Liturgical Ceremonial

Taft R. F. The Great Entrance. A History of the Transfer of Gifts and other Preanaphoral Rites of the Liturgy of St. John Chrysostom. [A History of the Liturgy of St. John Chrysostom, vol. II]. Roma, 1975. (Orientalia Christiana Analecta; 200).

A deep study of the magical aspects of ritual, both anthropological, social as wel a psychological. Various models about how rituals works, how the mind deals with magic, how rituals help to overcome time and space limitations, can help in transformation. The importance of rituals as social, transformational, but also as magical acts. New theories about ritual efficacy, the nature of time, and how the mind deals with rituals. Endorsed by prof. Stan Krippner and Prof. Cees Hamelink. 820 pages, totally original vision on ritual.

Compendio legislativo de protocolo y ceremonial de Estado en Cu-ba Mikel Arista Salado Especialista en Derecho Premial y falerística cubana 1. INTRODUCCIÓN Todo estudio científico implica desarrollar o aplicar una definición sobre la cual extender todo el andamiaje teórico que nos permite aprehender mejor la realidad, o por lo menos, acercarnos con mayor precisión a determinados fenó-menos. En nuestros días, la definición de palabras como "ceremonial", "protoco-lo" y "etiqueta", se están todavía configurando en el plano científico, y la doctrina dista de ser unánime, aunque los autores españoles, que son los que con mayor profusión han tratado estos temas, están llegando a consensos teóricos a partir de los diversos congresos de protocolo realizados en ese país y el enorme empuje que en nuestros días tiene el protocolo como profesión y como disciplina acadé-mica con diversos programas de post-grado que se imparten en distintas universi-dades europeas. El panorama en Cuba, sin embargo, contrasta altamente con el español: el tratamiento teórico es prácticamente nulo, y restringido casi exclusi-vamente a los espacios diplomáticos y de negocios. La primera interrogante que se desprende del título de esta mínima obra es justamente el cuestionamiento de su utilidad. ¿Para qué sirve un compendio legis-lativo? El elemento distintivo de las compilaciones legislativas ha sido un benefi-cio práctico, toda vez que en un solo cuerpo se reúnen todas las normas, o al me-nos las más relevantes que regulan un espacio jurídico determinado. La utilidad de estos compendios radica en la vigencia de las normas que contienen, de tal suerte que el operador del Derecho, tiene a su disposición un número de normas, acaso publicadas en distintas épocas, o modificadas varias veces en el decurso para ajustarlas a nuevas condiciones, todas fundidas en un solo texto y con el mayor grado de actualización. Dicho así, el operador no tiene que hacer un arduo trabajo de búsqueda de las normas en la publicación oficial, ni cotejarlas con su-cesivas modificaciones, derogaciones, etc.; sin embargo, el compendio legislativo que en este pequeño volumen se presenta tiene una peculiaridad: la casi totalidad de las normas que lo contienen ya no se encuentran vigentes, ya fuere por deroga-ción expresa o por obsolescencia, por lo tanto, este compendio resultaría ineficaz para la práctica de un profesional del protocolo en Cuba. El estudio del protocolo y el ceremonial en Cuba padece una seria crisis, se-gún podrá apreciarse con mayor detalle en el epígrafe siguiente. Baste decir para

¿Cuáles son esos signos y símbolos para la liturgia contemporánea? ¿Hacia dónde hemos de mirar? ¿Cuál debe ser, por tanto, el modelo de referencia para la creación de arte sacro?  La presentación de la tercera edición oficial del Misal Romano en su edición española debe ayudarnos.

It’s been 10 years since the publication of the motu proprio Summorum pontificum. A lot has  changed since then, including the frequency of Pontifical Masses in the classic and dignified Roman rite which is visibly higher. There are several controversies connected with this fact. One of them concerns, so called, Episcopal Master of Ceremonies and, to be more specific, fulfilling the function (especially at Pontifical Masses) by laymen. I will try to respond to the title question basing on CE and other documents, as well as manuals of ceremonies and interpretations of acknowledged authors.

Публикация отражает результаты исследования чина евхаристического богослужения испано-мосарабского обряда по печатному мосарабскому миссалу 1500 г. (Missale mixtum secundum regulam beati Isidori dictum mozarabes). В статье рассматривается часть богослужения, которая соответствует второй половине литургии верных и включает преломление и смешение Даров, исповедание веры, молитву «Отче наш», причащение, заключительные обряды. Описание базируется на ординарии мессы, напечатанном в миссале, а также на анализе всех формуляров проприя, содержащих изменяемые элементы богослужения. Чинопоследование миссала сопоставляется с рукописными книгами мосарабской традиции IX–XIII вв. и вестготскими литургическими записями конца VII — начала VIII в., а также со свидетельствами св. Исидора Севильского, содержащимися в его трактате De ecclesiasticis officiis. В результате сравнения выясняются соответствия и различия между печатной и рукописной традициями, а также выявляются манускрипты, повлиявшие на формирование евхаристического богослужения, отраженного в миссале. Публикация продолжает серию статей, посвященных мосарабскому миссалу 1500 г., и завершает описание чина мессы по данному литургическому источнику.

This work is devoted to study of the Order of Mass of Mozarabic rite according to the printed Mozarabic Missal of 1500 (Missale mixtum secundum regulam beati Isidori dictum mozarabes). The article deals with the second part of the Eucharistic Mass which includes the Communion rite and the Concluding rite. The description of the Order is based on the Ordinary of the Mass found in the printed Missal, as well as on the analysis of all formulars of the Proper which contain the varying elements of the Mass. The Order of the printed Missal is compared with the Mozarabic manuscripts of the 9–13 th centuries and with Visigothic handwritten liturgical sheets of the late 7 th –early 8 th centuries. In addition it is compared with the testimonies of St. Isidore of Seville, which contained in his treatise “De ecclesiasticis officiis”. As a result of the comparison, the correspondences and differences between the printed books and manuscripts are clarified, and also reveals the sources which influenced the formation of the Mass in the Mozarabic Missal. The publication is a continuation of the articles which was published before and completes the description of the Order of the Mass according to the Mozarabic Missal of 1500.

Late Medieval Papal Legation is a result of long term study of papal legates in the late medieval period. Even though this crucial institution of the reform papacy of the eleventh, twelfth and thirteenth centuries kept its standards as designed in the classical canon law, it was transformed according to the current needs of the papacy in later periods. A substantial change came after the conciliar crisis and before the radical transformation of the first half of the sixteenth century. In the second half of the fifteenth and early sixteenth centuries, papal legates de latere, as cardinals, travelled all around Europe in support of the recovered papal authority after the conciliar period and before the outbreak of the German Reformation.

This volume attempts to systematise the changes of this specific period in the development of the papacy. It is based on extensive research in the Vatican Archives and Library, other Italian and especially Central European archives and libraries, and published sources of the period. The volume focuses on the terminology and theory of papal legation, on the sources and expression of legatine authority and on the system in relation to practical matters (ceremonial, travelling, finance), and political, diplomatic and ecclesiastical tasks and topics. The study of the legatine office is exceptionally complex and ranges from high diplomacy and spiritual benefits brought for distinct provinces, to the personal interests and involvement of individual cardinals. This book tries to open discussion on research that has only just started and needs to be developed as an integral part of our understanding of medieval papal and European history.

Muy significativa entre los manuscritos litúrgicos del rito hispano-mozárabe actualmente es la colección de libros de Toledo. Está conformada por siete códices relativamente completos y el mismo número de fragmentos de libros mozárabes de los siglos X-XIII que se conservan en el Archivo y Biblioteca Capitulares de la Catedral de Toledo, así como en el Museo de los Concilios y de la Cultura Visigoda. En este artículo vamos a considerar los manuscritos litúrgicos mozárabes de Toledo para mostrar, analizar y generalizar las peculiaridades del orden de la misa del rito hispano-mozárabe, contenidas en estos libros. Según sea necesario utilizaremos también otras fuentes litúrgicas.

Extracto de la tesis doctoral titulada "Te Deum laudamus. La formulación y la celebración de la gloria de Dios a través de una forma hímnica. Aproximación teológica, litúrgica y musical", donde se incluye la introducción general, el capitulo tercero, así como la bibliografía y el índice general del estudio.

In more solemn celebrations of Mass, bishops may impart a blessing with the gospel book after the proclamation of the gospel. The article delineates the origins of this blessing in the Byzantine Rite, where the priest blesses the people with the gospel book in each Divine Liturgy. This particular ritual entered the papal liturgy, starting in 1970, and was introduced into the third typical edition of Roman Missal in 2002. This article considers similar forms of blessing in the Roman tradition and explains the theological meaning of this ritual in the liturgical proclamation of the gospel.

The article is prompted by COVID-19 pandemic and its effects on the liturgical celebrations: the loss of a communitarian spirit of the celebration; the risk of pri- vatization and clericalization; the lack of a “full and active” participation of the people of God also through their own body, just to mention a few examples. But it is especially in a post-pandemic perspective, when all of us hopefully shall have received the vaccines protecting against the continuous spread of the contagion and further deaths, that the article focuses on those measures and “vaccines” needed to stop the spread of a wrong conception of the Christian celebration toward which pandemic could have led us, missing the true spirit of liturgy: re-initiation to liturgical language; giving value to the rites of passage; rediscovering the communitarian dimension of the celebration as well as of the people of God as celebrating subject; rediscovering the body in the celebration as well as the church as body; giving value to gathering and welcoming in liturgy; rediscovering different celebration forms and domestic liturgy. Moreover, the article delves into the relationship between celebration and new media.

L’articolo prende avvio dall’esperienza della pandemia da COVID-19 e dalle conseguenze che questa ha causato anche nelle celebrazioni liturgiche: la mancanza del senso comunitario della celebrazione; il rischio della privatizzazione e clericalizzazione; la mancanza di una partecipazione “piena e attiva” del popolo di Dio, anche attraverso la propria corporalità, solo per indicarne alcune. Ma è soprattutto guardando al “dopo-pandemia”, quando tutti forse avremo ricevuto il vaccino che ci avrà preservato dalla continua diffusione del contagio e da ulteriori morti, che l’articolo mette in evidenza quelle attenzioni e quei “vaccini” necessari per evitare la diffusione di una cattiva comprensione del celebra- re cristiano, a cui la pandemia ha rischiato di condurci, e dunque la perdita del vero spirito della liturgia: ri-iniziazione al linguaggio liturgico; valorizzazione dei riti di passaggio; riscoperta della dimensione comunitaria della celebrazione e del popolo di Dio come soggetto celebrante; riscoperta del corpo nella celebrazione e della Chiesa come corpo; valorizzazione del raduno e dell’accoglienza nella liturgia; riscoperta delle diverse forme celebrative e della liturgia domestica. Non poteva mancare una riflessione approfondita sul rapporto tra celebrazione e uso dei new media.

Ensayo visual para participar en el 4° Encuentro Académico de Antropología Visual en Ensenada Baja California, México. Octubre de 2016. El trabajo no fue seleccionado y no se encuentra publicado,  pero he decidido compartirlo como un registro visual personal de una de tantas temporadas de trabajo de campo con grupos espiritualistas en México. Las imágenes son representativas de la cátedra espiritualista que he observado en otros estados.

The 28 chalices described with their inscriptions date from 1722 to 1961: 7 from the 18th century, 20 from the 19th, 2 from the 20th century. The 140-page “Catalogue of the Liturgical Metalwork,” describes, illustrates, and presents all inscriptions on each of some 100 of the most important pieces of Armenian Church from the large and historical collection of formerly part of the treasury of the Catholicosate of Cilicia in Sis, now the core of the Cilician Museum in Antelias, Lebanon at the seat of the Holy See of Cilicia. It represents one of the most important and authentic pre-Genocide collections of Armenian religious art to have reached us. Despite centuries of invasion and strife by determined enemies of the Cilician state and its catholicosate, including the final solution of the Young Turk government of the Ottoman Empire in 1915, which resulted in the total destruction of its former capital and religious headquarters of seven centuries, these objects survived. Thanks to the desperate attempt on the part of a few clergymen to save as many of its important movable and sanctified liturgical treasures, a miraculous and representative collection is now securely preserved to be visited and admired by Armenians and non-Armenians alike. The collection is a tribute to those spiritual leaders who sacrificed everything to preserve these inanimate relics that have been touched by the grace of centuries of faith and reverence. The catalogue is divided into four parts: I. Reliquaries, pp. 158-188; II. Chalices, pp. 189-217; III. Silver Bindings, pp. 218-249; IV. Miscellaneous Liturgical Objects and Xač‘k‘ars, pp. 250-283. The work will be presented in four posts each followed by the Notes, Glossary of Technical Terms, Liturgical Vessels, Bibliography, pp. 284-297.

Ordo Romanus 49 constitutes the first source for funeral liturgies. By
way of analyzing the structure handed down in the Vatican Apostolic
Library manuscript, Ott. lat. 312, f. 151v, the present study seeks to
take the subject of the sources of funerals in order to consider ritual
data and interpret how the early medieval Church celebrated the Risen
Lord in the face of the death of one of its members. Structural analyses
of the rite, consideration of the euchological patrimony of funerals and
theological considerations make OR49 a rich source yet to be exhausted
thanks to numerous questions that it still raises.

The paper studies the connection of Scripture and liturgical actions with the examples of the footwashing and the Ephphetha rite. It examines their historical development and the current rite and especially explores the relationship of anamnesis and mimesis in them.
Although the footwashing rite contains mimetic elements, it is not simply a (theatrical) re-enactment of John 13, but a liturgical action that starts to put Jesus’ commandment of love into practice during the celebration which then will be fulfilled in everyday life. It is an anamnesis of his command.
The Ephphetha rite refers back to Mark 7:32-35 and shapes selected aspects of it to a catechumenal (adults) or post-baptismal rite (children).
The conclusion reflects on how the anamnesis of Scripture in the liturgy is supported by mimetic elements. Anamnesis and mimesis cannot be strictly separated. The rites liturgically enact what Scripture says.

While the fact that Byzantine painting cannot be comprehended without understanding of liturgical context in which this kind of art originated is not necessary to prove anymore, focusing on the logic of historic interaction between these complex symbolic structures opens significant space for their mutual (re)interpretation. Exploring esthetic and ritual changes from XI till XIV century, through which have been principally formed what we nowadays recognize as the Byzantine painting style/system, this research tries to reconsider intriguing hypothesis proposed by contemporary theory, that: “by the late twelfth century the devotional focus of the laity had shifted from the Eucharist to holy icons.” In the atmosphere of growing ecclesiastic divisions – with crucial expressive points recognized in bodily/haptic distancing of laity from the Eucharist (exclusion of laity from the holy communion and kiss of peace rites) and afterward optical separation of altar from the nave (enclosing the sanctuary barrier) – icon was recognized as precious means that could be used for reparation as well as for deepening different levels of liturgical segregation. In order to control consequent (continual) growing of cognitive power of icons or to use this power for softening of growing ecclesiastic barriers and making them bearable, painting is expected to reproduce iconography of ritual performed in the altar space. Nevertheless, once such a mimetic replication was launched, it would be difficult to stop the process; as iconography was ritualized with more success – especially in altar space and in dome – the importance of icon was becoming more evident. Duplication in between art and ritual inevitably started multiplying itself, while icons were posted on every available/visible place/surface related to the liturgical practice: from the church walls and wooden boards of altar partition to the different liturgical veils, and the bishops’ vestments... Mysterious rite in altar was completely “covered” by icons which offered themselves for contemplation, in order to compensate (or, at least, to explain) what was illicit and reveal what was (becoming) invisible. In closing phase of development of such a complex simulacrum it is almost impossible to trace the logic of cognitive reproduction/repetition, but one specific impression has emerged throughout this study: not much could become known about the late Byzantine ecclesiastic ceremony without understanding visual/esthetic context which affected its formation.

Материјални објекти попут литургијских предмета важни су за визуелну културу, будући да одражавају разнородне аспекте културне и друштвене историје, социјалну и економску динамику времена, те уметничке прилике и феномене. Уметнички обликовани богослужбени предмети из саборног храма Вазнесења Христовог у Чачку припадају још једној важној катедралној ризници која није целовито сагледана и протумачена са аспеката историје уметности и визуелне културе. Сребрнина, везени текстил и друге драгоцености из ове црквене ризнице као активни посредници осликавају културну, црквену и друштвену динамику у важном градском средишту попут Чачка. Истовремено, они су одраз ширих културних прилика у Србији XIX века. Интензивне промене у визуелној култури карактеристичне за ово раздобље могу се јасније сагледати управо кроз трансформације материјалних артифицираних предмета, њихову динамичну циркулацију и дужину употребног трајања. Препознавањем богослужбених предмета из чачанске катедралне цркве као објеката којима је "материјализована хришћанска стварност" могу се јасније одредити карактер и одлике српске црквене уметности XIX века, те улоге материјалних предмета у њеном манифестовању.

In his famous work, The Civilisation of Manners, Norbert Elias regarder the Church purely as an agent in the process of implanting the practices of the court among the lower social groups. Entirely enveloped in the state and possessing a quasi-Monopoly on teaching, preaching and publishing, the Church was seen by him as en effective intermediary in the civilising of manners, which it was only required to christianise. But what if, instead of simply appropriating and then propagating a model that was not of its own making, the Church did not, on the contrary, continue  from the 16th century onwards to give preference to its own system of values as expressed in the celebration of the Mass, and thus found itself in competition with, firstly, the mise en scène of the modern state and, secondly, with the competing systems of ritual ? The article seeks to re-situate the liturgical unity focused on Rome which reached its pinnacle in the 19th century as the final stage of this process, one which made of the ars celebrandi an ensemble of social and cultural practices for the reformation of manners.

In general, in all lithic media with Tiwanaku iconography, male zoomorphic and anthropomorphic personages and a curious absence of women have been recognized. In the category of frontal personages, one present in the Bennett Monolith shows exceptional characteristics. In this sense, we present a new interpretation of this figure and its iconographic context, based on two categories of knowledge, on the one hand, the study, description, analysis and classification of images, and on the other that of connoisseurs of indigenous traditions, thus carrying out collaborative work. Other considerations also encourage this writing, to propose, according to contextual elements of the iconography related to Andean knowledge, that what is represented in the icons of this monolith is a travel ritual performed by a woman incense burner (sahumadora), being who travel, itinerant healers transporting the cactus San Pedro (Echinopsis pachanoi syn Trichocereus pachanoi).

Lucrarea propune o abordare nouă în istoriografia românească, și anume relația dintre muzică și puterea politică în Moldova și Țara Românească în secolele XV-XVIII. Mai exact, prin acest demers se încearcă relevarea modului în care domnul este evidențiat și reprezentat în public prin intermediul muzicii – cum anume ajută muzica la manifestarea preeminenței domnești. Atât în Occident, cât și în Orient, muzica a fost un atribut al suveranității și, de aceea, relația avută în vedere este mult mai importantă decât se crede la o primă vedere. Prin intermediul celor douăsprezece capitole, autonome din punct de vedere al conținutului, dar unitare prin prisma ideii centrale, sunt prezentate diversele formații muzicale întâlnite la curtea domnească, cea mai importantă dintre ele fiind meterhaneaua, cea care evidențiază cel mai fidel relația muzică‒putere politică, cu un bogat bagaj simbolic. De asemenea, lucrarea este o reevaluare a istoriei muzicii vechi românești, insuficient studiată în România, pornind de la identificarea corectă a tuturor formațiilor muzicale întâlnite la curtea domnească, a instrumentelor muzicale, dar și a termenilor muzicali, întrucât în istoriografia românească dedicată subiectului s-au strecurat multe confuzii și inadvertențe, unele cauzate de traduceri greșite ale izvoarelor literare referitoare la muzică.

The following article builds on recent scholarship investigating the ceremonial use of textiles by the Greek Orthodox Church under the Ottomans. While previous publications concur about the impact Ottoman aesthetic had on ecclesiastical material culture, one subject that still remains relatively obscure is to what degree were the church and court's customs synchronized. In an attempt to address this question, previously unexploited textual sources on hil'ats (robes of honor) and kaftans will be discussed, illuminating their use and meaning in the Greek context. The second part of the article is dedicated to non-sartorial textiles: liturgical covers and hangings, which are analyzed in relation to the different expressions of Ottoman aesthetic they present, as well as the information they provide on the similarities between church and court practices. Although far from exhaustive, this article aims at illuminating some of the still unknown paths that the Greek appropriation of Ottoman culture took in relation to ceremonial textiles.

The thesis is a refutation aimed against the use of theocratic presuppositions concerning Israel in Biblical debates, especially pro-theocratic.  This paper traces the word's origin and its varied arbitrary definitions for the purpose of demonstrating its invalidity within theological argumentation.  It also argues for a more biblical language to be applied to Israel:  That of the Covenant and its law which was given to her at Mt. Sinai.

Trop wielkanocny. Mors et vita duello conflixere mirando dux vitae mortuus regnat vivus.

Tytuł dwuznacznie obejmuje
(1) nie dostrzeżone liturgiczne tło dla topiki dialogów człowieka ze śmiercią,
(2)  kryje ogólniejsze odniesienia do sfery liturgii i jej 
dramatyczno-teatralnych oddziaływań na formy życia i kultury.
Wątek szczegółowy (1) prześledzę na przykładzie topiki rozmowy/ pojedynku życia i śmierci, czego źródło wskazuję w sekwencji wielkanocnej Victimae paschali laudes, strofa 2b:
Mors et vita duello conflixere mirando,
Dux vitae mortuus, regnat vivus.
Zidentyfikowałem wczesne realizacje dialogowe tematu pojedynku między życiem a śmiercią w łac. prozie traktatowej adaptowanej w poezji średnioniemieckiej. Obok dialogów człowieka ze śmiercią popularnymi realizacjami tej topiki są tańce śmierci, wizualne i literackie (np. Rozmowa Mistrza Polikarpa ze Śmiercią). Wątek ogólny (2) poruszy przede wszystkim kwestię wernakularnego plonu łac. poezji liturgicznej, poczynając od sekwencji Victimae paschali laudes…, dającej w Europie Środkowej niezwykle bogate dziedzictwo pieśniowe, zwłaszcza od frazy surrexit Christus (z wersetu 3b strofy Angelicos testes...).

La integración de la música para conjuntos instrumentales en el ceremonial religioso durante el tránsito del siglo XVIII al XIX es una temática que ha cobrado cierta relevancia en los últimos años en la agenda musicológica española e hispanoamericana. En el presente texto se analiza concretamente la inclusión de música instrumental durante aquellas ceremonias o actos religiosos que, como las procesiones, se caracterizaban por el desplazamiento de comitivas más o menos numerosas. El análisis de la documentación administrativa procedente de dieciséis instituciones eclesiásticas españolas evidencia, por un lado, la pervivencia de los ministriles en estas ceremonias hasta bien entrado el siglo XIX, en su función tradicional de alternar con el coro o la capilla de música, y revela, por otro, la participación de los conjuntos instrumentales modernos desde ubicaciones fijas, en sustitución del órgano o de los propios ministriles, con el objetivo de solemnizar el movimiento de las procesiones, los celebrantes y/o las autoridades religiosas. Finalmente, algunos repertorios musicales, titulados como versos o marchas, ilustran el tipo de piezas que podían escucharse durante estos eventos.

Die meisten Feste christlicher Liturgie verstehen sich als Vergegenwärtigung biblischer Geschichte. Es ist allerdings nicht selbstverständlich, dass dies in spielerischer Dramatisierung narrativer Texte geschieht. Das nach der Konstantinischen Wende aufblühende Pilgerwesen an die Heiligen Stätten in Jerusalem und Umgebung hat maßgeblich zu einer Spiritualität des Nachvollzugs „passend zu Zeit und Ort“ beigetragen. In der Performanz liturgischen Feierns wurden Chronologie und Topographie des biblischen Geschehens rasch auch andernorts repräsentiert. Mit ihrer öffentlichen Präsenz und ihrer reichen und überaus dynamischen Symbolik wurden die charakteristischen Feiern des liturgischen Jahres nicht nur gesellschaftlich relevant und kulturgeschichtlich produktiv; sie sind auch eine bevorzugte Quelle liturgischer Theologie genauso wie ein Spiegel von Tendenzen populärer Praxis. Dabei ist häufig eine zunehmende Partikularisierung und Materialisierung der Frömmigkeit festzustellen. Neben dem städtischen Raum und den künstlerischen Ausdrucksformen stellen insbesondere die Prozessionsgesänge einen noch lange nicht gehobenen Schatz interdisziplinärer Forschung dar, die an der Universität Regensburg lange Tradition und im Forum Mittelalter einen privilegierten Kontext hat.