friday, the Epitaphios with a representation of Christ lying in the tomb on Good Friday and Holy Saturday). The text also discusses the relationship between the aforementioned icons and liturgical texts sung during the services.