Dissertationen: „Bon rituals“

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Bhutia, Kunsang Ongmu. „Bhutia (LHOPO), shamans of Sikkim : a study in change and continuity“. Thesis, University of North Bengal, 2021. http://ir.nbu.ac.in/handle/123456789/4804.

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Biriba, Ricardo Barreto. „Parintins cidade ritual: boi-bumbá, performance e espetacularidade“. Escola de Teatro, 2006. http://repositorio.ufba.br/ri/handle/ri/27484.

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Parintins CIDADE RITUAL: BOI-BUMBÁ PERFORMANCE E ESPETACULARIDADE, concentrado na linha temática Matrizes Culturais na Cena Contemporânea do Curso de Doutorado do Programa de Pós Graduação em Artes Cênicas da Escola de Teatro e Escola de Dança da Universidade Federal da Bahia trata dos processos de transformação ocorridos nos Bois- Bumbás de Parintins, Amazonas. Estes Grupos incorporaram novas tecnologias desenvolvidas por artistas locais, como recursos cênicos para as suas apresentações, que foram intensificadas com a criação do Festival Folclórico no ano de 1965. Situado na investigação de questões relativas a estudos etnocenológicos sobre a linguagem cênica dos Bois-Bumbás Garantido e Caprichoso enquanto fenômenos da cultura amazônica; discute a transculturação, a performance e o ritual enquanto processos dialógicos, entre os valores culturais locais, o imaginário indígena e as novas tecnologias na cena espetacular do Festival Folclórico de Parintins, e, como este interfere na construção da identidade cultural parintinense; contribui para estudos das formas cênicas, métodos e processos criativos de manifestações da cultura brasileira com perfil étnico. Este trabalho traz também para o âmbito acadêmico das artes, estudos a partir de análises dos métodos e dos processos criativos e das linguagens que compõem as cenas dessas manifestações com foco de atenção situado na condição de um espetáculo-ritual-performático e suas relações que se estabelecem entre o artista, a obra de arte e o público.
Parintins Ritual City: Boi-bumbá, Perfomance and Spectacularity concentrated on the themattic line culltural matrixes on the comtemporary scene of the doctorate cource for the Post Graduation Program in Scenic Arts at the Theater School and Dance School at Bahia Federal University deals with the processes of transformation occurred on the Bois-Bumbás of Parintins, Amazon. These groups have incorporated new technologies developed by local artists, as scenic resources to their presentations, that were intensified with the creation of the Folk Festival in 1965. Situated in the investigation of issues related to ethnocenological studies about the scenic language for Bois-Bumbás Garantido and Caprichoso as Amazonic culture phenomena. It discusses the transcultural and transformation processes, performance and ritual, as dialogic processes, among the local cultural values, the indian imaginary and the new technologies on the spectacular scene of the Parintins Folk Festival and as it interferes on the Parintinian cultural identity construction. It contributes to the studies of the scenic forms, methods and creative processes of manifestations with the ethnical profile of the Brazilian Culture. This work also brings to the arts academic extent studies starting from the analysis of the methods and creative processes and of styles that compose the scenes of the manifestation focusing on the condition of the performing ritual spectacle and its relations that are established among the artist, the work of art and the public.

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Hasselmann, Kristiane. „Die Rituale der Freimaurer : zur Konstitution eines bürgerlichen Habitus im England des 18. Jahrhunderts /“. Bielefeld : Transcript, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783899428032.

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Marques, Francisca Helena. „Festa da Boa Morte e Glória: ritual, música e performance“. Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-19022010-174044/.

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Esse trabalho discute a performance ritual e musical durante a Festa da Boa Morte e Glória realizada anualmente na segunda quinzena de agosto na cidade de Cachoeira, Recôncavo da Bahia. Elaborada através de elementos simbólicos, culturais, religiosos e de resistência política e social, a Festa da Boa Morte compreende performances musicais dentro de uma complexa performance ritual que é ao mesmo tempo coletiva e absolutamente restritiva. A Irmandade de Nossa Senhora da Boa Morte é um coletivo de mulheres idosas, todas religiosas enquanto praticantes do candomblé e do catolicismo popular. Como grupo a Irmandade é considerada elite na luta e resistência do negro contra o sofrimento e a escravidão no Brasil. As irmãs foram e são mulheres diferenciadas em vários sentidos: aos olhos da sociedade colonial eram chamadas de negras do partido alto; miticamente transgressoras da ordem masculina são consideradas iamis e organizadas em sacerdócio religioso unindo diferentes nações são donas do axé ou eleyes. As irmãs antigas compraram as alforrias de outros sacerdotes e sacerdotisas africanos, se comprometeram em garantir funerais dignos a si mesmas e aos seus, e mantém uma festa associada aos seus antepassados femininos (eguns) e aos seus orixás durante rituais católicos públicos e do candomblé (secretos). Segundo as irmãs, elas cumprem uma promessa feita pelas mais antigas: se todos os escravos fossem libertos elas cultuariam Maria na vida e na morte. Personagens narrando e encenando repetidamente performances, as irmãs desenvolvem seqüências rituais e musicais que vão da anunciação da morte ao velório de Nossa Senhora no primeiro dia da Festa. No segundo dia é realizado o enterro, e, no terceiro, demonstram sua crença na vida após a morte através da glorificação e assunção de Maria aos céus. Esses são os três principais momentos do ritual público, aos quais se seguem outros três dias de samba de roda que se fundem aos rituais secretos, já em desenvolvimento antes da Festa. O encerramento é marcado pela entrega de um presente às águas, para os orixás femininos Nanã, Iemanjá e Oxum.
This work discusses the musical and ritual performance during the Sisterhood of Good Death Celebration, which occurs in the second half of August in the city of Cachoeira, Recôncavo Area of Bahia. Involving symbolic, cultural, religious, social and political elements, the Sisterhood of Good Death Celebration engages musical performances inside a complex ritual performance that is at the same time collective and absolutely restrictive. The Sisterhood of Good Death is a collective of elderly women, all of them religious while devoted to candomblé and popular Catholicism. As a group, the Sisterhood is considered the elite in the stuggle of black people against oppression and slavery in Brazil. The Sisters were and still are distinguished women in many different ways: during the colonial period, they were called black women from the partido alto; mythically transgressing the dominant masculinity, they are considered iamis and organized in a religious ministry that congregates different candomblé nations. They are also the ones who possess the axé (eleyes). In the past, the sisters bought the manumission of other priests and priestesses, and commited to guaranteeing dignified funerals to themselves and to their people. The Celebration is associated with their female antecessors (eguns) and to their orixás during public catholic rituals and secret candomblé ceremonies. According to the sisters, they are living up to a promise made by their antecessors: If all the slaves were freed, they would all worship Mary in life and in death. Characters narrating and staging repeated performances, the sisters develop ritual and musical sequences which go from the annunciation of the death of the Virgin Mary to her vigil on the first day; on the second she is buried and on the third the Sisters demonstrate their belief in life after death through the glorification and elevation of Mary. These are the three most important moments of the public ritual, followed by three days of samba de roda . The samba takes place parallel to the development of the secret rituals started before the Celebration. On the last day of feast, the sisters deliver a gift to the waters, destinated to the female orixás Nanã, Iemanjá and Oxum.

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Berinyuu, Abraham. „Healing rituals as theological drama : insights from Kaaba healing rituals among the Frafra in Ghana /“. Berlin ;Münster : Lit, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3012700&prov=M&dok_var=1&dok_ext=htm.

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ZIMERER, F. V. S. „ELEMENTOS ESTÉTICOS E RELAÇÕES SIMBÓLICAS NO RITUAL DO REIS DE BOI“. Universidade Federal do Espírito Santo, 2017. http://repositorio.ufes.br/handle/10/8505.

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O Reis de Boi é uma prática cultural encontrada no Norte do estado do Espírito Santo, nas cidades de São Mateus e Conceição da Barra. É uma prática cultural ligada ao ciclo natalino e tem por devoção Santos Reis. Seu período de apresentação acontece do dia 06 de janeiro (dia de Santos Reis) até 03 de fevereiro (dia de São Brás). O Reis de Boi apresenta em seu ritual, além do momento das louvações, um momento mais lúdico e festivo chamado Brincadeira de Boi. Essa característica enquadra essa prática cultural na classificação de Reisado. Possui um ritual complexo, onde tudo é pensado nos mínimos detalhes e cada objeto, cada Marcha, cada movimentação é cuidadosamente preparada. Conta entre seus integrantes com maioria de negros, entretanto é ligada constantemente à uma origem ibérica, por causa da devoção aos Santos Reis. Buscando um discurso menos excludente que visa dar voz aos seus integrantes, que associam sua origem aos antepassados vindos da África, esse trabalho buscou mostrar - através da análise do ritual sob à luz dos Estudos da Performance que o Reis de Boi conserva elementos simbólicos e artísticos, expressos principalmente através das performances corporais de seus integrantes, que evidenciam a contribuição do negro em seu ritual. Palavras-chave: Reis de Boi. Reisado. Performance cultural. Ritual.

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Borralho, Tácito Freire. „O Teatro do Boi do Maranhão: brincadeira, ritual, enredos, gestos e movimentos“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-08032013-145415/.

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O Bumba-meu-boi do Maranhão tem sido objeto de estudo de disciplinas voltadas para o Folclore e também das Ciências Sociais, como a Antropologia e a Sociologia que, além de um registro etnográfico, investigam os aspectos da organização social ou diferentes estruturas organizacionais do Boi (como brincadeira, ritual e espetáculo). Embora alguns componentes teatrais tenham sido levantados nesses estudos (como a teatralidade cômica, a musicalidade, a estrutura das comédias e o desenvolvimento da linguagem literária), estes não caracterizam uma pesquisa voltada para o Boi como fato teatral. No presente trabalho, com a utilização de uma abordagem qualitativa e aplicação da etnometodologia como suporte de investigação teórica, foi possível confirmar a existência de duas formas de teatralização no espetáculo que é o Bumba-meu-boi. Os dados empíricos indicam características que distinguem esse Teatro do Boi como Teatro de Animação (apresentando-se com técnicas mistas) e como teatro Ritualístico, contemplando, assim mesmo, em suas encenações, um diálogo com outras linguagens artísticas. Além disso, os resultados dessa investigação reforçam a relevância do conjunto de saberes que se evidencia com a existência de conhecimentos construídos a partir da reflexão e prática dessa expressão artística. As análises dessas práticas permitiram que fossem elaboradas partituras de gestos e movimentos a partir da identificação de estruturas sob as quais as encenações desse Teatro do Boi e suas personagens são construídas.
The Bumba meu boi do Maranhãoo has been an object of study in subjects approaching Folklore as well as Social Sciences like Anthropology and Sociology which, besides an ethnographic record, they investigate the aspects of the Social organization or different organizational structures of the \"Boi\" (like game, ritual and show). Although some theatrical elements have been researched in these studies (like comical theater, the musicianship, the structures of the comedies and the development of literary language), they do not characterize a research focused on the \"Boi\" as a theatrical fact. In this work, through a qualitative approach and application of ethno methodology as a support for a theoretical investigation, it was possible to confirm the existence of two forms of theatricality in the \"Bumba meu boi\" show. The empirical data indicate distinguishing characteristics in the Boi Theater as Animation Theater (performing with mixed techniques) and as Ritualistic theater, contemplating, so, a dialogue with other artistic languages in its production. In addition, the results from this investigation reinforce the relevance of the amount of knowledge that can be observed with the existence of knowledge built from the reflection and practice of this artistic expression. The analysis of these practices allowed that scores of gestures and movements were made from the identification of structures under which the productions of this Boi Theater and these characters are built.

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Hayes, David. „Ritual fictions: The enigma made flesh in the novels of Tahar Ben Jelloun“. Thesis, University of Canterbury. French, 1999. http://hdl.handle.net/10092/4684.

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Tahar Ben Jelloun is a Moroccan poet and novelist who is presently active and writing in French. This thesis deals primarily with the novelistic works of the author, examining the way in which he uses rituals as a narrative device or as a theme, and how they can be seen to reflect on other salient features of his writing. Ritual is examined as a metaphor whose incorporation into a novel can paradoxically implicate the reader and the author in the work, in the same way that ritual in life may implicate the participants in a myth. The implications of this interpretation are manifold in Ben Jelloun's work, and this thesis examines these under several broad themes, including those of meaning, enigma, freedom and the body. The thesis argues that Ben Jelloun's use of ritual reinforces his strategy of subversion and manipulation as key elements in the generative process.

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Bawanypeck, Daliah. „Die Rituale der Auguren“. Thesis, Heidelberg Winter, 2001. http://deposit.ddb.de/cgi-bin/dokserv?id=2670409&prov=M&dok_var=1&dok_ext=htm.

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Bawanypeck, Daliah. „Die Rituale der Auguren“. Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2670409&prov=M&dokv̲ar=1&doke̲xt=htm.

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Ulmer, Judith S. „Geschichte des Georg-Büchner-Preises Soziologie eines Rituals“. Berlin New York de Gruyter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2848239&prov=M&dok_var=1&dok_ext=htm.

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Vaté, Virginie. „"A bonne épouse, bon éleveur" : genre, "nature" et rituels chez les Tchouktches (Arctique sibérien) avant, pendant et après la période soviétique“. Paris 10, 2003. http://www.theses.fr/2003PA100171.

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L'objectif de la thèse est d'analyser comment s'établit la répartition des rôles entre hommes et femmes en relation avec la "nature", dans ses aspects matériels, techniques et symboliques chez les Tchouktches, peuple de l'Arctique sibérien (Russie). A travers une étude précise et détaillée des activités de la vie quotidienne et des rituels, ce travail tente de montrer que, chez les Tchouktches éleveurs de rennes et chasseurs de mammifères marins, la répartition des rôles entre hommes et femmes s'établit selon un principe croisé de complémentarité et de responsabilité directe ou indirecte. Ainsi, tandis que les hommes sont responsables directement de la santé des rennes et du succès de la chasse par leur habileté et leur savoir, les femmes sont responsables indirectement de la réussite des hommes par le respect des interdits et par la réalisation des rituels, domaine où la compétence des femmes est mise en avant
This dissertation aims at analyzing how the roles between men and women are divided in relation to "nature", through their material, technical and symbolic aspects among the Chukchis, a people of the Siberian Arctic (Russia). On the basis of a precise and detailed study of everyday life activities and of rituals, in this research, I tried to show that, among Chukchi reindeer herders and sea-mammal hunters, the roles between men and women are divided according to a cross-principle of complementarity and direct or indirect responsibility. Thus, while men are directly responsible for the health of the herd and for getting game thanks to their skill and their knowledge, women are indirectly responsible for men's success thanks to the respect of prohibitions and the performance of rituals, where female abilities are underlined

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Opitz, Jeanette. „Rituale und Traditionen christlicher Bussbruderschaften in Bilbao, Spanien“. [S.l. : s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=960179933.

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Pasiziel, Maria. „Trauerräume Trauer, Ritual und Musik“. Saarbrücken VDM, Müller, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2869490&prov=M&dok_var=1&dok_ext=htm.

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Compton, Marissa Deane. „The Living River: Ritual and Reconciliation in The Famished Road“. BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6816.

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In Ben Okri's The Famished Road, rituals such as baptism are easily lost in the dense symbolism. The novel is, in the words of Douglas McCabe, a "ramshackle and untidy affair, a hodge-podge of social ideologies, narrative forms, effusive enthusiasms, and precision-jeweled prose poems" (McCabe 17). This complex untidiness can be discouraging for readers and critics alike, and yet "there is something contagious about the digressive, meandering aesthetic of The Famished Road" that makes the novel difficult to consign to confusion (Omhovere 59). Commonly considered post-colonial, post-modern, and magical-realist, The Famished Road deals with, among other things, spiritualism, family relations, and political and sociological tensions in Nigeria in the decades before its publication in 1991. These themes are depicted with a rush of symbols, and in such a clamor, baptism and other rituals may have trouble making themselves heard. And yet, paying attention to the repeated performance of baptism transforms this audacious, ramshackle novel into a story of liminality, alienation, and reconciliation, a story which celebrates these things as inevitable and necessary parts of life. As readers, we can use baptism to decode The Famished Road. In doing so, the novel develops a cyclical, ongoing narrative focused on the difficulties of and increased agency in liminality and the necessity of ritual, on an individual, familial, and socio-cultural level, in navigating that in-betweeness. I will begin by exploring baptism in The Famished Road in order to understand the performance and power of ritual. Here, ritual acts as a doorway, giving characters a chance to navigate liminality without removing themselves from it. This navigation gives them an increased understanding of how the world works and how they may operate in it. After exploring baptism as a ritual, I will examine Okri's "universal abikuism" and its connection to the flexibility of liminality.

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Rensing, Britta. „Die Wicca-Religion : Theologie, Rituale, Ethik /“. Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3055942&prov=M&dok_var=1&dok_ext=htm.

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Fopp, Simone. „Trauung - Spannungsfelder und Segensräume : empirisch-theologischer Entwurf eines Rituals im Übergang /“. Stuttgart : Kohlhammer, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2967585&prov=M&dok_var=1&dok_ext=htm.

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Schneider, Christoph. „Der Warschauer Kniefall : Ritual, Ereignis und Erzählung /“. Konstanz : UVK, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2755735&prov=M&dokv̲ar=1&doke̲xt=htm.

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Lambert, Spencer Francis. „Examining Large Game Utility and Transport Decisions by Fremont Hunters: A Study of Faunal Bone from Wolf Village, Utah“. BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6832.

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This analysis of faunal bones from Wolf Village focuses on large game and its utility, as evidenced by what is known as the modified general utility index (MGUI). The MGUI proposes that bones at sites reflect transportation and butchering choices made by hunters at kill-butchering sites. According to the assumptions associated with the MGUI, hunters should select animal portions with high food value. The MGUI has been used in Fremont archaeology to provide a rough measure of site function. The expectation is that faunal bones would accompany the prized cuts of large game meat at habitation sites – and the animal parts with little food value would remain at kill-butchering sites because they are not worth the cost to carry them to the village. My analysis of large game animal bones found in excavations at Wolf Village counter these expectations. Fremont hunters at Wolf Village were returning to the site with low-caloric portions of large game, at least part of the time. Results from strontium isotope analysis suggest that many of the large game individuals hunted by the Fremont were not local to the immediate area. This suggests that hunters saw utility in low-caloric elements not related only to food value. Some low-caloric skeletal elements were used by the Fremont to construct bone tools and other objects, and as possible symbolic objects used in abandonment rituals. The results of this research suggests that the MGUI is not appropriate for measuring the utility of animal portions to the Fremont. Only when considering the social and non-caloric economic reasons for transporting low caloric elements, can archaeologists discover the true utility of large game animal parts to Fremont hunters.

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Toraskar, Helen B. „An ethnographic study of a Marathi speech community participating in a wedding ritual“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23425192.

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Audureau, Florian. „Le ciel et ses puissances dans les rituels "magiques" d'époque romaine“. Thesis, Université de Paris (2019-....), 2020. https://wo.app.u-paris.fr/cgi-bin/WebObjects/TheseWeb.woa/wa/show?t=3652&f=29780.

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À la fin de l’Antiquité, en un temps marqué par la recomposition du religieux et par d’intenses interactions culturelles en Méditerranée, astrologie, magie et philosophie entretiennent des rapports étroits, et parfois confus. À ce titre, le corpus des Papyri Graecae Magicae (PGM) permet d’étudier comment l’univers céleste et les dieux du ciel sont intégrés à des dispositifs rituels. Menée dans la perspective combinée de l’histoire des religions, de l’histoire des savoirs et de l’anthropologie des rituels, l’analyse montre que les pratiques religieuses « magiques » sont peu perméables au paradigme conceptuel de l’astrologie hellénistique mais qu’elles peuvent néanmoins en exploiter les outils de manière ponctuelle, une fois reformulé leur mode d’emploi en conformité avec les techniques « magiques ». En outre, l’écriture des rituels comprend des transformations notables qui donnent à des procédures divinatoires de nouvelles orientations religieuses et en font, avec la théurgie néoplatonicienne, des témoins importants pour documenter la mise en place d’un imaginaire de la « mystique ». L’univers du « magicien » apparaît donc comme un monde en soi, connecté aux anciennes cosmologies comme à l’évolution intellectuelle contemporaine
In Late Antiquity, when ancient polytheism was being shaped into new forms and when multicultural interactions were a main feature of Mediterranean societies, astrology, magic, and philosophy were brought into close, and sometimes blurry, contacts. In this respect, the Papyri Graecae Magicae (PGM) allow to study how the heavenly realm is incorporated into ritual recipes. This topic is particularly relevant for the history of religions, the history of science and ritual anthropology. A thorough investigation actually demonstrates that “magic” was not much concerned with Hellenistic astrology as a cosmological or technological paradigm even if it could occasionally rely on astrological notions, which were then reshaped to correspond to “magical” lore. However, the way rituals were written down denotes a major trend in religious and philosophical history: divinatory procedures are given new features which, along with Neoplatonic theurgy, provide evidence for the appearance of mysticism as a new religious imaginary. The “magician”’s universe is therefore a world by itself and is connected to ancient cosmology as well as to contemporary intellectual history

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Veiz, Brigitte. „Das Oktoberfest Masse, Rausch und Ritual ; sozialpsychologische Betrachtungen eines Phänomens“. Giessen Psychosozial-Verl, 2001. http://deposit.d-nb.de/cgi-bin/dokserv?id=2836610&prov=M&dok_var=1&dok_ext=htm.

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Neumann, Friederike. „Öffentliche Sünder in der Kirche des späten Mittelalters : Verfahren - Sanktionen - Rituale /“. Köln : Böhlau, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2958095&prov=M&dok_var=1&dok_ext=htm.

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Wendler, Joachim. „Rituale des Abschieds eine Studie über das staatliche Begräbniszeremoniell in Deutschland“. Stuttgart Ibidem-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2884795&prov=M&dok_var=1&dok_ext=htm.

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Burtea, Bogdan. „Das mandäische Fest der Schalttage Edition, Übersetzung und Kommentierung der Handschrift DC 24 Šarh d̲-paruanaiia ; mit einer CD-ROM der Handschrift“. Thesis, Wiesbaden Harrassowitz, 2002. http://deposit.ddb.de/cgi-bin/dokserv?id=2674953&prov=M&dok_var=1&dok_ext=htm.

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Ylinh, Lê. „Le maître et les génies : musique et rituel dans le culte de possession hầu bóng (Việt nam)“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040066.

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La pratique du rituel de possession de hầu bóng au Vietnam a connu une période d’interdiction pendant plus de quarante ans (de 1954 au début des années quatre-vingt-dix). Ces travaux, basés sur des études sur le terrain réalisées à la fin de cette période d’interdiction tentent d’abord de faire une description détaillée du rituel et l’état des lieux de ses cung văn «maîtres musiciens» à travers l’étude du répertoire du plus grand maître, Pham Van Kiêm. Ils proposent d’explorer ensuite les questions techniques utilisées par les maîtres musiciens et leur rôle par rapport à la pratique du rituel ainsi que les liaisons entre paroles et musique, entre le répertoire musical et le panthéon des génies. Ce témoignage de cette période cruciale permet, par le biais de la musique, de mettre en perspective une pratique religieuse bien complexe en plein essor à ce jour
The possession ritual practice in Vietnam has been prohibited during more than forty years (from 1954 to early nineties). The field-works are done during this important period. These studies try to portray an outline of the organisation and development of the rite and its music and musicians, especially the most important master at his time, Pham Van Kiêm. They also try to explore the musical technics used by masters and their role in the ritual practice, the music-language, musical directory-deities pantheon relationships. This crucial account allows to put into a perspective this complex practice, very popular nowadays

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Lischka, Marion. „Liebe als Ritual Eheanbahnung und Brautwerbung in der frühneuzeitlichen Grafschaft Lippe“. Paderborn München Wien Zürich Schöningh, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2752601&prov=M&dok_var=1&dok_ext=htm.

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Monikander, Anne. „Våld och vatten : Våtmarkskult vid Skedemosse under järnåldern“. Doctoral thesis, Stockholms universitet, Institutionen för arkeologi och antikens kultur, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-37585.

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This thesis examines the wetland sacrifices that were performed in Northern Europe in the Iron Age. Skedemosse on central Öland is the largest wetland sacrifice in Sweden and was the site of a cult which sacrificed animals and humans. Between the late second century and well into the fifth century the place was also used for large sacrifices of military equipment. New radiocarbon dates has shown that the place functioned as a ritual place from the Pre Roman Iron Age and into the Late Viking Age. Both in the Iron Age and later wetlands seem to have been both venerated and feared and the thesis discusses why this came to be, and how it can be seen in the archaeological material. A smaller part of the sacrificial site of Skedemosse was selected for a closer study and it was possible to establish several depositions which appear to have been treated slightly different from each other. The investigations of the animal sacrifices have focused on the horses as they are the most common animal. The horse was an important mythological animal in the Iron Age and they were equally important in the cult. The horses in Skedemosse were eaten in ritual meals, and it is possible that some of them took part in ritual races along the ridge east of the former lake. Such races were called skeið and the name Skedemosse may be derived from this word. Skedemosse is also rare because the remains of ca 38 people have been found in it. Some of these people have suffered a violent death. They are compared to other bog bodies from northern Europe and the follow a similar pattern to those; In the Pre Roman Iron Age mainly women and children were sacrificed and after the first century AD mainly men ended up in the lake.

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Yuan, Zujie. „Dressing the state, dressing the society ritual, morality, and conspicuous consumption in Ming dynasty China /“. online access from Digital Dissertation Consortium online access from ProQuest databases access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/pqdiss.pl?3052814.

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Lu, Mei-Huan. „Ritual construction of the "community" and the arena: multiple identities of a Mazu pilgrimage in Taiwan“. [S.l. : s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=975314513.

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Godau, Michèle. „"Wirkliche Wirklichkeit" Mythos und Ritual bei Adalbert Stifter und Hans Henny Jahnn“. Würzburg Königshausen und Neumann, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2659738&prov=M&dok_var=1&dok_ext=htm.

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Leibold, Bardo. „Das Topische Modell Ritual und Syntax in der Kunst der römisch-christlichen Kaiserzeit“. Marburg Tectum-Verl, 2001. http://deposit.ddb.de/cgi-bin/dokserv?id=2746235&prov=M&dok_var=1&dok_ext=htm.

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Füssel, Marian. „Gelehrtenkultur als symbolische Praxis Rang, Ritual und Konflikt an der Universität der Frühen Neuzeit“. Darmstadt Wiss. Buchges., [Abt. Verl.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2715174&prov=M&dok_var=1&dok_ext=htm.

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Thir, Margit. „Herrscherersetzung Ritualität und Textualität“. Wien Praesens, 2002. http://deposit.d-nb.de/cgi-bin/dokserv?id=3426641&prov=M&dok_var=1&dok_ext=htm.

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Lu, Mingdong. „"Gongyang zhuan" He Xiu zhu li shuo yan jiu = The study of He Xiu's ritual thoughts in his Scholiums of gongyang zhuan“. click here to view the abstract and table of contents, 2000. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15941127a.pdf.

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Tóth, Franz. „Der himmlische Kult : Wirklichkeitskonstruktion und Sinnbildung in der Johannesoffenbarung /“. Leipzig : Evang. Verl.-Anst, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2825493&prov=M&dok_var=1&dok_ext=htm.

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Univ., Diss. u.d.T.: Tóth, Franz: Kult als Wirklichkeitskonstruktion--Halle-Wittenberg, 2005, motiv- und religionsgeschichtliche Untersuchungen zur Kultsprache und zum Kultkonzept in der Johannesoffenbarung.

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Schwemer, Daniel. „Abwehrzauber und Behexung : Studien zum Schadenzauberglauben im alten Mesopotamien ; unter Benutzung von Tzvi Abuschs Kritischem Katalog und Sammlungen im Rahmen des Kooperationsprojektes Corpus of Mesopotamian Anti-Witchcraft Rituals /“. Wiesbaden : Harrassowitz, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3016416&prov=M&dok_var=1&dok_ext=htm.

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Krawczyk, Johanna. „Agresser le spectateur : généalogie d'une politique : Edward Bond, Rodrigo Garcia, Hanokh Levin“. Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA074.

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Cette recherche propose de construire la notion d’agression pour en faire un concept applicable à une poétique textuelle et scénique tout en tenant compte de sa dualité fondamentale. À la fois créée par l’auteur et reçue par le spectateur, elle peut être considérée comme une « action dramatisante » (Marie-Madeleine Mervant-Roux), c’est-à-dire comme un ensemble de procédés formels visant la production d’effets violents sur le spectateur. Elle a emprunté, au cours de l’histoire, différentes formes et significations que la méthodologie par « foyer de sens » (Frédéric Gros) permet de mettre en évidence. Trois variations de sens d’une même dimension du principe d’agression peuvent ainsi être identifiées : la première considère l’agression comme l’action d’introduire un désordre, un dérangement, renvoyant l’agression théâtrale à une stratégie ludique de mise en relation du spectateur avec le sacré. Elle est repérable dans le rejet platonicien de la poésie imitative de la cité, dans le Théâtre de la Cruauté d’Antonin Artaud, puis à l’ère postmoderne, dans certains spectacles usant de la performance, comme ceux de Rodrigo García. La deuxième envisage l’agression comme une action créant une instabilité éthique ou intime, assimilant l’agression théâtrale à une déstabilisation émotionnelle. Avec la Poétique d’Aristote, l’agression se pense comme un événement inattendu conditionné par un jeu de discordances et de surprises. Cette modalité est reconfigurée par Edward Bond dans les années 1960. La troisième considère l’agression comme l’action d’inciter quelqu’un à quelque chose par une attitude agressive ou une sorte de défi. L’agression théâtrale s’apparente dans ce cas à une stratégie politique dont Bertolt Brecht est l’un des grands représentants. Dialectiquement structurée, cette agression est singulièrement reconfigurée par Hanokh Levin dans les années 1970. Conditionnée par la surprise et l’inaccoutumance du spectateur, l’agression témoigne, quelle que soit sa forme, d’une abolition momentanée du cadre théâtral, d’une disparition du symbolique, dans une perspective sociale, éthique ou politique
The purpose of my research is to construct the concept of aggression, making it applicable to textual and scenic poetics while accounting for its fundamental duality. This violence, both as created by the playwright and as received by the spectator, can be construed as a “dramatizing action” (Marie-Madeleine Mervant-Roux); in other words, as a set of formal processes aimed at producing violent effects upon the spectator. Over history, it has taken on a variety of forms and meanings that Frédéric Gros’s “foyer de sens” (“focus of meaning”) methodology makes apparent. We can thereby identify three variants in the meaning of the same dimension of the principle of aggression. The first considers aggression as the act of introducing a disorder or disruption, relating theatrical violence to a playful strategy of confronting the spectator with the sacred. It can be noted in the Plato’s rejection of poetry imitative of the city, in Antonin Artaud’s Theatre of Cruelty and, in the post-modern era, in certain productions that use performance, like those of Rodrigo García. The second variant imagines aggression as an action that creates an ethical or intimate instability. It assimilates theatrical aggression with emotional destabilization. With Aristotle’s Poetics, aggression is thought of as an unexpected event contingent upon a series of discordances and surprises. This modality was reconfigured by Edward Bond in the 1960s. The third variant sees aggression as the act of inciting someone to do something, either by assuming a threatening attitude or by challenging him in some way. In this case, theatrical aggression is akin to a political strategy, and is exemplified by the plays of Bertolt Brecht. Structured dialectically, this aggression was reconfigured in a unique way by Hanoch Levin in the 1970s. Regardless of form, aggression relies upon surprise. As a jolt to the spectator, it attests to a momentary abolition of the theatrical framework: a disappearance of the symbolic, in a social, ethical, or political perspective

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Tóth, Franz. „Der himmlische Kult Wirklichkeitskonstruktion und Sinnbildung in der Johannesoffenbarung“. Leipzig Evang. Verl.-Anst, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2825493&prov=M&dok_var=1&dok_ext=htm.

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Schneider, Christoph. „Der Warschauer Kniefall Ritual, Ereignis und Erzählung ; [im KFK/Sonderforschungsbereich 485 "Norm und Symbol. Die kulturelle Dimension sozialer und politischer Integration", Konstanz, entstanden]“. Konstanz UVK-Verl.-Ges, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2755735&prov=M&dok_var=1&dok_ext=htm.

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Vatulíková, Andrea. „Performance art jako hraniční forma uměleckého projevu“. Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387735.

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While taking into account the field of study of performing arts, I assume that the category called „performing arts“ underwent many reforms in the 20th century, making it almost impossible to set clear boundaries between theatre, dance and performance art. Therefore I deal with their common ground that I call the zero point and that allows me to explore means of expression of human body and also time – space dimension of live action. The zero point is located in the pelvic region of the body and it is the center of stability, balance and life enegry. In my dissertation I focus on the analysis of physical trainings that work with the zero point in theater, dance and performance arts. Primary output of this work is then analysis of physicality as culturally encoded construct and the practical part of disseration is focused on the realisation of the point zero symposium.

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Christiansen, Birgit. „Die Ritualtradition der Ambazzi eine philologische Bearbeitung und entstehungsgeschichtliche Analyse der Ritualtexte CTH 391, CTH 429 und CTH 463“. Wiesbaden Harrassowitz, 2003. http://deposit.ddb.de/cgi-bin/dokserv?id=2783898&prov=M&dok_var=1&dok_ext=htm.

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Keßler, Katrin. „Ritus und Raum der Synagoge : liturgische und religionsgesetzliche Voraussetzungen für den Synagogenbau in Mitteleuropa“. Petersberg Imhof, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2968026&prov=M&dokv̲ar=1&doke̲xt=htm.

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Burtea, Bogdan. „Das mandäische Fest der Schalttage : Edition, Übersetzung und Kommentierung der Handschrift DC 24 Šarh d̲-paruanaiia“. Wiesbaden Harrassowitz, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2674953&prov=M&dokv̲ar=1&doke̲xt=htm.

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Hussy, Holger. „"Die Epiphanie und Erneuerung der Macht Gottes" : Szenen des täglichen Kultbildrituals in den ägyptischen Tempeln der griechisch-römischen Epoche /“. Dettelbach : Röll, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2984311&prov=M&dok_var=1&dok_ext=htm.

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Sehnalová, Anna. „Rituál Mändub (sMan sgrub) Tradice Bön: v Lékařství, Písemných Pramenech a Současné Praxi“. Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-390352.

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The Bonpo Mendrup (sMan sgrub) Ritual: Its Medicine, Texts, Traceable History, and Current Practice Abstract This thesis studies the mendrup (sman sgrub) ritual of the Tibetan Bon religious tradition. The mendrup rite comprises a specific tantric meditative practice and consecration rite, which is ascribed great efficacy for both physical and mental healing and spiritual progress. The mendrup practice is conducted for curing ailments, rejuvenation, longevity, as well as general well-being and prosperity. When performed on a large scale, the Bonpo mendrup ritual represents one of the most elaborate healing rituals of present Tibetan milieu, and likely one of the rarest, special, most demanding and expensive Tibetan rituals performed. This work is concerned with one particular conduction of the ritual, which took place in the Bonpo exile monastery of Triten Norbutse in Kathmandu, Nepal, in December 2012. The thesis is based on both textual sources and ethnographic observation, and examines this Bonpo mendrup performance from various aspects. Firstly, it traces and compares the oral and written histories of the ritual, showing that the practice has probably emerged in the twelfth and thirteenth century in Central Tibet. Historical accounts on the practice are put into context with its current performance in...

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Rhani, Zakaria. „Le culte de Ben Yeffou : sainteté, rituel et pouvoir au Maroc“. Thèse, 2008. http://hdl.handle.net/1866/6424.

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Lin, Jie-Ling, und 林䕸伶. „The study of Taoist religious ritual and music of Taoist priest,Lin Qin-Bin“. Thesis, 2017. http://ndltd.ncl.edu.tw/handle/24178212732870379787.

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碩士
國立臺灣師範大學
民族音樂研究所
105
Lu-Shan factionis a seldom heard school in the Tao system, and therefore the purpose of this thesis is to investigate into and record the activities in Taichung and Chunghua area conducted by Cheng-Ii faction and Lu-Shan faction of Taoism. The object of observation is based on Chin-Bin Lin, the Head of Priest of Dharma Long-Jsuan of the Chunghua county and the mountain of He-Mei town. Three approaches will be applied to collect information for this research. Firstly, a field research is done with emphasis on people, locations, time, events and objects of a live record of ceremonies and regulations conducted by Head Priest Chin-Bin Lin. Secondly, an interview with Head Priest Chin-Bin Lin is conducted, with the process of the passing down of the heritage and experiences as well as the history of the succession of teachings and the contents of administrations being studied in the first place, followed by the abilities and specialties of other Priests and their learning processes. Finally, an image-sound record of the collected music, rituals and interviews will be analyzed and rearranged.This article consists of five parts: the introduction and four chapters.In the introduction, I provide an outline of the development of Taiwan’s Taoism and its services, the research on the Tao rituals of mid-Taiwan, and a brief report on the current situation of researchers in related fields. In the first chapter, a brief introduction on Dharma Long-Hsuan of Lu-Shan hall is given, recording the succession of preachings, the history, the Priests of the main and second altar, the musicians in the back stage and the different types of services provided by Cheng-Ii faction and Lu-Shan faction. In the second chapter, the precious materials preserved by Head Priest Lin of Dharma Lu-Shan-Long-Hsuan is presented, be it ceremonial materials, recording instruments, transcripts, drawings of the Tao Gods and the clothings. The third chapter will focus on the contents of religious ceremonies and the record of proclaims, including the process of rituals, materials, space, the attendances andother things related. The fourth chapter includes a series of analysis on the contents of three musical pieces-the regulations on presentation, regulations on the An-Long rituals of reverence, regulations on the Purdue Festival. Further more, advanced analysis upon features of vocal performance of the three musical pieces will be carried out as well as three methods applied accordingly to different forms of their performances be it “prolonged lyrics”, “reiterative vocal”, and “the usage of words and tune”.

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„The joseph beuys trought's and the rituals aspects in action“. Tese, MAXWELL, 2006. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=9546:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.

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Green, Dawn. „Engendering the rock art archaeology of the north Eastern Cape, South Africa Ritual specialists, novices, and social conditioning“. Diss., 2020. http://hdl.handle.net/10500/26531.

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Abstracts in English, Zulu and Xhosa
Rock art affords unique opportunities for engendered research because it provides emic views of how specific people re-presented themselves. My feminist study investigates under-researched ‘San/Bushman’ gendered identities to understand more about area-specific constructions of personhood through analysing 2852 rock paintings from two adjacent areas of the northern Eastern Cape, South Africa. Using quantitative and qualitative methods and evidence from excavation archaeology, ethnography, ethology, and neurocognitive research, I identify three categories of ritual specialists: experienced and preeminent; ordinary; and novice. These paintings show that wo/men ritual specialists could transcend the identity norms of ordinary people, but men ritual specialists may have had more status and power. I suggest the paintings acted as a controlling mechanism for the potency of women, indoctrination of novices, and present an ideal for the practice of ritual specialists and ordinary people. This research has important implications for identifying different types of identity marking by different groups of southern African San.
Bonono ba majwe bo fana ka menyetla e ikgethang bakeng sa dipatlisiso tse fokolang hobane e fana ka ditjhebo tsa bonnete tsa hore na batho ba itseng ba ne ba itlhahisa jwang. Boithuto ba ka ba tsa bosadi bo fuputsa boitsebiso ba batho ba maSan/Busumane bo so kang bo batlisiswa haholo ele ho utlwisisa haholwanyane ka dikaho tsa dibaka tse ikgethileng tsa botho ka ho manolla metako ya pente e 2852 e tswang dibakeng tse pedi tse bapileng tsa borwa ho Kapa Botjhabela, Afrika Borwa. Ka tshebediso ya mekgwa ya bongata le boleng le bopaki ho tswa ho dipatlisiso tsa excavation archaeology, ethnography, ethology, le tsa neurocognitive, ke hlwaya mekgahlelo e meraro ya ditsebi tsa mekete ya meetlo: ba nang boiphihlello le ba hlahelletseng ka mahetla; ba tlwaelehileng; le bomaithutwana. Metako ena ya pente e bontsha hore ditsebi tsa basadi tsa mekete ya meetlo di ne di kgona ho tlola ditlwaelo tsa boitsebiso tsa batho ba tlwaelehileng, empa ditsebi tsa banna tsa mekete ya meetlo di ka di ne le di na le maemo le matla a fetang. Ke sisinya hore metako e ne e sebetsa jwalo ka mokgwa wa ho laola bakeng sa matla a basadi, thuto ya bomaithutwane, le ho hlahisa se lokelang ho ba sona bakeng sa tshebetso ya ditsebi tsa meetlo le batho ba tlwaelehileng. Patlisiso ena e na le bohlokwa bakeng sa ho hlwaya mefuta e fapaneng ya matshwao ba boitsebiso a dihlopha tse fapaneng tsa maSan a Afrika e borwa.
Imizobo esematyeni inika amathuba akhethekileyo ophando lweemeko ezingqonge isini ngoba le mizobo ibonisa indlela abaziveza ngayo abantu abathile ngokwenkcubeko yabo. Isifundo sam ngobufazi siphanda ngohlanga lwama ‘San/Bushman’ okanye Amaqhakancu/abaThwa nekuphandwe kancinci ngabo, injongo ikukuqonda ubume bobuntu babo kwiindawo ngeendawo. Olu phando lwenziwe ngokuhlalutya imizobo esematyeni engama-2852 ekwiingingqi ezimbini eziseMntla-Mpuma Koloni, eMzantsi Afrika. Ngokusebenzisa uphando olusekelwe kubungqina bamanani nobusekelwe kwiingxoxo nokuzathuza kwanobungqina obuvezwe zizinto ezigronjwe/ezigrunjwe kwiziza zakudaladala, obuvezwe kwiinkcazelo zenkcubeko yabantu abahlukeneyo, obuvezwe kwiinkcazelo zoluntu xa lujongwe ngokwenkalo yendalo (i-itholoji) nobuvezwe kwizifundo zokuqiqa nokusebenza kwengqondo, ndiphawule iindidi ezintathu zeengcali zezithethe: abanamava nolwazi olubalaseleyo; abanolwazi oluqhelekileyo; abangenalwazi kangako. Le mizobo ibonisa ukuba iingcali zezithethe zamadoda nezabafazi zinakho ukubona ngaphaya kwendlela ababona ngayo abantu jikelele, kodwa kusengenzeka ukuba iingcali zezithethe zamadoda zazinewonga negunya elithe chatha. Ndibona ukuba imizobo yayisebenza njengesixhobo sokulawula amandla neziphiwo zabafazi, ukuqweqwedisa iingcinga zabangenalwazi luthe vetshe, nokuvelisa okulindelekileyo kwindlela yokusebenza kweengcali zezithethe nabantu jikelele. Olu phando lubalulekile ekunakaneni iindidi ezahlukeneyo zokuphawula ubuyena bamaqela ahlukeneyo ohlanga lwamaSan/ Amaqhakancu aseAfrika.
M.A. (Archaeology)

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Dissertationen zum Thema „Bon rituals“

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