Academic literature on the topic 'Ancient wedding traditions'
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Journal articles on the topic "Ancient wedding traditions"
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Amirkhanova, Aida K., and Aminat A. Bayramkulova. "WEDDING GIFT EXCHANGE AMONG THE PEOPLES OF DAGESTAN: TRADITIONS AND INNOVATIONS." History, Archeology and Ethnography of the Caucasus 15, no. 4 (January 6, 2020): 783–99. http://dx.doi.org/10.32653/ch154783-799.
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The purpose of this article is to show the state of modern exchange relations in the wedding ceremonies of the peoples of Dagestan and to trace the variants of their transformation at different stages of the wedding. Ceremonies of wedding gift exchange of Dagestanis today have similar features with traditional customs and ceremonies. However, over time, under the influence of ethno-cultural and other processes, modern exchange relations within wedding customs have undergone certain transformations, adapting to the modern way of life of the people. It is known that exchange relations are the most archaic tradition of social life of any nation, originating in ancient times. It is believed that the traditions of gift exchange were created to preserve existing or create new kinship and social relations within or between communities. However, in recent years, its main functions are increasingly becoming a thirst for profit, i.e., gift exchange acquires utilitarian functions. Many of the symbolic wedding gifts of the past have now been replaced by money, and their value is increasing every year. Since the post-Soviet period, the expressed interest and return of the peoples of Dagestan to their traditional customs and rituals (including wedding) can be traced. However, the moral and ethical side of these customs remained in the past. To solve these problems and facilitate the wedding (reduce costs) and all its stages, it is necessary to introduce into modern rites of wedding gift exchange reasonable ethical standards to regulate these rituals. It is necessary to rethink the current traditional customs of gift exchange, bringing material and moral damage to the family, to choose and preserve the most important of them, corresponding to the modern way of life of Dagestanis, discarding unnecessary and irrelevant rituals.
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Tadina, N. A., and T. S. Yabyshtaev. "Altai wedding in a pandemic." Ethnography of Altai and Adjacent Territories 10 (2020): 117–21. http://dx.doi.org/10.37386/2687-0592-2020-10-117-121.
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Based on the information collected through ethnographic observation, the reasons for limiting the ritual cycle of the Altai wedding in the new conditions of the coronavirus pandemic (COVID) are highlighted. It is noted that the transformational changes in Russian society actualize the problem of the viability of ritual culture and values and traditions historically developed. Using the example of an Altai wedding in the capital city of Gorno-Altaysk, it is shown how the new conditions caused the concentration of the ancient meanings of the wedding through the authority of the older generation as an expert in ritual paraphernalia of ensuring a new family’s wellbeing in a particular shook — clan.
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Musaeva, Majsarat K., and Lubov T. Solovyova. "TRADITIONS OF THE "FIRST WEDDING NIGHT" IN THE WEDDING RITES OF THE PEOPLES OF DAGESTAN (XIX - EARLY XX CENTURY)." History, Archeology and Ethnography of the Caucasus 16, no. 4 (December 18, 2020): 1061–82. http://dx.doi.org/10.32653/ch1641061-1082.
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Based on field ethnographic material, studies of family, marriage and family rituals, the article describes and analyzes a sensitive and controversial topic in the traditions of the peoples of Dagestan related to the preservation of the integrity of a girl before marriage. The concept of interpreting the values of chastity is considered in a complex of rituals, ideas and beliefs of the Dagestani peoples, not only through the prism of such an important family and social event as a wedding, but also as an independent object, although closely related to it.Chastity, the virginity of a girl before marriage is an object of heated debate in society, since the attitude towards him transforms from era to era, from people to people. Despite this, there is no special study devoted specifically to the traditions associated with the "wedding night".The peoples of Dagestan have an extensive ritual complex associated with the "first wedding night", in which both ancient beliefs and popular ideas about healthy offspring are intertwined. The successful completion of one of the epoch-making events in the human life cycle - the creation of a family, as well as the happiness of a woman and her status in society, in the Dagestan realities depend not only on the time under study, but also today, on the outcome of this "night". The fact of chastity, proven on the "wedding night", has not lost its relevance among the majority of the peoples of Dagestan at the present time. Accordingly, some ethnographic nuances will undoubtedly be of interest not only to specialists.
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D'Elia, Anthony F. "Marriage, Sexual Pleasure, and Learned Brides in the Wedding Orations of Fifteenth-Century Italy." Renaissance Quarterly 55, no. 2 (2002): 379–433. http://dx.doi.org/10.2307/1262314.
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In the fifteenth century, Guarino Guarini, Ludovico Carbone, Francesco Filelfo, and other humanists composed and delivered Latin orations at courtly weddings in Ferrara, Naples, and Milan. In these epithalatmia, which are mostly unpublished, orators adapt a classically inspired conception of marriage to Italian court culture. They defend physical beauty and sexual pleasure, praise learned brides, and assert the importance of mutual affection, revealing a complex picture of ideal gender relations in courts. Against the ancient and Christian anti-marriage ascetic traditions, humanists offer biblical, philosophical, political, economic, and hedonistic arguments in defense of marriage.
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Khakimyanova, Aigul M. "Словесно-поэтический репертуар башкирской свадьбы: прошлое и настоящее." Oriental Studies 13, no. 5 (December 28, 2020): 1476–87. http://dx.doi.org/10.22162/2619-0990-2020-51-5-1476-1487.
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Introduction. Bashkir wedding is one of the most striking forms of traditional culture. Over centuries of evolution, a complex set of ideological and functional related ritual songs, actions, myths and rituals has formed as an integral festive and theatrical performance. This surprisingly unique performance (drama) reflects the worldview of the people, their poetic and musical culture, including peculiarities of social, everyday and social development. The ideology of caring for the welfare of the family and happy family future has been developed and vividly captured in the wedding rituals. Genotypic plans for the continuation of life, creating a sustainable family in order to ensure continuity and fertility of the new family member ― sister–in–law ― is a major determining code of the Bashkir wedding manifested in the complicated mytho-ritual complex tui (wedding, feast). In it, a large role is given to verbal and song contests (Bash. әйтеш), lamentations (сеңләү), good wishes (теләк, алғыш), ‘yar-yar’ chants, magnificence and farewell songs (takmaks) which are organically woven into the course of the wedding to create a festive atmosphere, give special importance to everything that happens. These work of art have various and rather complex functions, since they not only accompany various moments of the wedding celebration, but also reflect ancient mythological ideas, belief in the power of words and actions. The verbal, song and action creative complex acts as a single syncretic whole with what is happening. Goals. The article examines the role of verbal and poetic works in various parts of the wedding ceremony. They are distinguished by a variety of texts and tunes dedicated to various moments of the wedding and ritual actions addressed to the bride and groom (mostly). Results. The ritual of good wishes goes back to the magic of a kind word, which in general in all types of rituals involves the structuring of events in the name of blessings and the consolidation of a happy future. The article traces the reflection of the emotional state of the bride in various poetic texts, which determines the importance of the moment of the girl’s transition to a qualitatively different state of marriage; the importance of the special semantic load of the songs of the Bashkir wedding for the future family life is noted. In all cultures, edification, parting words generalize the prescriptions and rules of behavior for young people. There are two main places of well-wishes in the wedding drama: in front of the wires from the father’s house (girdling) and in the groom’s house (opening the face). Good wishes and edifications, pronounced in the rites of transitional meaning, represent a kind of collection of etiquette, everyday life and traditions of the people. This is the poeticized wisdom and life experience of people who want the well-being of a girl who goes into a ‘foreign’ environment. In a Bashkir wedding, songs of a greatness, entertaining or humorous nature are performed, which are organically included in the drama of the wedding action and become an integral part of the ceremony as a whole.
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Mardika, Rhanda Syeptian, Sarwit Sarwono, and Amril Canrhas. "TRADISI BERBALAS PANTUN ADAT PERNIKAHAN MASYARAKAT BENGKULU." Jurnal Ilmiah KORPUS 2, no. 1 (August 6, 2018): 112–20. http://dx.doi.org/10.33369/jik.v2i1.5563.
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This research entitled "Tradition of poem Reciprocated by Wedding ritual of Bengkulu Community". The poem reciprocated tradition is an ancient tradition which realized in communication, performances, containing cultural values, religion, ethics, and aesthetics and contains of text elements of text elements, place, instrument, audience and show context. To guide and direct this research writer used folklore theory, oral tradition, and performaing arts. The data were collected by observation techniques, interviews, and documentation. The discussion result shows that the oral tradition of poem reciprocated has a noble value, namely socialization, aesthetics, religion, culture and history, on hereditary in Bengkulu society, especially in Penurunan and Sawah Lebar district. The traditions of poem reciprocated has been alive and developing in this region. the five stages of Poem reciprocated in the process of marriage ritual in Bengkulu community as follow are : 1) Telling/ delivering the intentions, the intentions is delivered by elderly family from the groom. 2) Propose, the traditional head of the groom delivers the groom from man’s family. 3) handover the gifts, the delivery of dowries delivers from man’s family to the woman’s family to the woman’s family. 4) the marriage agreement. 5) The bride and groom is coming up, bring the groom to the groom to the bride’s house side by side on the aisle. The conten of the five stages of poem reciprocated traditions in the marriage ritual of Bengkulu people is guided by the community of supporters in their daily life, they belive that the social value in poem reciprocated, as a norm in the life demands and must be upheldKeywords: tradition, poem reciprocated
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Mokshina, Elena N., and Mikhail I. Svyatkin. "Religious Rites and Holidays of Mordovian-Erzya, Related to Housing and Economic Buildings." Humanitarian: actual problems of the humanities and education 20, no. 2 (August 20, 2020): 145–53. http://dx.doi.org/10.15507/2078-9823.050.020.202002.145-153.
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Introduction. The article discusses the religious rites and holidays of the Mordovian-Erzya associated with housing and outbuildings. The venue for a large number of them was the house (kudo). Currently, many of these traditions have been lost or transformed under the influence of Christianity. The authors pay attention to the relics of the ordinary culture of the Mordva-Erzya surviving at the present stage. Materials and Methods. The research is based on traditional methods of ethnographic science, such as field observation, questioning and interviews, and an integrated approach. Of the methods of historical science, comparative-historical, historical-genetic, problem-chronological, structural-system were used. Among the general scientific research methods, logical, descriptive-narrative, generalization, classification and systematization were involved. To achieve the results of the study, we mainly used materials collected by the authors during field surveys conducted in Erzya-Mordovian villages. Results and Discussion. In the traditional rituals of the Mordovian-Erzya, housing and outbuildings play an important role. They are not only the venue for many ceremonies and festivals, but also have their divine patrons, so people have endowed many buildings with sacred and magical properties. Structural and architectural details of the home have always tried to decorate. At the same time, the traditional decor bore a sacred and protective meaning. Since ancient times, Mordovian has been in contact with many peoples, which has affected its material and spiritual culture. Currently, many Mordovian-Erzya traditions have transformed, but have not completely disappeared. Co-stored, for example, are some wedding and, especially, funeral and memorial rites. The desire to bury and commemorate relatives according to the rules established in the popular milieu became the reason for the existence and passing on of this ritual to subsequent generations. Conclusion. Basically, the dwelling was the venue for maternity, wedding and funeral ceremonies. Therefore, the Mordovian-Erzya especially appreciated and protected her house (kudo) from evil spirits. On holidays, they sought to decorate the house, and ozks prayers were dedicated to the housekeepers, which often ended in offering them sacrificial food. Currently, many rituals and traditions are forgotten, others exist in a transformed form. However, housing and farm buildings play an important role in the life and culture of the Mordovian people.
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Kurbanov, M. M. "HISTORICAL INFLUENCE OF THE CREATIVE TRADITIONS OF PERSIAN CULTURE ON THE DEVELOPMENT OF FOLKLORE IN SOUTHERN DAGESTAN." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (May 11, 2021): 392–97. http://dx.doi.org/10.35634/2412-9534-2021-31-2-392-397.
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The article highlights the problems related to how ancient Persian culture in the Middle Ages had a powerful influence on the formation and development of folklore of the peoples of South Dagestan. Regional, ethnic, linguistic and cultural symbiosis was formed In the Derbent region, Tabasaran and Lezgistan in the V-XVIII centuries, which led the folklore of the Tabasarans, Lezgins, Azerbaijanis, resettled here Iranian-speaking Tats, Persians and Arabs to mutual enrichment and intensive development. Domestic, cultural and commercial relations led to the fact that most residents began to freely speak the “old Turkic”, Persian, Lezgin and Tabasaran languages, which ethnic groups used in communication, trade and in everyday life. The result of the influence of Persian folk and Ashug poetry on the development of the creativity of the peoples of the region can be considered the formation of a single form of genre varieties of extra-ritual lyrics and wedding poetry in the folklore of Tabasarans, Lezghins, Agulians in the form of band-quatrains. Fairy tales of the peoples of the region were also positively influenced, they were enriched by Eastern plots, themes, ideas, colorful images, Persian toponymy and vibrant poetry of genres.
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Dyadyshcheva-Rosovetska, Juliya. "Methodological notes on the complex linguofolkloristic analysis of the poetics of the Methodius's translation of the Song of Songs." Current issues of Ukrainian linguistics theory and practice, no. 42 (2021): 121–39. http://dx.doi.org/10.17721/apultp.2021.42.121-139.
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The article is devoted to some methodological issues that arise in the linguistic and folklore analysis of the poetics of the Methodius's translation of the Song of Songs, which we consider as an orally poetic text, later elaborated in literature. The parameters of interlingual, interfaith and interethnic transmission under conditions of considerable time duration are outlined. Problems related to layers not only temporal, but also within several ethnic traditions, namely: ancient Egyptian, ancient Jewish, ancient Greek, ancient Slavic. There are a number of tropes and stylistic figures that are used as a means of organizing the text or used as components for stylistic symmetry. These are permanent epithets, different types of repetitions, anaphora and epiphora, tautological combinations, pleonastic combinations, allegories, comparisons, ekphrasis, specific composites, etc. It is possible to involve in the study of common in folklore hyperbole, personifications, paraphrases. The range of methodological difficulties is outlined. The article warns about the counterproductiveness of the study of literary tropes in isolation from the contexts of specific works, in the abstract non-ethnic continuum, although in synchrony and diachrony. If in the national literatures, especially in the early stages of their development, there are peculiar genre systems, then in folklore there are differences in genres of even related ethnic groups. Hence, the need to take into account the differences between the genres of wedding poetry in ancient Aramaic folklore and in the oral traditions of the peoples whose scribes translated the poem. The importance of a specific contextual study of the tracks of the Song of Songs is emphasized, because the movement of its texts in time and space is a change in their perceptions by translators, editors, transcribers, which leads to changes in understanding and aesthetic acceptance of the monument by readers. It is stressed that the full picture can be obtained only by examining all the national and ethnic branches of the family tree of the monument. The question of place in such a comprehensive study of religious allegorical and symbolic interpretations is also delivered in the article.
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Akimova, Elvira, and Tatiana Mochalova. "Dialect Names of Holidays and Rituals as a Reflection of the Cultural and Historical Traditions of the Russian People." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (April 2021): 17–31. http://dx.doi.org/10.15688/jvolsu2.2021.1.2.
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The article studies lexical and phraseological units nominating holidays and ceremonies in Russian dialects, which are spoken on the territory of the Republic of Mordovia. The specificity of nominative processes associated with the naming of a fact that is significant from linguistic and cultural point of view, is determined. The research is carried out on the material taken from the Dictionary of Russian dialects on the territory of the Republic of Mordovia. It has been found that in Russian dialects, the names of religious holidays, which are dedicated to the most revered saints, or the holidays related to a certain time of the year, are actively used. The surviving holidays reproduce elements of the most ancient customs associated with the worship of human deities, the cult of vegetation, water and fire, which magical powers were attributed to. The names of rituals represent a special layer in the dialect corpus. The most illustrative represented are the funeral rite and the rite of baptism. All these rituals are of great importance in the life of the people, since they symbolize a change in the status of a person, his transition from one state to another. The nominations of different phases of wedding ceremony are noted to be most numerous, while funeral and baptizing rites are less representative. The study showed that the names of holidays and rituals in Russian folk dialects reflect cultural and historical traditions, beliefs, customs of representatives of a territorially closed society. They perform peculiar means of representing the ethnic and cultural consciousness of the people.
Dissertations / Theses on the topic "Ancient wedding traditions"
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Fraser, L. C. "Wedding scenes on attic vases." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371641.
Full textBooks on the topic "Ancient wedding traditions"
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Mr Lawrence Wade Johnson MS. The Ancient Hebrew Wedding Tradition and the Plan of Salvation: How the ancient Hebrew wedding tradition foreshadows the plan of salvation. CreateSpace Independent Publishing Platform, 2017.
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Wasdin, Katherine. Eros at Dusk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.001.0001.
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This book analyzes the relationship between wedding poetry and love poetry in the ancient world. By treating both Greek and Latin texts, it offers an innovative and wide-ranging discussion of the poetic representation of social occasions. The discourses associated with weddings and love affairs both foreground ideas of persuasion and praise even though they differ dramatically in their participants and their outcomes. Furthermore, these texts make it clear that the brief, idealized, and eroticized moment of the wedding stands in contrast to the long-lasting and harmonious agreement of the marriage. At times, these genres share traditional forms of erotic persuasion, but at other points, one genre purposefully alludes to the other to make a bride seem like a girlfriend or a girlfriend like a bride. Explicit divergences remind the audience of the different trajectories of the wedding, which will hopefully transition into a stable marriage, and the love affair, which is unlikely to endure with mutual affection. Important themes include the threshold; the evening star; plant and animal metaphors; heroic comparisons; reciprocity and the blessings of the gods; and sexual violence and persuasion. The consistency and durability of this intergeneric relationship demonstrates deep-seated conceptions of legitimate and illegitimate sexual relationships.
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Wasdin, Katherine. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.003.0001.
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The introduction lays necessary factual and theoretical groundwork for the chapters to follow by describing the social contexts of the ancient wedding and love affair. The wedding is a markedly erotic moment, but love affairs, while often sharing or borrowing the discourse of the wedding, are unlikely to end in marriage. Greek and Roman norms differ at times, but the literary tradition provides continuity across cultures. In both societies, the wedding is more eroticized than the marriage. The poems associated with the wedding and the affair can be classified as types of occasional verse, deeply connected with specific social contexts. They frequently allude to details of the wedding ritual or of the symposium and its aftermath to suggest verisimilitude. Interaction between poetic discourses therefore implies interaction between social occasions.
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The Grooms Arrival The Ancient Hebrew Wedding Tradition And The Return Of Christ. WestBow Press, 2011.
Find full textBook chapters on the topic "Ancient wedding traditions"
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Krasney, Ariela. "The Badkhn: From Wedding Stage to Writing Desk." In Polin: Studies in Polish Jewry Volume 16, 7–28. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0002.
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This chapter discusses two key roles of the traditional Jewish entertainer known as the badkhn: as a performer on the wedding stage (bimah) at Jewish weddings and as the author of published versions of such performances. It examines, first, the badkhn's techniques of expression and, second, the process through which, beginning in the mid-nineteenth century, the badkhn's work began to move from oral performance to written literature. The badkhn first emerged in Europe during the Middle Ages alongside comparable artists among other peoples. As Jewish society and Judaism evolved from the sixteenth century to the end of the nineteenth century, the badkhn adapted himself to the changing conditions. By the nineteenth century, his identity had crystallized into that of a figure with two faces: one of riotous, chaotic, topsy-turvy jesting, rooted in ancient sacrificial traditions surrounding the god Dionysus and evincing a tendency towards social subversiveness; and the other of conservative, learned discourse rooted in the fixed system of halakhic mitsvot and serving as a mouthpiece for them.
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Cole, Emma. "ZU-UK’s Hotel Medea." In Postdramatic Tragedies, 215–44. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.003.0007.
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ZU-UK’s overnight Hotel Medea positioned its audience as active participants throughout the three-act production, including, for example, as guests at Jason and Medea’s wedding in Act One, and as the couple’s children in Act Two. Chapter 6 utilizes Jacques Rancière’s notion of the emancipated spectator to consider this production and the degree to which the audience was, in fact, liberated. It suggests that the spectator’s emancipation was more intellectual, rather than physical, and that the use of ancient tragedy was key to this intellectual emancipation. It argues that through the constant shifting of perspective upon Medea the production encouraged the audience to have a discursive interaction with the traditions of receiving Euripides’ tragedy and to reconsider the ways, and reasons why, antiquity is reappropriated in modern society. The chapter reveals that in postdramatic classical receptions levels of formal innovation do not necessarily correlate to levels of textual innovation. Instead, the relationship between form and content, and its effect upon spectatorship, in postdramatic tragedies is seen to be fluid and, consequently, all the riper for analysis.
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Rosenstein, Donald L., and Justin M. Yopp. "The Ring Thing." In The Group. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649562.003.0015.
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The ancient Egyptians were the first to use a wedding ring as a symbol of love and fidelity. Bands were usually made from grass or hemp and worn on the fourth finger of the left hand, which was believed to include the vein that led directly to the heart. The circular shape of the ring—with no beginning and no end—represented eternal love. Over the centuries, societies throughout the world adapted the tradition to fit their own cultures. It was once customary in the United States for only the bride to wear a ring, but this changed during and after the marriage boom that followed World War II. The number of men wearing wedding bands more than quadrupled, and today, double-ring marriage ceremonies are the norm. None of the men in the group had anticipated that “until death do you part” would occur so early in his marriage. After their wives died, what their wedding rings symbolized, and what should be done with them, was far from clear. One evening as the group settled in, Joe reached toward the center of the table to pick out his sub and bag of chips when one of us (Don) noticed something different about his left hand. “Joe, you took off your ring.” All eyes turned to Joe’s left hand. A strip of pale white skin that had been shielded from the sun for nearly twenty years circled the base of his fourth finger. Before that moment, the men had never discussed the subject of wedding rings. The prospect of dating again had compelled Joe to make the change. “It’s not that I’m interested in anyone in particular. In fact, even thinking about going out with someone right now is kind of overwhelming. But, damn, I don’t want to be lonely for the rest of my life. I hope that someday I’ll feel for someone else the way I felt for Joy.” Joe took off his ring because he wanted to believe that one day that time would come.