Augustine Sermons 306-340
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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. -
The Strength Needed to Enter the Kingdom of God
Wissenschaftliche Untersuchungen zum Neuen Testament · 2. Reihe Herausgeber / Editor Jörg Frey (Zürich) Mitherausgeber/Associate Editors Markus Bockmuehl (Oxford) · James A. Kelhoffer (Uppsala) Tobias Nicklas (Regensburg) · Janet Spittler (Charlottesville, VA) J. Ross Wagner (Durham, NC) 485 Giuseppe G. Scollo The Strength Needed to Enter the Kingdom of God An Exegetical and Theological Study of Luke 16,16 in Context Mohr Siebeck Giuseppe G. Scollo, born 1978; 2000 Bachelor of Catholic Thought from St. Philip’s Seminary (Toronto); 2007 M.Div. from St. Augustine’s Seminary (Toronto); 2013 S.S.L. from the Ponti- fical Biblical Institute (Rome); 2018 S.T.D. from the Pontifical Gregorian University (Rome); currently vice-rector of the Redemptoris Mater Missionary Seminary of Toronto and assistant professor at St. Augustine’s Academic Faculty. ISBN 978-3-16-156859-6 / eISBN 978-3-16-156860-2 DOI 10.1628 / 978-3-16-156860-2 ISSN 0340-9570 / eISSN 2568-7484 (Wissenschaftliche Untersuchungen zum Neuen Testa- ment, 2. Reihe) The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Mohr Siebeck Tübingen, Germany. www.mohrsiebeck.com This book may not be reproduced, in whole or in part, in any form (beyond that permitted by copyright law) without the publisher’s written permission. This applies particularly to repro- ductions, translations and storage and processing in electronic systems. The book was printed by Laupp & Göbel in Gomaringen on non-aging paper and bound by Buchbinderei Nädele in Nehren. BWLexs, Bwgrkn, Bwheba, and Bwhebb are fonts from BibleWorks, LLC. -
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 Principal Works of St. Jerome by St
NPNF2-06. Jerome: The Principal Works of St. Jerome by St. Jerome About NPNF2-06. Jerome: The Principal Works of St. Jerome by St. Jerome Title: NPNF2-06. Jerome: The Principal Works of St. Jerome URL: http://www.ccel.org/ccel/schaff/npnf206.html Author(s): Jerome, St. Schaff, Philip (1819-1893) (Editor) Freemantle, M.A., The Hon. W.H. (Translator) Publisher: Grand Rapids, MI: Christian Classics Ethereal Library Print Basis: New York: Christian Literature Publishing Co., 1892 Source: Logos Inc. Rights: Public Domain Status: This volume has been carefully proofread and corrected. CCEL Subjects: All; Proofed; Early Church; LC Call no: BR60 LC Subjects: Christianity Early Christian Literature. Fathers of the Church, etc. NPNF2-06. Jerome: The Principal Works of St. Jerome St. Jerome Table of Contents About This Book. p. ii Title Page.. p. 1 Title Page.. p. 2 Translator©s Preface.. p. 3 Prolegomena to Jerome.. p. 4 Introductory.. p. 4 Contemporary History.. p. 4 Life of Jerome.. p. 10 The Writings of Jerome.. p. 22 Estimate of the Scope and Value of Jerome©s Writings.. p. 26 Character and Influence of Jerome.. p. 32 Chronological Tables of the Life and Times of St. Jerome A.D. 345-420.. p. 33 The Letters of St. Jerome.. p. 40 To Innocent.. p. 40 To Theodosius and the Rest of the Anchorites.. p. 44 To Rufinus the Monk.. p. 44 To Florentius.. p. 48 To Florentius.. p. 49 To Julian, a Deacon of Antioch.. p. 50 To Chromatius, Jovinus, and Eusebius.. p. 51 To Niceas, Sub-Deacon of Aquileia. -
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. -
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G
Virgil, Aeneid 11 (Pallas & Camilla) 1–224, 498–521, 532–96, 648–89, 725–835 G Latin text, study aids with vocabulary, and commentary ILDENHARD INGO GILDENHARD AND JOHN HENDERSON A dead boy (Pallas) and the death of a girl (Camilla) loom over the opening and the closing part of the eleventh book of the Aeneid. Following the savage slaughter in Aeneid 10, the AND book opens in a mournful mood as the warring parti es revisit yesterday’s killing fi elds to att end to their dead. One casualty in parti cular commands att enti on: Aeneas’ protégé H Pallas, killed and despoiled by Turnus in the previous book. His death plunges his father ENDERSON Evander and his surrogate father Aeneas into heart-rending despair – and helps set up the foundati onal act of sacrifi cial brutality that caps the poem, when Aeneas seeks to avenge Pallas by slaying Turnus in wrathful fury. Turnus’ departure from the living is prefi gured by that of his ally Camilla, a maiden schooled in the marti al arts, who sets the mold for warrior princesses such as Xena and Wonder Woman. In the fi nal third of Aeneid 11, she wreaks havoc not just on the batt lefi eld but on gender stereotypes and the conventi ons of the epic genre, before she too succumbs to a premature death. In the porti ons of the book selected for discussion here, Virgil off ers some of his most emoti ve (and disturbing) meditati ons on the tragic nature of human existence – but also knows how to lighten the mood with a bit of drag. -
A Commentary on Jerome's Contra Vigilantium by Amy
A COMMENTARY ON JEROME’S CONTRA VIGILANTIUM BY AMY HYE OH DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Classical Philology with a concentration in Medieval Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Danuta Shanzer Professor Ralph Mathisen Professor Jon Solomon Professor Stephan Heilan, University of Osnabrück ABSTRACT Innkeepers inspired this dissertation. After working on ‘innkeepers’ as a topic for a research seminar paper, I soon discovered that the term caupo counted as an insult according to several church fathers, including Jerome. In the Contra Vigilantium, Jerome mocked his enemy, Vigilantius, by calling him a caupo who mixed water with wine; I wondered whether the title was true and the insult was deserved. What remained was to figure out who this man was and why he mattered. The dissertation is comprised of four parts: introductory chapters, a text with an en face translation, a philological/historical commentary, and appendices. The first chapter introduces Vigilantius, discusses why a commentary of the Contra Vigilantium is needed, and provides a biography, supported by literary and historical evidence in response to the bolder and more fanciful account of W.S. Gilly.1 The second chapter treats Vigilantius as an exegete. From a sample of his exegesis preserved in Jerome’s Ep. 61, I determine that Jerome dismissed Vigilantius’ exegesis because he wanted to protect his own orthodoxy. The third chapter situates Vigilantius in the debate on relic worship. His position is valuable because he opposed most of his contemporaries, decrying relics instead of supporting their translation and veneration. -
Singing Monastic Vespers Webinar
Singing Monastic Vespers: a 4-part Webinar Dom Benedict Andersen, OSB Dr. Jennifer Donelson-Nowicka Priest-monk of Silverstream Priory Associate Professor and Director of Sacred Music County Meath, Ireland St. Joseph’s Seminary (Dunwoodie), New York CenacleOSB.org JenniferDonelson.com Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator Overview 5:00-5:40 - Lesson 5:40-6:10 - Sing Vespers Hang around for Q and A afterwards if you’d like 4 Parts Psalms and Psalm Tones Antiphons and Complex Psalm Tone Endings Hymns, Responsories, and Magnifcats How to sing different feasts and seasons after the webinar ends Overview Today 5:00-5:40 Spiritual refection Overview of the Structure of Vespers Some Preliminary Resources More will be shared in the 4th session of the webinar How Psalm Tones Work Singing Psalm Tone 2, 8G, and 7c2 Some Spiritual Considerations Rule of Saint Benedict, chapter 19: Psallite sapienter — Cum tremore — In conspectu Angelorum (Ps. 46, Ps. 2, Ps. 137) The context of Temple worship: cosmic, model of creation “Lights to divide the day and the night” (Gen. 1:14): Day four, the menorah “The light shines in the darkness … “In him was life, and the life was the light of men … The Word was made fesh and pitched his tent among us” (Jn. 1) “He camest, Bridegroom of the Bride / As drew the world toward eventide…” (Creator alme siderum) “My prayer as incense … the lifting up of my hands, an evening sacrifce” (Ps. 140) “The Theotokos, the Mother of the Light” (Byzantine Orthros): Mary/Cross/Incarnation Monastic Vespers: Structure The Opening Versicles “Deus in adjutorium meum intende …” “Gloria Patri” and “Sicut erat” “Alleluia” or when forbidden, in its place: “Laus tibi Domine Rex æternæ gloriæ” Pater, Ave According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently. -
The Greeks Had Numerous Gods and Many Stories and Myths That Surrounded Them
Year 4, Week 2, Tuesday English grammar - To use paragraphs correctly As we will be writing an information text this week, today we will be revisiting using paragraphs correctly. We need to use paragraphs for cohesion. This means all related facts are together so the text as a whole makes sense. For example, we would not write about Zeus’ life and Athena’s temple in the same paragraph. In your Home Learning book, sort the sentences below into paragraphs and give each paragraph a subheading. The answers and possible subheadings are on the next page. Extension: Can you add any sentences of your own to include in the paragraphs? The Greeks had numerous gods and many stories and myths that surrounded them. The Titans were the first or elder gods. There were twelve of them including the parents of Zeus, Cronus and Rhea. They ruled during what was called the golden age. Athena was worshipped near the Parthenon as she was victorious in war. Greek mythology consists of all the stories and tales about the Greek gods, goddesses, and heroes. Athena was the Greek goddess of wisdom, defense and war. Her symbols are the owl and the olive branch. She is the patron god of Athens. The twelve Olympian gods were the major gods of the Greeks and lived on Mount Olympus. The Titans were overthrown by their children, led by Zeus. Zeus was the leader of the Olympians and god of the sky and lightning. His symbol is the lightning bolt. A temple, named the Parthenon, was built in 438BC on the Acropolis of Athens. -
Tertullian's Ideal Christian
TERTULLIAN’S IDEAL CHRISTIAN: The Ideals of Persecution and Martyrdom in the True Christian Life By Robert Mooney A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Religious Studies University of Alberta Robert Mooney, 2014 ii TERTULLIAN’S IDEAL CHRISTIAN: The Ideals of Persecution and Martyrdom in the True Christian Life ABSTRACT What mattered most to Tertullian was the fate of the Christian soul. During this early period in Christian history, the threat of persecution came to the forefront of Christian thought with a change in government leadership or opposition from other communities. To combat the fear of persecution and remain on the path towards salvation Tertullian saw a need for Christians to be distinct from other communities in Carthage. The development of this identity and why it may have been acceptable to the Carthaginian Christian community is the focus of this essay. To address Tertullian’s argument for the ideal Christian requires evidence to justify the ideal. Do events and attitudes from the past intertwine within the communities in Carthage and Africa during Tertullian’s life? Is Tertullian’s writing, much of which occurred between 196- 207 A.D.,1 consistent with the reports of past writers? This information would allow for a sympathetic look at his writing and intentions. The approach taken in this essay is to examine the development of Tertullian’s argument in six parts. The first will briefly examine the arrival of Christians in Africa and some of the influences on the adoption of a retributive Christianity. -
General Instruction of the Roman Missal
Copyright © 2003, United States Catholic Conference, Inc., Washington, D.C. All rights reserved. General Instruction of the Roman Missal Including Adaptations for the Dioceses of the United States of America Concordat cum originali: Msgr. James Patrick Moroney Executive Director, Secretariat for the Liturgy United States Conference of Catholic Bishops The English translation of the General Instruction of the Roman Missal (Third Typical Edition) © 2002, International Committee on English in the Liturgy, Inc. All rights reserved. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright holder. This text is confirmed for use in the Dioceses of the United States of America. Persons from other nations should consult the local Episcopal Conference regarding the appropriate text for their nation. 1 CONTENTS FOREWORD TO THIS EDITION DECREE OF CONFIRMATION DECREE OF PUBLICATION THE GENERAL INSTRUCTION OF THE ROMAN MISSAL PREAMBLE A Witness to Unchanged Faith A Witness to Unbroken Tradition Accommodation to New Conditions CHAPTER I THE IMPORTANCE AND DIGNITY OF THE EUCHARISTIC CELEBRATION CHAPTER II THE STRUCTURE OF THE MASS, ITS ELEMENTS AND ITS PARTS I. THE GENERAL STRUCTURE OF THE MASS II. THE DIFFERENT ELEMENTS OF THE MASS Reading and Explaining the Word of God The Prayers and Other Parts Pertaining to the Priest The Other Formulas in the Celebration The Vocal Expression of the Different Texts The Importance of Singing Movements and Posture Silence III. THE INDIVIDUAL PARTS OF THE MASS A.