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New User Guide JUNE 12, ST. JOHN of SAN
JUNE 12, ST. JOHN OF SAN FACUNDO, CONFESSOR Errors? [email protected] St. John was born at St. Facundus in Spain, and belonged to the Augustinian Order. He was distinguished for his devotion during holy Mass; he loved peace-making and brought an end to a civil war among the factions in Salamanca. He died June 11, 1479. Commemoration of Sts. Basilides, Cyrinus, Nabor, and Nazarius: These men were Christian soldiers in the army of Maxentius. They were beheaded by order of Aurelius, prefect of Rome. New User Guide AT THE FOOT OF THE ALTAR AT THE FOOT OF THE ALTAR (Kneel) (Kneel) P: †In nómine Patris, et Fílii, et Spíritus P: †In the Name of the Father, and of Sancti. Amen. the Son, and of the Holy Spirit. Amen. P: Introíbo ad altáre Dei. P: I will go unto the altar of God. S: Ad Deum qui lætíficat juventútem S: To God, Who gives joy to my youth. meam. (Psalm 42) (Psalm 42) P: Júdica me, Deus, et discérne P: Judge me, O God, and distinguish causam meam de gente non sancta: my cause from the unholy nation, ab hómine iníquo et dolóso érue me. deliver me from the unjust and deceitful man. S: Quia tu es, Deus, fortitúdo mea: S: For Thou, O God, art my strength, quare me repulísti, et quare tristis why hast Thou cast me off? And why incédo, dum afflígit me inimícus? do I go about in sadness, while the enemy afflicts me? P: Emítte lucem tuam, et veritátem P: Send forth Thy light and Thy truth: tuam: ipsa me deduxérunt, et they have conducted me and brought adduxérunt in montem sanctum tuum, me unto Thy holy mount, and into Thy et in tabernácula tua. -
Dominican Rite Practicum
LSFT 2405 Dominican Rite Practicum Prepared by the Instructor 2020 Dominican School of Philosophy and Theology Fall 2020 LSFT 2405 First Meeting: Saturday, 9/5, SAP Library, 7:30 pm Dominican Rite Practicum Instructor: Fr. Augustine Thompson O.P. Office Hours: TBA at St. Albert’s Priory Course Description This course is a 1.5 unit graded liturgical practicum open to Dominican friar students, normally after residency year, best in the year of deaconal or priestly ordination. The goal is to acquire the ability to celebrate Low Mass and Missa Cantata according to the traditional Dominican Rite in Latin. The outcome will be a correct and fluid "dry Mass" celebration of the Dominican Rite Low Mass and of the Missa Cantata. These two exercises will in equal parts provide the two graded "exams" of the course. The format will be a practicum in which students perform the rite under the direction of the instructor. Admission to the Class Dominican friars who would like to be admitted to the class need to arrange an interview with the instructor. At the interview they will be asked to recite from memory the texts found on the next page. This memorization is not-negotiable and will serve to prove that the student is ready to undertake the heavy memorization element of the class. As this class is only open to Western Dominican Province student brothers it will be held at St. Albert’s with social distancing. Required Books and Materials William R. Bonniwell, ed., Dominican Ceremonial for Mass and Benediction (1946; rpt. Oakland: Dominican Liturgy Publications, 2012), $22.75, order at: http://www.lulu.com/shop/william-r-bonniwell-op/dominican-ceremonial-for-mass-and-b enediction/hardcover/product-21602438.html Dominican Altar Boys' Manual According to the Rite of the Order of Preachrs (1945; rpt. -
MA Thesis Ceremonials FINAL
ABSTRACT CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg Rituals have been used throughout history as a way to process change and emotion. In the modern day, people are beginning to turn away from organized religion and to take on more personalized rituals and spirituality. As such, identifying as a witch is a growing phenomenon that serves to empower many personally, politically, and spiritually. This creative thesis takes an autobiographical approach to explore how ritual and the identity of the witch can be used as tools of empowerment, tracing the artist’s own journey from Catholicism to a more fluid spiritual life. On February 22nd, 2019, Ceremonials: A Ritual Play opened as part of Miami University’s Independent Artist Series. The play was devised with a student ensemble over a period of five months and stands as the culmination of a series of performance projects that sought to combine ritual and theatre. This portfolio spans the breadth of that practice-based research and includes examples from performance experiments and the devising process, as well as reflections on how ritual and devised theatre can help to empower the individual and the artist. CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Rachel Lynn Brandenburg Miami University Oxford, Ohio 2019 Advisor: Saffron Henke Reader: Julia Guichard Reader: Christiana Molldrem Harkulich ©2019 Rachel Lynn Brandenburg This Thesis titled CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg has been approved for publication by The College of Creative Arts and Department of Theatre ____________________________________________________ Saffron Henke, MFA ______________________________________________________ Julia Guichard, MFA _______________________________________________________ Christiana Molldrem Harkulich, PhD Table of Contents 1. -
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Mea Culpa: Public Apology, Prime Minister Stephen Harper, and Indian Residential Schools Lauren Pais You cannot see the future with tears in your eyes -Navajo Proverb The adage that history is written by the victors is becoming increasingly outmoded in a world in which once “voiceless” and/or minority groups are now asserting their rights and demanding acknowledgement of, and apologies for, their past mistreatment. Indeed, the post- Cold War decades have seen a proliferation of apologies issued by heads of state, religious and community leaders, celebrities, and even corporate entities for injustices committed in the past. For example, in 1997 President Clinton apologized to the victims of Tuskegee Syphilis Experiment; in 1995 the Japanese government expressed remorse to the two hundred thousand Asian “comfort women” forced into prostitution and murdered during World War II; in 2000 Pope John Paul II issued a sweeping mea culpa for the wrongdoings of the Catholic Church over its history1; and, of greatest interest to this article, in 2008 Prime Minister Stephen Harper issued a public apology to victims of the Canadian Residential Schooling system. Public and collective apologies have captured the interest of many scholars: Roy Brooks has characterized the post-Cold War era as the “Age of Apology;”2 Emily Mitchell has labeled the 1990s as the “decade of atonement;”3 and Elazar Barkan commented on the international 1 Jason A. Edwards, “Apologizing for the Past for a Better Future: Collective Apologies in the United States, Australia and Canada,” (Southern Communication Journal Volume 75, No. 1, January-March 2010), 57. 2 Roy Brooks, Ed., When Sorry Isn't Enough: The Controversy Over Apologies and Reparations for Human Injustice (New York: NYU Press, 1999), 3. -
Closing Eucharist
Thursday 27 November 2014 Closing Eucharist Peterborough Diocese Ministers’ Conference 2014 2 The Gathering Please stand for the opening hymn 1 Lord, for the years your love has kept and guided, urged and inspired us, cheered us on our way, sought us and saved us, pardoned and provided, Lord of the years, we bring our thanks today. 2 Lord, for that word, the word of life which fires us, speaks to our hearts and sets our souls ablaze, teaches and trains, rebukes us and inspires us, Lord of the word, receive your people's praise. 3 Lord, for our land, in this our generation, spirits oppressed by pleasure, wealth and care; for young and old, for commonwealth and nation, Lord of our land, be pleased to hear our prayer. 4 Lord, for our world; where we disown and doubt you, loveless in strength, and comfortless in pain; hungry and helpless, lost indeed without you, Lord of the world, we pray that Christ may reign. 5 Lord, for ourselves; in living power remake us - self on the cross and Christ upon the throne, past put behind us, for the future take us: Lord of our lives, to live for Christ alone. Timothy Dudley-Smith (b.1926) 3 The Greeting The grace of our Lord Jesus Christ, the love of God and the fellowship of the Holy Spirit be with you All and also with you. God in Christ has revealed his glory All Come let us worship. From the rising of the sun to its setting All The Lord’s name be praised. -
Augustine and the Art of Ruling in the Carolingian Imperial Period
Augustine and the Art of Ruling in the Carolingian Imperial Period This volume is an investigation of how Augustine was received in the Carolingian period, and the elements of his thought which had an impact on Carolingian ideas of ‘state’, rulership and ethics. It focuses on Alcuin of York and Hincmar of Rheims, authors and political advisers to Charlemagne and to Charles the Bald, respectively. It examines how they used Augustinian political thought and ethics, as manifested in the De civitate Dei, to give more weight to their advice. A comparative approach sheds light on the differences between Charlemagne’s reign and that of his grandson. It scrutinizes Alcuin’s and Hincmar’s discussions of empire, rulership and the moral conduct of political agents during which both drew on the De civitate Dei, although each came away with a different understanding. By means of a philological–historical approach, the book offers a deeper reading and treats the Latin texts as political discourses defined by content and language. Sophia Moesch is currently an SNSF-funded postdoctoral fellow at the University of Oxford, working on a project entitled ‘Developing Principles of Good Govern- ance: Latin and Greek Political Advice during the Carolingian and Macedonian Reforms’. She completed her PhD in History at King’s College London. Augustine and the Art of Ruling in the Carolingian Imperial Period Political Discourse in Alcuin of York and Hincmar of Rheims Sophia Moesch First published 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business Published with the support of the Swiss National Science Foundation. -
ST MARY's CATHEDRAL Solemn Mass
ST MARY’S CATHEDRAL Solemn Mass Twenty first Sunday of the Year 23 August 2020 10.30am WELCOME to St Mary’s Cathedral which stands in the centre of Sydney as a Christian statement of grace and beauty. Generations of artists have bequeathed to it their magnificent gifts in stone and glass, designing a unique space of solace and prayer within this vibrant city. This Cathedral represents the spiritual origins of the Catholic Church in Australia. It is one of Sydney’s most treasured historic buildings and one of the finest examples of English-style gothic churches in the world. William Wilkinson Wardell, the 19th century architect, dreamed of a gothic structure shaped from the local yellow-block sandstone on which this city is built. The building was finally completed 100 years after the architect’s death. The Cathedral is dedicated to Mary, Immaculate Mother of God, Help of Christians. THE CATHEDRAL CHOIR St Mary’s Cathedral Choir is the oldest musical institution in Australia. In 1818 a group of choristers was formed to sing Vespers before the Blessed Sacrament in the Dempsey household, the centre of Catholic worship in the penal colony. After the establishment of St Mary’s Cathedral in 1833 the successors of these choristers formed the permanent Cathedral Choir. In faithfulness to the Benedictine English tradition from which the Cathedral’s founders came, the Choir is formed of men and boys, preserving the historical character of Catholic liturgical and musical heritage. St Mary’s is the only Catholic Cathedral in Australia to have an on-site Choir School where the twenty-four boy choristers are educated. -
Low Requiem Mass
REQUIEM LOW MASS FOR TWO SERVERS The Requiem Mass is very ancient in its origin, being the predecessor of the current Roman Rite (i.e., the so- called “Tridentine Rite”) of Mass before the majority of the gallicanizations1 of the Mass were introduced. And so, many ancient features, in the form of omissions from the normal customs of Low Mass, are observed2. A. Interwoven into the beautiful and spiritually consoling Requiem Rite is the liturgical principle, that all blessings are reserved for the deceased soul(s) for whose repose the Mass is being celebrated. This principle is put into action through the omission of these blessings: 1. Holy water is not taken before processing into the Sanctuary. 2. The sign of the Cross is not made at the beginning of the Introit3. 3. C does not kiss the praeconium4 of the Gospel after reading it5. 4. During the Offertory, the water is not blessed before being mixed with the wine in the chalice6. 5. The Last Blessing is not given. B. All solita oscula that the servers usually perform are omitted, namely: . When giving and receiving the biretta. When presenting and receiving the cruets at the Offertory. C. Also absent from the Requiem Mass are all Gloria Patris, namely during the Introit and the Lavabo. D. The Preparatory Prayers are said in an abbreviated form: . The entire of Psalm 42 (Judica me) is omitted; consequently the prayers begin with the sign of the Cross and then “Adjutorium nostrum…” is immediately said. After this, the remainder of the Preparatory Prayers are said as usual. -
The Glory of the Lord Shone Round About Them
the glory of the Lord shone round about them Western Koshkonong Ev. Lutheran Church 2633 Church Street, Cottage Grove, Wisconsin (Town of Pleasant Springs) Thomas A. Heyn, Pastor (608) 873-6744 www.westernkoshkonong.org Christmas Day Worship December 25, 2017 The Glory of the Lord Please stand [SING] (Hymn 116 alternating with hymn 114) Angels we have heard on high, sweetly singing o’er the plains, And the mountains in reply, echoing their joyous strains: Gloria in excelsis Deo, Gloria in excelsis Deo. M: Almighty God, before whom angels veil their faces, and in whose presence they delight, with reverence and joy we acknowledge your glory and worship you: Father, Son, and Holy Spirit, one God forever and ever. Angels from the realms of glory Wing your flight o’er all the earth; Once you sang creation’s story; Now proclaim Messiah’s birth: Come and worship, come and worship, Worship Christ the newborn King. M: Confessing our sins and unworthiness, we beg for your mercy and forgiveness, for the sake of Jesus Christ, the Word made flesh to dwell among us, full of grace and truth. Shepherds, why this jubilee? Why your joyous strains prolong? What the gladsome tidings be Which inspire you heav’nly song? Gloria in excelsis Deo, Gloria in excelsis Deo. M: When the fullness of time had come, God sent forth his Son, born of a woman, born under the law, to redeem those who were under the law, that we receive the full rights of sons. Shepherds in the fields abiding, Watching o’er your flocks by night, God with us is now residing—Yonder shines the infant light Come and worship, come and worship, Worship Christ, the newborn King. -
Beyond the Bosphorus: the Holy Land in English Reformation Literature, 1516-1596
BEYOND THE BOSPHORUS: THE HOLY LAND IN ENGLISH REFORMATION LITERATURE, 1516-1596 Jerrod Nathan Rosenbaum A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2019 Approved by: Jessica Wolfe Patrick O’Neill Mary Floyd-Wilson Reid Barbour Megan Matchinske ©2019 Jerrod Nathan Rosenbaum ALL RIGHTS RESERVED ii ABSTRACT Jerrod Rosenbaum: Beyond the Bosphorus: The Holy Land in English Reformation Literature, 1516-1596 (Under the direction of Jessica Wolfe) This dissertation examines the concept of the Holy Land, for purposes of Reformation polemics and apologetics, in sixteenth-century English Literature. The dissertation focuses on two central texts that are indicative of two distinct historical moments of the Protestant Reformation in England. Thomas More's Utopia was first published in Latin at Louvain in 1516, roughly one year before the publication of Martin Luther's Ninety-Five Theses signaled the commencement of the Reformation on the Continent and roughly a decade before the Henrician Reformation in England. As a humanist text, Utopia contains themes pertinent to internal Church reform, while simultaneously warning polemicists and ecclesiastics to leave off their paltry squabbles over non-essential religious matters, lest the unity of the Church catholic be imperiled. More's engagement with the Holy Land is influenced by contemporary researches into the languages of that region, most notably the search for the original and perfect language spoken before the episode at Babel. As the confusion of tongues at Babel functions etiologically to account for the origin of all ideological conflict, it was thought that the rediscovery of the prima lingua might resolve all conflict. -
Gloria in Excelsis Deo
Gloria in excelsis Deo For the Bach cantata of that title, see Gloria in excelsis 1 History Deo, BWV 191. "Gloria in excelsis Deo"(Latin for “Glory to God in the It is an example of the psalmi idiotici (“private psalms”, i.e. compositions by individuals in imitation of the bib- lical Psalter) that were popular in the 2nd and 3rd cen- turies. Other surviving examples of this lyric poetry are the Te Deum and the Phos Hilaron.[3] In the 4th century it became part of morning prayers, and is still recited in the Byzantine Rite Orthros service.[1] The Latin translation is traditionally attributed to Saint Hilary of Poitiers (c. 300–368), who may have learned it while in the East (359–360); as such, it is part of a loose tradition of early Latin translations of the scripture known as the Vetus Latina.[3] The Vulgate Latin transla- tion of the Bible was commissioned only in 382.[4] The Latin hymn thus uses the word excelsis to translate the Greek word ὑψίστοις (the highest) in Luke 2:14, not the word altissimis, which Saint Jerome preferred for his translation. However, this word is used near the end: tu solus Altissimus, Jesu Christe (you alone the Most High, Jesus Christ). 2 Present-day Greek text 3 Present-day Latin text Glória in excélsis Deo et in terra pax homínibus bonæ voluntátis. Laudámus te, benedícimus te, adorámus te, glorificámus te, grátias ágimus tibi propter magnam glóriam tuam, Dómine Deus, Rex cæléstis, Deus Pater omnípotens. highest”) is a Christian hymn known also as the Greater Doxology (as distinguished from the “Minor Doxology” Dómine Fili unigénite, Jesu Christe, [1][2] or Gloria Patri) and the Angelic Hymn. -
In Latin and English
THE HOLY MASS OF THE SECOND VATICAN COUNCIL in Latin and English for the Solemn Celebration of the Ordinary Form of the Roman Rite at St. John the Beloved Catholic Church in McLean, Virginia “Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites.” (Vatican II, Sacrosanctum Concilium, n. 36) “Steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them.” (Vatican II, Sacrosanctum Concilium, n. 50) “Pastors of souls should take care that besides the vernacular ‘the faith- ful may also be able to say or sing together in Latin those parts of the Ordinary of the Mass which pertain to them.”’ (Sacred Congregation of Rites, Musicam sacram (1967), n. 47) “The Roman Church has special obligations towards Latin, the splen- did language of ancient Rome, and she must manifest them whenever the occasion presents itself.” (John Paul II, Dominicae cenae (1980), n. 10) “Mass is celebrated either in Latin or in another language, provided that liturgical texts are used which have been approved according to the norm of law. Except in the case of celebrations of the Mass that are scheduled by the ecclesiastical authorities to take place in the language of the people, Priests are always and everywhere permitted to celebrate Mass in Latin.” (Congregation for Divine Worship and the Discipline of the Sacraments, Redemptionis Sacramentum (2004), n. 112) “I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we for- get that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.” (Bene- dict XVI, Sacramentum caritatis (2007), n.