The bestselling author of The Cloister Walk reflects on the sanctifying possibilities of everyday work and how God is present in worship and liturgy as well as in ordinary life. Definitely not "for women only."

Among the most beautiful prayers ever composed, the 'O' Antiphons have for twelve centuries voiced the Church's longing for Christ's Coming at Christmas. In this remarkable book Oliver Treanor explores the rich biblical background to each Antiphon and, drawing on the spiritual tradition of the Fathers and the teachings of Vatican II as well, leads us to the deep sources of meditation that lie within the texts. Here is an ideal Advent companion for individuals or groups seeking to recharge their spirituality for Christmas - and indeed throughout the year. For the 'O' Antiphons guide us beyond Advent into the entire mystery of salvation, bringing us beyond the Christmas season to the Paschal Mystery itself. It is in fact a book for all seasons. Oliver Treanor is author of Mother of the Redeemer, Mother of the Redeemed; he has written for L'Osservatore Romano, Priests and People, Religious Life Review, Theology Digest and many other journals. He has worked for five years as a producer and broadcaster at Vatican Radio.

The Divine Liturgy is the name given to the Eucharist service in the Orthodox Church. This is a well-bound hardcover volume that contains all the material that is necessary from the perspective of the choir and people for the performance of the Divine Liturgy on Sundays and major Feast Days. It also includes the texts of Third and Sixth Hours and other prayers read before and after Communion. In addition, a selection of the most commonly used variable texts from other Orthodox liturgical books is provided. Traditional English is used throughout.

The Egbert Pontifical (Paris, BN lat. 10575) and the Sidney Sussex Pontifical (Cambridge, Sidney Sussex College 100) cast light on the English church in the 10th century. This book presents editions of two of the best known Anglo-Saxon pontificals, the so-called `Egbert Pontifical' (Paris, BN lat. 10575) and the `Sidney Sussex Pontifical' (Cambridge, Sidney Sussex College 100). The pontifical was abishop's book which contained the various ceremonies which ony a bishop could perform: consecration of a church or cemetary, consecration of all orders of clergy and of abbots and abbesses, and the coronation of a king. The various pontifical services in these two manuscripts, therefore, help to illustrate the nature of these solemn ceremonies in Anglo-Saxon England, and are a valuable index of the state of the English chuch in the 10th century.

"Common Prayer" explores the relationship between prayer and poetry in the century following the Protestant Reformation. Ramie Targoff challenges the conventional and largely misleading distinctions between the ritualized world of Catholicism and the more individualistic focus of Protestantism. Early modern England, she demonstrates, was characterized less by the triumph of religious interiority than by efforts to shape public forms of devotion. This provocatively revisionist argument will have major implications for early modern studies.
Through readings of William Shakespeare's "Hamlet, " Richard Hooker's "Lawes of Ecclesiastical Politie," Philip Sidney's "Apology for Poetry" and his translations of the Psalms, John Donne's sermons and poems, and George Herbert's "The Temple, " Targoff uncovers the period's pervasive and often surprising interest in cultivating public and formalized models of worship. At the heart of this study lies an original and daring approach to understanding the origins of devotional poetry; Targoff shows how the projects of composing eloquent verse and improving liturgical worship come to be deeply intertwined. New literary practices, then, became a powerful means of forging common prayer, or controlling private and otherwise unmanageable expressions of faith.

A wide-ranging collection of resources for Advent, Christmas, Lent, Easter, Pentecost, Transfiguration, Harvest, Holocaust Memorial Day, Mothering Sunday, and other special days, and on areas of concern, like refugees and peacemaking. Worship rooted in city and country, in work and in schools, in peacemaking and the eradication of poverty, in churches and the Iona Community resident group ... So - as always with the Iona Community - worship which is contextual, prophetic, with a strong justice and peace edge.

The liturgical chant sung in the churches of Southern Italy between the ninth and thirteenth centuries reflects the multiculturalism of a territory in which Romans, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were all present with various titles and political roles. Chants, Hypertext, and Prosulas examines a specific genre, the prosulas that were composed to embellish and expand pre-existing liturgical chants. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics of the city of Benevento. These texts shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality, and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological 'beyond', and in their interconnectedness with the parent chant, these prosulas can be likened to modern hypertexts. In this book, author Luisa Nardini presents the first comprehensive study to integrate textual and musical analyses of liturgical prosulas as they were recorded in Beneventan manuscripts. Discussing general features of prosulas in southern Italy and their relation to contemporary liturgical genres (e.g., tropes, sequences, hymns), Nardini firmly situates Beneventan prosulas within the broader context of European musical history. An invaluable reference for the field, Chants, Hypertext, and Prosulas provides a new understanding of the phonetic and morphological transformations of the Latin language in medieval Italy, and clarifies the use of perennially puzzling features of Beneventan notation.

Penitential practice in the Holy Roman Empire 900-1050, examined through records in church law, the liturgy, monastic and other sources. This study examines all forms of penitential practice in the Holy Roman Empire under the Ottonian and Salian Reich, c.900 - c.1050. This crucial period in the history of penance, falling between the Carolingians' codification of public and private penance, and the promotion of the practice of confession in the thirteenth century, has largely been ignored by historians. Tracing the varieties of penitential practice recorded in church law, the liturgy, monastic practice, narrative and documentary sources, Dr Hamilton's book argues that many of the changes previously attributed to the twelfth and thirteenth centuries can be found earlier in the tenth and early eleventh centuries. Whilst acknowledging that there was a degree of continuity from the Carolingian period, she asserts that the period should be seen as having its own dynamic. Investigating the sources for penitential practice by genre, sheacknowledges the prescriptive bias of many of them and points ways around the problem in order to establish the reality of practice in this area at this time. This book thus studies the Church in action in the tenth and eleventh centuries, the reality of relations between churchmen, and between churchmen and the laity, as well as the nature of clerical aspirations. It examines the legacy left by the Carolingian reformers and contributes to our understanding of pre-Gregorian mentalities in the period before the late eleventh-century reforms. SARAH HAMILTON teaches in the Department of History, University of Exeter.

The chroniclers of medieval Rus were monks, who celebrated the divine services of the Byzantine church throughout every day. This study is the first to analyze how these rituals shaped their writing of the Rus Primary Chronicle, the first written history of the East Slavs. During the eleventh century, chroniclers in Kiev learned about the conversion of the Roman Empire by celebrating a series of distinctively Byzantine liturgical feasts. When the services concluded, and the clerics sought to compose a native history for their own people, they instinctively drew on the sacred stories that they sang at church. The result was a myth of Christian origins for Rus - a myth promulgated even today by the Russian government - which reproduced the Christian origins myth of the Byzantine Empire. The book uncovers this ritual subtext and reconstructs the intricate web of liturgical narratives that underlie this foundational text of pre-modern Slavic civilization.

This comprehensive work represents a complete but accessible survey of everything related to the Orthodox Church's divine services and is helpfully illustrated throughout. The author begins with a discussion of the nature and origin of Divine worship. He describes the church building, the clergy who perform divine services and their vestments, and the cycles of public worship. The services of Great Vespers, Matins, and the Divine Liturgy are reviewed in detail, as are festal services, and different services of need: Baptism and Chrismation, Confession, Ordination, Matrimony, Unction, Prayer Services, Monastic Tonsure and Burial, and the Consecration of a Church. The reader will also find a rare discussion of the rite of the Coronation and Anointing of the Tsar. This manual was originally translated and printed before the Russian Revolution. It is suitable both as an introduction to Orthodox worship for the inquirer and as a convenient handbook for those already familiar with the intricacies of Orthodox services.

Events from the history of redemption as reflected in baptism and the Lorda (TM)s Supper in the early church. A systematic investigation of the Traditio Apostolica, the Euchologion of Serapion of Thmuis, the catecheses of Cyrill and John of Jerusalem, Ambrosius, John Chrysostom, Theodor of Mopsuestia and others.

This volume contains the text only of three ordines, Ordo breviarii, Ordo ad Benedicendum Mensam, Ordo Missalis Fratrum Minorum. Haymo of Faversham was an English friar minor, and rose to become the general of the whole order. He worked in Paris, Assisi and Rome from 1230 to 1244, and was employed by Gregory IX in the revision of the Breviary of the Roman Curia, which eventually became the Breviary of the whole Roman Catholic church.

Musical notation has not always existed: in the West, musical traditions have often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations. An overview of the study of neumatic notations from the French monastic scholar Dom Jean Mabillon (1632-1707) up to the present day precedes an examination of the function and potential of writing in support of a musical practice which continued to depend on trained memory. Later chapters examine passages of notation to reveal those ways in which scripts were shaped by contemporary rationalizations of musical sound. Finally, the new scripts are situated in the cultural and social contexts in which they emerged.

The chroniclers of medieval Rus were monks, who celebrated the divine services of the Byzantine church throughout every day. This study is the first to analyze how these rituals shaped their writing of the Rus Primary Chronicle, the first written history of the East Slavs. During the eleventh century, chroniclers in Kiev learned about the conversion of the Roman Empire by celebrating a series of distinctively Byzantine liturgical feasts. When the services concluded, and the clerics sought to compose a native history for their own people, they instinctively drew on the sacred stories that they sang at church. The result was a myth of Christian origins for Rus - a myth promulgated even today by the Russian government - which reproduced the Christian origins myth of the Byzantine Empire. The book uncovers this ritual subtext and reconstructs the intricate web of liturgical narratives that underlie this foundational text of pre-modern Slavic civilization.

This essential handbook for the preparation of worship presents the authorised Bible readings (references only) for the liturgical year beginning Advent Sunday 2021. It includes: - a full calendar of the Christian year; - a simple code indicating whether celebrations are mandatory or optional; - complete lectionary references to the Principal, Second and Third services for Sundays, Principal Feasts and Holy Days; - lectionary references for Morning and Evening Prayer; - the Additional Weekday Lectionary; - general readings for saints days and special occasions; - a guide to the liturgical colours of the day. A must-have reference guide for every vestry and parish office. This is the larger-format edition.

The Reformation changed forever how the sacrament of the Eucharist was understood. This study of six canonical early modern lyric poets traces the literary afterlife of what was one of the greatest doctrinal shifts in English history. Sophie Read argues that the move from a literal to a figurative understanding of the phrase 'this is my body' exerted a powerful imaginative pull on successive generations. To illustrate this, she examines in detail the work of Southwell, Donne, Herbert, Crashaw, Vaughan and Milton, who between them represent a broad range of doctrinal and confessional positions, from the Jesuit Southwell to Milton's heterodox Puritanism. Individually, each chapter examines how Eucharistic ideas are expressed through a particular rhetorical trope; together, they illuminate the continued importance of the Eucharist's transformation well into the seventeenth century - not simply as a matter of doctrine, but as a rhetorical and poetic mode.

Liturgics, the study of liturgies, inquires into "the totality of worship culture ... at all levels of church and social life" (Peter Cornehl) and thus has an important function of bridging between theology and cultural sciences. Accordingly, this instruction manual and textbook has been designed for Protestant and Catholic scholars and students alike. It is also suitable as a reference work and offers theologians in service, cultural scientists, and interested laypersons the fundamental information needed for the pending interdisciplinary discourse about cultural phenomena that have arisen from Christianity's culture of worship.

A prized possession of the Cistercian convent of Marienbrunn in Rulle near Osnabruck in northern Germany was its richly illuminated gradual dating to c. 1300, which is of great significance in the history of medieval art for several reasons. With 52 historiated initials iconographically complex in their literary quotations from the liturgy, the manuscript ranks as one of the most lavishly decorated books of its type to survive. Painted in an elegant courtly Gothic style, it is ascribed in a prefatory inscription to the nun Gisela von Kersenbroeck, who wrote, notated, and decorated the manuscript "with golden letters and beautiful images." Such an encyclopedic listing of a scribe-artist's labors is unparalleled in medieval scribal colophons. The high quality of the miniatures ranks her among the most gifted women artists of the Middle Ages. Gisela is depicted in two self-portraits within the manuscript, in one of which she is leading the nuns of Rulle in singing the Christmas hymn, visual evidence that she was the choirmistress at this convent. The manuscript's images reflect the intellectual ambience of encloistered nuns who were steeped in the annual liturgical cycle of feasts with its associated bible readings, theological commentary, sermons, music, dramatic ritual, and artistic decoration. As it was used in the nuns' daily celebration of the mass, the book is an eloquent witness of the communal religious life of medieval women rather than their private meditations or mystical experiences.This study explores the imagery and texts associated with major feasts of the liturgical year and the novel ways in which music and text are woven into the artistic program of Gisela's manuscript. In particular, her book shows the seminal importance of the Easter celebration for convent life, as well over half of its illustrations are clustered in the Easter season; and the manuscript repeatedly gives artistic expression to the nuns' hopes of heaven.