Dissertations / Theses on the topic 'Mourning customs in art'
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O'Neill, Mary. "Ephemeral art : mourning and loss." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/8012.
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Ephemeral art is usually understood as reflecting a desire to dematerialize the art object in order to evade the demands of the market, or to democratize or challenge art museums. However, in many ephemeral artworks something much more fundamental is involved. In this thesis I explore the hypothesis that the use of ephemerality by some artists is best understood, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. I will begin with a refinement of the definition of ephemeral art, which is often confused with temporary works. This definition identifies four characteristics of ephemeral art: time, communicative act, inherent vice and directive intent. Ephemeral art often involves works that do not exist in a steady state, but change or decay slowly. This temporal aspect is examined through a discussion of the boredom they consciously evoke, which can be seen not only as an acute awareness of time but also a form of mouming for lost desire. The different physical state of ephemeral works represents a shift from the art object to communicative act. This shift is exemplified by artists working in the 1960s, particularly those influenced by John Cage. Cage's engagement with Buddhism and the subsequent work he produced demonstrates that the appreciation of transience is a reflection of wider cultural values. The growing interest in Buddhist philosophy and the engagement with transience at that period are discussed, not as cause and effect, but as both stemming from the same desire to find alternative forms of meaning and expression at a time when traditional structures of meaning were in decline. The use of non-traditional, non-durable materials and the incorporation of chance and ephemerality mean that the resulting worlds possess an 'inherent vice' which results in the demise or disappearance of the work. This is a key feature of ephemeral art, which distinguishes it from temporary works. The latter are designed to function for a fixed period, after which they are discarded or destroyed. The conclusions drawn have implications that reach beyond artworld concerns with durable or at least preservable commodities. These works offer insights into the mourning process which are powerful and profound reflections on the human condition. These works can act as a means of engaging with bereavement, disenfranchised grief and ambiguous loss. In a world where many societies may be deemed post-religious traditional myths and rituals that once served to alleviate fear or mortality and the pain of bereavement are no longer viable or effective, this is of immense significance.
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Crowder, Julie. "Teaching Mourning." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/215.
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Abstract TEACHING MOURNING By Julie Ann Crowder, MAE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education at Virginia Commonwealth University. Virginia Commonwealth University, 2011 Major Director: Sara Wilson McKay, Ph.D. Interim Department Chair and Associate Professor, Art Education As a researcher I sought to understand the following research questions: 1) What were the official policies and protocols that went into effect at William Fox Elementary School after the murder of the Harvey family in January of 2006? 2) What were the experiences of the staff and parents at William Fox Elementary School after the murder of the Harvey family? 3) What critiques and or suggestions do the employees and parents have of the personal or official policies or protocols, which were carried out after the murder of the Harvey family? The purpose of this research was layered. This research was necessary in order to create an accurate picture of the difficult emotional reactions of teachers attempting to teach students how to mourn while mourning themselves. Additionally, this study identified how teachers were able to continue about the business of every day life and education when they were dealing with difficult emotional issues. Participants at William Fox Elementary experienced the tragic death of the Harvey family on New Year’s Day 2006. This research illuminated possible new ways of looking at mourning, the public/media, and ways of handling these difficulties. This research could lead to the creation of new policies or protocols that would better serve the mourning populations in schools, which lose members to violence. The members of this study were William Fox Elementary employees or parents who were on present during and after the Harvey murders. Special attention was given to the IRB process. Seven participants who had a great deal of contact with Stella were selected. The PTA-funded Art Explosions teacher, Stella Harvey’s classroom teacher, the principal, the guidance counselor, a parent, the music teacher, and the librarian were all participants. Significant findings include: the importance of the speed and selection of information given to adults at the time of a tragedy, and the child information networks that form when children are not completely informed. Additionally a variety of information and thoughts are given on the subject of mourning, both public and private. Implemented and suggested healing techniques were investigated. Lastly, several uncomfortable issues that arose, such as race and rage were explored.
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McCarthy, Andrew D. "Mourning men in early English drama." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Dissertations/Spring2010/a_mccarthy_020910.pdf.
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Brennan, Michael. "Mourning identities : Hillsborough, Diana and the production of meaning." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50750/.
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‘Mourning Identities: Hillsborough, Diana and the Production of Meaning’ explores the meaning-making processes which contributed to the widespread public mourning that followed the Hillsborough stadium disaster of 1989 and the death of Princess Diana in 1997. It does so by the textual analysis of a sample of the public condolence books signed following these events and by drawing upon autobiographical stories related to each of them produced using the method known as ‘memory work’. Drawing upon a variety of theoretical frameworks, including psychoanalytic, poststructuralist and Bakhtinian influenced dialogics, it suggests that a range of social identities were ‘hailed’ and discursively mobilised in the public mourning events that followed the Hillsborough disaster and the death of Princess Diana. It further suggests that identification is an indispensable and precursory aspect of public mourning, which is summoned and given shape by epistolary and narrative practices of the self. Public mourning of the sort considered here is theorised along two principal lines: the iconic and the totemic. The former, it is argued, can be seen to relate to the largely feminine global structures of feeling through which the public mourning for Princess Diana were articulated, whilst the latter can be seen to relate to the largely masculine local structures of feeling through which the public mourning following the Hillsborough disaster were configured. In turn, it suggests that aspects of resistance to the public mourning following each of the events considered as case studies here can in themselves be considered as aspects of mourning, albeit for something other than the obvious referents of loss during these events. It further points to the situated social identity of the researcher as both instrumental not only to the motivation for, but to the outcomes of social research.
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Cross, Katerina P. S. "From celebration to a "culture of lament" : a practical theological study of responses to suffering through the lens of a "secular congregation"." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=236308.
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This thesis explores the problematic nature of theodicy (theological explanations for suffering). It questions what kind of meaning-making might occur in place of theodicy in societies which are undergoing a change in attitude to religious belief and practise. In doing so, it looks to shed light on how the Church might respond to instances of mass suffering (referred to as 'ground-zero' events) and other traumatic experiences in the current social context. Drawing on a practical theological methodology, and employing ethnographic tools of investigation, this thesis includes data collected via interviews (thirty in total) and observation with the Sunday Assembly. This burgeoning global movement is not religiously affiliated, yet it draws on the structures and practises of the Christian Church to the extent that it has been referred to as an 'atheist church' (and, laterally, a 'secular congregation.') Data gathered at communities in London and Edinburgh provides a critical basis for theological reflection on the group's responses to suffering. The key finding of this thesis concerns the Sunday Assembly's adoption of a philosophy of celebration, which, in practise, can lead to the 'passing over' of suffering on both a global and individual scale. In response, this thesis concludes with a reflection on the Church's propensity to also avoid discussion of suffering, and suggests that churches resist this by constructing a 'culture of lament' in which suffering might be acknowledged and addressed. This practise is intended to prevent Christian communities from evading traumatic events, or else reverting to potentially harmful theodicies.
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White, R. H. G. "Freud's memory : textuality, art and the problem of mourning." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286635.
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Nyanjaya, Ananias Kumbuyo. "A pastoral approach to suppression of the grief process among males leading to death a reflection on an African perspective in Zimbabwe /." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-10302007-153911/.
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Toland, Lisa Marie. "Resurrecting the dead the language of grief in a seventeenth century English family /." Oxford, Ohio : Miami University, 2003. http://www.ohiolink.edu/etd/view.cgi?miami1058455953.
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Thesis (M.A.)--Miami University, Dept. of History, 2003.Title from first page of PDF document. Document formatted into pages; contains ii, 54 p. : ill. Includes bibliographical references (p. 50-54).
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Tabony, Joanna. "Death, Death, I Know Thee Now!' Mourning Jewelry in England and New Orleans in the Nineteenth Century." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/134.
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Descriptions of mourning adornments in England and New Orleans in the nineteenth century are used to argue that many of the customs of mourning in England -- the designs, themes, and materials -- also were present in New Orleans. This study draws from these observations and sources to suggest that mourning practices involving jewelry and costume became more functional and less formal in both England and New Orleans as the century progressed, while French customs retained and even grew in complexity. The high level of trade between Britain and New Orleans during the nineteenth century, reflected in the jewelry and costume of Louisiana, supports an argument that this new world city was influenced by, absorbed and incorporated social customs and activities that were useful to them, drawn from a wider range of cultures and peoples than perhaps are usually mentioned in historical accounts.
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Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.
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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.
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Spahr, Travis Osborne. "The open and the still mourning in thought /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/spahr/SpahrT0508.pdf.
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This project is an architectural study of the practice of mourning and the pursuit of the humble heart. Mourning, dream, the meditative man, and the human condition were studied and used to construct a philosophy from which tectonic design could begin. To substantiate the design, a graphic process was used to analyze the poetry of Jorge Luis Borges. From this analysis arose both verbal and architectural expressions that were further developed into the design of a cenotaph. This design was refined and presented in the form of drawings and physical models. The project brought to light questions concerning humanity\'s attempted conformation to ideal virtues and the definite ruinous nature of things made by men.
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Dobler, Robert 1980. "Alternative Memorials: Death and Memory in Contemporary America." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10821.
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x, 89 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Alternative forms of memorialization offer a sense of empowerment to the mourner, bringing the act of grieving into the personal sphere and away from the clinical or official realm of funeral homes and cemeteries. Constructing a spontaneous shrine allows a mourner to create a meaningful narrative of the deceased's life, giving structure and significance to a loss that may seem chaotic or meaningless in the immediate aftermath. These vernacular memorials also function as focal points for continued communication with the departed and interaction with a community of mourners that blurs distinctions between public and private spheres. I focus my analysis on MySpace pages that are transformed into spontaneous memorials in the wake of a user's death, the creation of "ghost bikes" at the sites of fatal bicycle-automobile collisions, and memorial tattooing, exploring the ways in which these practices are socially constructed innovations on the traditional material forms of mourning culture.
Committee in Charge: Dr. Daniel Wojcik, Folklore, Chair; Dr. Philip Scher, Anthropology; Dr. Doug Blandy, Arts and Administration
2016-05-28
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Novakovic, Biljana. "Art as Transport Station of Trauma." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18402.
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Research Paper This research examines matrixial theory as developed by feminist theorist, artist and psychoanalyst Bracha Ettinger in order to bring the insights of this theory to bear on trauma-related art. Ettinger’s matrixial theory is based on the notion that, for every human subject, the earliest, prenatal stages of development begin in relation to another human being. Chapter 1 discusses Ettinger's theory alongside Freud and Lacan, and approaches subjectivity and trauma by first exploring the limitations of subjectivity as described in classical psychoanalysis. Ettinger’s observation that the prenatal stages of development begin in relation to another person opens up the possibility to think about trauma as transmissible and art as subjectivizing the encounter event. She claims that the disposition of sharing trauma is innate to subjectivity and humanity. Chapter 2 describes and analyses Doris Salcedo’s, Louise Bourgeois’ and my own art as possible “transport-stations” of trauma. It analyses artists’ creative processes and viewers’ relations with works of art through the matrixial model as a creative space for meeting and reconnecting with the vulnerability of the other by com-passionate wit(h)nessing. Creative Work The installation that I will exhibit for examination will consist of materials and objects from three works I have been developing in parallel during my research studies. The idea is to construct a world as an artistic installation, as space and time for possible encounter event between viewer and art work, where transsubjective borderlinking is possible. Charged with the grains of my personal and others’ trauma, different objects and materials that I made, sewed or transformed will be involved in a complex relationship of co-inhabiting and co-existing in the same space. Not knowing in advance what that space will be, I will work the space by weaving many strings, visible and invisible, linking with my own known and unknown others, my own and others’ histories, and my own sensitivities to the world. Traditionally handmade work, wool and crocheted pieces, and traditional methods of making will be part of my installation, but will not be visible in a recognizable way. As a necessary part of my art process they are transformed with deep care and commitment and will be invisible elements of the installation that will become the destiny for my artwork, imbued with traces of my own trauma, that of my family, and of others.
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Powell, Debra. ""It was hard to die frae hame" death, grief and mourning among Scottish migrants to New Zealand, 1840-1890 /." The University of Waikato, 2007. http://hdl.handle.net/10289/2484.
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James McGeoch's headstone, which can be seen at the Presbyterian Cemetery in Symonds Street, Auckland, carries a simple sentiment in the Scottish dialect that resonates with first generation migrants everywhere: 'It was hard to die frae hame'. This thesis is an investigation into the experiences of death and mourning among nineteenth century Scottish migrants to New Zealand. It considers the ways in which death, and the framework of social conventions through which it is interpreted and dealt with, might provide evidence for the persistence or renegotiation of cultural behaviours among migrant communities. The focus of this study is on the working classes and in particular those who resided in, and emigrated from, Scotland's larger cities and towns. A complex of ideas and customs informed cultural practices regarding death among the working classes. This thesis highlights the multiple challenges that the process of migration posed to these cultural practices. The ongoing renegotiation of such ideas and customs were important components in the formulation of cultural and religious identities in New Zealand. This thesis is simultaneously an investigation of deathways, a migration study, a consideration of the working class experience, and a tentative venture into the history of emotion. Using a diverse range of sources, including New Zealand coroners' reports, gravestone inscriptions, and personal autobiographical accounts as written in journals, diaries and letters, this study highlights the complexity and variety of migrants' experiences of death and attempts to uncover the multiple meanings of these experiences.
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Ayling-Smith, Beverly. "The space between mourning and melancholia : the use of cloth in contemporary art practice to materialise the work of mourning." Thesis, University of Brighton, 2016. https://research.brighton.ac.uk/en/studentTheses/5952ed65-1680-4182-9e67-4a7e1bd6fcae.
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This research project examines the language of grief in textile art practice. It takes as its starting point the idea that, as individuals with experience of bereavement, we may carry with us an element of unresolved mourning. This is not the pathological condition of melancholia or complicated mourning, nor the fully resolved, completed state where mourning is over, but is a space between; a set of emotions which continue to be felt and may be brought to the surface by an event, situation, set of circumstances or encounter with, for example, artwork which may bring back feelings of grief and loss long after the death of someone close. This project investigates how cloth can be used in textile artwork to make a connection with this unresolved mourning and thereby contribute to the progression of the viewer’s work of mourning. The aims of the research are to explore how textile art can be used as a metaphor for grief and mourning and to consider how the staining and mending of cloth in contemporary art practice has been used in my studio practice as a way of understanding and expressing mourning. This is a practice based research project, the outcomes of which consist of a written thesis and a body of artworks created through studio practice. The dialogic relationship between the practice and the written research is integral to the outcomes of both the written work and in the studio practice. The written thesis builds on existing research into the psychoanalytical interpretation of mourning and melancholia; the development of the understanding of the process of mourning, trauma theory and the material culture of mourning to establish a rationale for the use of cloth in textile art practice to materialise the work of mourning. The thesis and body of studio practice make an original contribution to knowledge by bringing together the sociological and cultural use of cloth with psychoanalytical theory and the consideration of the affectivity of artwork. The overarching approach of the thesis is a two-part focus on the use of cloth and how it can be used in textile artwork. The first chapter sets out the context of the research both in terms of previously published written work and the studio practice of other artists. Chapter 2 examines the methodology of the research and how the work has been shown to viewers and the means by which any responses have been obtained. Both written and verbal responses to the work by viewers have been used to substantiate the proposal that textile artwork can connect with the viewer in such a way as to allow a progression of their work of mourning. Chapter 3 considers the materiality of cloth; its manipulation and transformation using processes such as staining and mending, and the utilisation of metaphor and metonymy in the creation of artworks in cloth. The final chapter ‘Connecting with the Viewer’ explores the affectivity of artwork and how it is able to facilitate an emotional connection with the audience.
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Akol, Grace. "Widows' experiences of spousal mourning among AmaXhosa: an interpretative phenomenological study." Thesis, University of Fort Hare, 2011. http://hdl.handle.net/10353/523.
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This study was conducted on the mourning rituals of the AmaXhosa widows of the Eastern Cape Province of South Africa. The study focused on the descriptive presentation of the experiences of the AmaXhosa widows in the Buffalo City municipality of the Province. The study sought to establish the widows’ perceptions regarding the mourning rituals and to interpret their experiences within the context of contemporary cultural, religious, gender and socio-political influences. The experiences among the widows interviewed were found to have a similar context but their perceptions about the mourning rituals were different between the widows younger than 40 years and those older than 50 years. Widows from urban and rural areas of East London, Mdantsane Township and from within a 60 kilometre radius of East London were interviewed. Purposive random sampling was used to identify an equal number of either urban or rural voluntary participants for the study. Structured interviews were held with widows ranging in age from 29 to 91 years. An interpretative phenomenological analysis of the recorded discussions was conducted. The experiences of the AmaXhosa widows during the conduct of the mourning rituals are described. The key findings of the study indicated that most of the widows felt they had to go through the mourning rituals mainly to show respect for their departed husbands and so that the dignity of the family and clan was maintained. The mourning rituals seemed mostly to have negative implications for the widows such as a lack of family and financial support and being treated as social outcasts; however the rituals also seemed to help the women adjust to their new status as widows. Although the mourning rituals were embedded in the socio-cultural tradition generally followed by the AmaXhosa, religious beliefs also influenced some of the traditions by introducing changes in the way some widows conducted the mourning rituals. For example, some religions advocated for shorter periods of mourning than usual as well as wearing different types of mourning clothes from the usual black or purple dress. Overall the perceptions of the older widows aged above 50 years revealed that they had no reservations about performing the mourning rituals and quite readily and unquestioningly accepted the customs. The younger widows aged below 40 years on the other hand felt that the mourning rituals were biased against women and did not serve a useful purpose and even proposed changes to the manner in which the mourning rituals are conducted particularly the shortening of the mourning period from 12 to 6 months or less. However, they seemed to recognize the role played by the mourning ritual in lessening and possibly healing the pain and sorrow caused by their bereavement.
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Seretlo-Rangata, Mmakwena Linda. "The psychological meaning of mourning rituals in Botlokwa Community, Limpopo Province." Thesis, University of Limpopo, 2017. http://hdl.handle.net/10386/2032.
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Thesis ((M. A. (Clinical Psychology)) --University of Limpopo, 2017.The study explored the psychological meaning of mourning rituals in Botlokwa community, Limpopo Province. The study focused on identifying and describing the types of mourning rituals observed and performed by the participants after the loss of a loved one. Furthermore the study explored the subjective meaning the participants attach to the mourning rituals so as to identify and articulate the psychological themes embedded in the mourning rituals. A total of ten participants (male = 5; females = 5; aged between 40 and 60) were selected using the purposive sampling method. Data were collected using semi-structured interviews. Thematic content analysis method was used to analyse the data. The three major themes that emerged during data analysis were; a) The types of mourning rituals observed and performed after the death of a loved one; b) the subjective meaning that the bereaved attach to the mourning rituals and c) the psychological meaning embedded in the mourning rituals observed and performed after the death of a loved one. The findings of the study suggest that the mourning rituals performed by the Batlokwa people have significant psychological meanings. These include assisting the bereaved to cope with the death of a loved one, strengthening the bereaved and ensuring that the bereaved are healed and accept the death of a loved one. The study results further shows the different subjective meanings that the bereaved attach to the mourning rituals performed. Furthermore the findings of the study suggest that the participants perform mourning rituals in order to prevent them from misfortunes, illnesses, bad luck and to remove what is perceived as a “dark cloud” hanging over them after the death of a loved one. The findings further suggest that the bereaved benefit psychologically from performing the mourning rituals. One of the benefits is having to let go of the deceased with the knowledge that their loved ones’ soul is resting in peace. The study is concluded by, among others, recommending that psychologists familiarise themselves with different cultural groups and different ways of grieving and mourning within different cultures in order to better understand patients’ different mourning processes.
NIHSS scholarship
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Sweeney, Katherine. "American afterlife." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/rp/sweeneyk/katherinesweeney.pdf.
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Tremper, Kristin. ""When God Takes Away": Gendered Death Customs in Eighteenth-Century Virginia." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/74.
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Rituals surrounding death were social in addition to being religious. Virginians conveyed the status of the deceased through funerals, burials, gravestones, commemoration, and mourning. But these customs greatly differed according to gender, both in what they consisted of and who was responsible for carrying them out. This thesis examines wills, diaries, correspondence, grave markers, prints, and newspapers of eighteenth-century Virginians, which demonstrate the differences in the death customs of men and women. Because of men’s involvement in public activities like business and politics, they gave greater forethought into how acts of remembrance would reflect their positions. Women’s duties were centered on the home and family. This resulted in less elaborate death customs as well as greater responsibility for appropriately attending to the remembrance of others. Despite the overwhelmingly private nature of women’s funerals and burials, gravestones, death notices, and the responsibilities of widowhood briefly brought women into the public realm.
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Ngqangweni, Hlonelwa. "‘Gender’ and constructions of spousal mourning among the AmaXhosa in the Eastern Cape." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015647.
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Among the AmaXhosa the death of a person is marked by a tradition called ukuzila - the equivalent of the mourning process. As a sign of spousal mourning, and to show respect, the remaining spouse has to put on a marker (be visible). However, it is mostly the woman who is under obligation to show her mourner status by wearing ‘clothes of mourning’. The discriminatory nature of the practice, especially pertaining to visibility and some of the detrimental effects on the widows’ health and safety have been documented by some researchers, but the reasons for the continuity of visibility remain largely unexplored. Taking into account the dynamic nature of ‘culture’, this research explored the discourses deployed in men and women’s constructions of ukuzila specifically focusing on spousal mourning and the continuity of widows’ visibility in spite of their resistance to it. The research used postcolonial feminism drawing on postructuralism as its theoretical lens. This theoretical lens provided useful concepts such as hybridity, visibility, surveillance and power with which to examine spousal mourning and conceptualised people’s subject positions as multiple, fluid and contingent. Furthermore, the research employed thematic and discourse analysis at its methodology. Discourse analysis was employed to identify and analyse the discourses utilised in the constructions of spousal mourning. The research was conducted through focus group discussions held with younger and older urban and rural men and women, as well as interviews held with widows and widowers and key cultural informants. Concerning the question of constructions of spousal mourning for men and women, visibility of the mourner emerged as a central and contentious issue. Some participants were of the view that one could show mourning by engaging in culturally appropriate mourning behaviour, whilst others were of the view that showing one’s mourning had to be visible by publicly displaying mourning through a marker. Another group proposed mourning “by heart”, whereby the mourners’ status could either be inferred from their behaviour, whereas others maintained that behaviour was not mandatory. Various justifications for the continued visibility of widows were advanced. These justifications included showing love and respect to the deceased husband; showing respect to the ancestors; and helping to monitor their own behaviour in order to ensure that it is in line with appropriate mourning behaviour. The continued visibility of widows was also used to regulate the widows’ sexuality. Widows were coerced to put on ‘clothes of mourning’ in order to ‘protect’ them from being approached by men for a relationship during the mourning period. The regulation of the movement of widows was also managed through visibility. Widows’ movements were restricted in order to protect the community from pollution or bad luck. For example, they were not allowed to visit places of entertainment or visit other households. Key discourses identified were the familial-‘ukwenda’, respect-‘hlonipha’, and male sexual drive (MSD) discourse. The familial - ‘ukwenda’ discourse is centred on the idea that one is ‘married to the household’, which includes the nuclear family and wider extended family including ancestors. According to the respect-‘hlonipha’ discourse, respect is due to others on the basis of their age, status, and more especially their gender. Showing respect (hlonipha) necessitates the avoidance of all forms of behaviour and utterances that could be deemed disrespectful. The MSD holds a widespread view of sexuality as a biological drive that resides within each male and it was drawn on to make sense of discontinued visibility among widowers, whilst visibility of widows continued. It is argued that it is these discourses, embedded in the ‘culture’ of the AmaXhosa and upheld by the family that sustain the discriminatory nature of the practice, especially concerning the continued visibility of widows in spite of the resistance that has been voiced.
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Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.
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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future.
When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.2016-09-29
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Schaller, Wendy M. "Children borne aloft : Nicolaes Maes's Ganymede Portraiture and the context of death and mourning in the seventeenth-century Netherlands /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486401895207345.
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Weiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.
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This paper explores how photographs have affected mourning processes in the past and how photo-technology may be able to change the way in which we mourn in the future. It includes an overview of the history of post-mortem photography and discusses the perspectives of well-known media theorists such as Roland Barthes and Susan Sontag. It engages with psychologists by including their perspectives on the effect that photographs have on the mourning process. A project was created to investigate how photo-technology can affect the bereaved. The project places photographs of a mother into pictures of her children taken after she had passed away. These photographs were later shown to her sons in order to explore how this impacts their memories and mourning processes.
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Auer, Janette Slater William J. "Electra in context: an investigation of a character in fifth century B.C. Athenian tragedy in the social context of the ritual lament and revenge /." *McMaster only, 2005.
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El-Karanshawy, Samer. "The day the Imām was killed : mourning sermons, politics, history and the struggle for Lebanese Shī'īsm." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669871.
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Sunderland, Sophie Monica May. "Representations of the secular : neutrality, spirituality and mourning in Australia and Canadian cultural politics." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0177.
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[Truncated abstract] This thesis explores the ways in which 'the secular' is represented in contemporary Australian participatory art, screen, and print cultures. Secularisms are currently the subject of analysis in a broad range of disciplines within the humanities, and this thesis intervenes upon the field by focusing on the cultural politics of representations of embodied, spatialized secularisms. The secular is commonly defined in opposition to the 'religious,' and can also be extrapolated to the division of public and private spaces. Thus, by considering the occlusions and violences inherent in the ways bodies negotiate and are constructed through space, this thesis argues for the fluidity and porosity of these oppositions. By drawing from Janet Jakobsen and Ann Pellegrini's notion of secularisms, understood as specific, situated narratives of the secular, as well as Talal Asad's and William E. Connolly's conceptions of the secular, this thesis identifies 'neutrality' and 'spirituality' as two key narratives of the secular around which questions of language, embodiment, affect, and subjectivity are set in motion. Here, a regime of representation that constructs 'religious' subjects as outsiders to an imagined Australian national identity is critiqued and reconsidered in terms of anxieties about remembering and living with difference and loss. Rather than defining 'the secular,' this thesis seeks to maintain focus on the context and contingencies of enunciation. Thus, firstly the conflation of secularism with 'neutrality' and 'objectivity' is explored through a discussion of 'defining' secularisms, alongside critique of representations of the Oxford English Dictionary (OED). By identifying the ways in which this 'everyday' text signals exclusions through the privileging of British Protestant Christianity in its contents, colonial history and usage, I consider how 'neutrality' is made contextually and contingently. ... . Here, secular mourning is a suggestive concept that foregrounds 'affective economies' of loss, grief, and mourning alongside openness to the ways in which identity is made and lived relationally, and differently. Given that the representations of Australian secularisms I identify are made by locating 'the religious' elsewhere, this thesis reflects upon this process by including a contingent comparative study of representations of Canadian secularisms. Participatory art including the Secular Confession Booth (2007) in Toronto and The Booth (2008) in Perth, news media debates about secularism in Ontario and
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Solomon, Angela Ntombizodwa Nokuphila. "Funeral rites of the amaXhosa as therapeutic procedures compared to crisis intervention : an anthropological-descriptive evaluation." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1007699.
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This study was undertaken in an attempt to investigate the analogy between the Crisis Intervention Model and the Funeral Rites of the amaXhosa. The latter group includes both traditional as well as Western Christian elements. The study was confined to the geographical area of Ciskei and more specifically the villages in and around Peddie and Ndevana near Zwelitsha, as regards traditional people, and the Black townships of Zwelitsha and Whittlesea,as regards more Westernized people. It is, however, the contention of the study that experiences discussed here are common to Blacks in South Africa irrespective of ethnicity. The justification for this generalisation is based on anthropological commonalities as well as historical vicissitudes among Blacks in Southern Africa. For instance, ritual slaughter performed after death in propitiation with the ancestors is known among all Blacks in South Africa. Also the Politico-historical events as well as socio-economic developments in the country affect Blacks in a more or less similar manner. For example, the changing family structure among Blacks, because of changes from one type of economy to another, is a social process affecting all Blacks in Southern Africa - in particular the working class (Colin Murray, 1980). The Funeral rites under study are postulated as possessing elements of therapeutic and practical value which result in the alleviation of grief and the encouragement of full acceptable means of mourning. The study is chiefly descriptive and anthropological material has been used. Recordings were made from participant observation whenever there was a funeral in the area studied. Information about funerals is easily obtainable as these are announced over Radio Ciskei and Radio Xhosa every evening. Mourners and interveners were interviewed. The former to elicit the needs they had felt, the latter to elicit the needs they had perceived the former to have. The Crisis Intervention Model is fairly simple to understand and uses practical theory. Therefore, it is not surprising that there should be elements of similarity between this model and the funeral rites of the amaXhosa as both deal with people in need of support. These funeral rites are rooted in a culture which has as one of its crucial aspects intimate, face-to-face interaction of its members in constant exchange as regards both emotional support and services. These "credit networks" ensure that a person is never bereft of emotional support. Moreover, temporary services are always accorded to a person in crisis. An effort has been made to relate the Crisis Intervention Model to the South African context of Blacks (both traditional as well as Christian). By necessity this has meant looking at all cultural dimensions of Black society - historical, political, economic and cultural, in order to provide a clearer picture of the people under study. That is, human psychological experiences of grief and mourning are seen as processes related to and developing within the concrete everyday realities. Some of the experiences described have been personally witnessed by the researcher in her personal involvement with cultural practices. Funerals are, of necessity, sad occasions and this study, using participant observation methods sometimes brought on sad memories of the researcher's own losses of loved ones. In the discussion a comparison was made between the traditional methods of grief work, the Crisis Intervention theory and the mourner studied and it was found that these rites do indeed, contain therapeutic and practical elements of dealing with grief and mourning, comparable to the Crisis Intervention Model. Finally in the conclusior a proposal for further areas of study in this field was suggested.
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Thorn, Sophie Alexandra. "“The Abuse of Power and Indiscretion": Identity, Mourning and Control in the Work of Sophie Calle." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/4831.
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At the 52nd Venice Biennale in 2007, French artist, Sophie Calle presented for public consumption a
starkly simple yet elegant work entitled Pas Pu Saisir La Mort. The work was not only a comprehensive
investigation of the Biennale theme for that year of capturing a fleeting moment in life but was also an
ethically challenging and confrontational piece. Calle chose to display a video loop from the final moments
of her mother Monique Sindler's life. As the title in a childlike manner informs the viewer, the subject of the
work is Calle's inability to physically comprehend this moment. She, to add in the poignantly missing
referent to the English translation of the title, “couldn't capture death”. Calle prompts the audience not only
to watch but to actively look for the universally ungraspable moment of Monique's passing.
Pas Pu Saisir La Mort is unique piece which both characterises Calle's work while also marking a
departure from her normal style of working. It raises challenging issues of the ethical responsibilities of the
contemporary art Biennale and of a more moral nature for the audience by placing them in the intimate role
of voyeur. At the centre of aesthetic theory and within contemporary art writing the idea of a connection to
universal concepts or notions of an underlying humanity within art is referenced, debated and negated. I
believe in Pas Pu Saisir La Mort Calle engages with this discussion through foregrounding the idea of the
contemporary sublime and re-evaluates art's connection to modernist universals as illuminated though the
recent work of Thierry De Duve in particular his concept of 'nous voici' or work with speaks to the 'we' of
humanity.
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Adams, Amanda Dalla Villa. "“An Alternative Narrative: Memorial Culture, Mourning, and Death in the Work of Felix Gonzalez-Torres, 1987-1995”." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892175.
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Hartzler, Rachel Nafziger. "Loss as an invitation to transformation living well following the death of a spouse /." Theological Research Exchange Network (TREN) Access this title online, 2004. http://www.tren.com.
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Thesis (M.A. in Christian Formation)--Associated Mennonite Biblical Seminary, 2004.Abstract. Thesis supervisor: Daniel S. Schipani. Appendix 1: "A Questionnaire for People Who Are (or at One Time Were) Widowed." Includes bibliographical references (leaves 141-150, 191-194).
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Davis, Rachel Andrea. "If I forget you, it doesn't mean I didn't love you." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501461061076469.
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Martin, Julia. "Days Ending in Why." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32993.
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In DAYS ENDING IN WHY, interdisciplinary artist Julia Martin identifies the schism of her autobiographical practice: deep melancholia and absurd irony. The fragmentation of the works presented knowingly resist cohesion, instead, through their arrangements and the potentials of space between them, they carry on conversations with one another. Rooted in the personal narrative, the works span across multiple mediums; photography, film, installation/sculpture, and literature. Martin emphasizes both the tragic and the comedic, pacing the show as a play between the two. Also, there are cats.
So many cats.
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Kozlova, Ekaterina E. "'Whoever lost children lost her heart' : valourised maternal grief in the Hebrew Bible." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:eb33c1be-0f1b-45e3-bb38-6ec147250b9b.
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Recent studies on ancient Israel's mortuary culture have shown that mourning rites were not restricted to the occasions of death, burial and subsequent grief but were, in fact, implemented in diverse contexts. In this thesis I am looking at biblical traditions in which these solemn practices contributed, or sought to contribute to various forms of social restoration. More specifically, I explore the stories of biblical grieving mothers who are placed at key junctures in Israel's history to renegotiate the destinies not only of their own children, dead or lost, but also those of larger communities, i.e. family lines, ethnic groups, or entire nations. Since 'the social and ritual dimensions of mourning are intertwined and inseparable ... [and] rites in general are a context for the creation and transformation of social order', these women use the circumstance of their 'interrupted' motherhood as a platform for a kind of grief-driven socio-political activism. Since maternal bereavement is generally understood as the most intense of all types of loss and was seen as archetypal of all mourning in ancient Near Eastern cultures, Israelite communities in crisis deemed sorrowing motherhood as a potent agent in bringing about their own survival and resurgence back to normalcy. I begin my discussion on mourning rites as tools of social preservation and restoration in biblical traditions with (1) a list of modern examples that attest to a phenomenon of social, political, and religious engagement among women that stems from the circumstance of child loss; (2) a survey of recent grief and death studies that identify maternal grief as the most intense and the most enduring among other types of bereavement; (3) an overview of ancient Near Eastern cultures (Mesopotamia, Egypt, Hatti, Syro-Palestine) that not only viewed maternal grief as paradigmatic of all mourning but also utilised ritual actions performed by mothers in contexts of large scale catastrophes as mechanisms for dealing with a collective trauma. Against this background my project then turns to discuss four biblical mothers: Hagar (Gen. 21:14-21), Rizpah (2 Sam. 21:1-14), the woman of Tekoa (2 Sam. 14:1-20) and Rachel (Jer. 31:15-22), all of whom perform rites for their dying or dead children and exhibit a form of advocacy for society at large.
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Slusarenko, Edith Kay. "Alterations." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5089.
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My work is not about making big declamatory statements. It's about looking around within my home environment and noticing something and thinking about it. At times (it) is noticed by me as I am passing by a storefront window or browsing through a second-hand store. I never have a clue to what I am looking for until I see it and buy it. Many times I will live with the object for years before deciding to use it as part of my art. Yet when I decide to use the object(s) I find it important to understand how they have been used, under used and why they are tossed away and given little notice in our day-to-day lives. In September, I was given Studio 244. Located in Shattuck Hall, Studio 244 was a former women's dressing room for the Theater Department. As soon as I saw it I realized this was "home" to my installation. The opportunity to work in this studio for nine months and to create an environment that would alter the look of the original space was extremely exciting and challenging. I divided the studio into three separate rooms. I built a long, narrow corridor, a tall windowed room (Domestic Goddess Room) and another room which was windowless but bright and cheery (Dressed For Success Room). These three rooms contained objects and texts which gave information to the way many women have lived and continue to live in the institution of home. Life is predicated on change. Many objects and concepts that we once took for granted as part of everyday life either have vanished or now seem destined to disappear. Others should have disappeared but keep popping up in each new generation disguised in new words and new packaging. I am a carrier and conservator of my culture, the good and the bad. As a visual artist I have the opportunity to tell my point of view, my passions and my story within the confines of a space which I have built and created for the sole purpose of saying, "Look at this. Please."
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Peacock, Eve Christine. "eARTh : the dynamics of ontological representation." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78686/1/Eve_Peacock_Thesis.pdf.
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This Australian Indigenous creactive work and its Treatise promote ways of thinking about practice and research that extend well beyond the current discourse. It invites re-thinking on how research can be practice-led in new ways, and what that might mean for future students. When discussing the challenges of today, this work signifies how "Western Style" thinking and theory is wanting in so many ways. It engages a new dynamic and innovative way of theorising, encouraging future students to apply their full capacity of energy and wisdom. (Extract from examiners' reports.)
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Hirst, Manton Myatt. "The healer's art : Cape Nguni diviners in the townships of Grahamstown." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1001601.
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This is a study of Cape Nguni diviners practising in the townships of Grahamstown where, during the 1970s, there was a large and active concentration of diviners treating clients from the locality, the rural areas and even the large urban centres further afield. The study situates local diviners in the socio-economic, cultural and religious context of contemporary township Iife during the 1970s (see chapter 1 and section 2.1). The personalities and socio-economic circumstances of diviners (and herbalists) are described as well as their case-loads, the various problems they treat, the relations between them and their clients, the economics of healing and the ethics pertaining to the profession (see chapter 2) . Chapter three focuses on the various problems and afflictions - which are largely of an interpersonal nature - suffered by those who are eventually inducted as diviners and the ritual therapy this necessarily entails. Here we see how the diviner, what Lewis (1971) terms a 'wounded healer', becomes an expert in interpersonal and social relations as a result of suffering problems - largely connected to the family but not necessarily limited to it - in interpersonal relations and that require a ritual, and thus social, prophylaxis. The main theoretical argument is that the diviner, qua healer, functions as a hybrid of Levi-Strauss' s bricoleur and Castaneda's 'man of knowledge' artfully combining the ability of the former to invert, mirror or utilise analogies from linguistics to make everything meaningful and the ability of the latter to creatively bend reality . The diviner's cosmology is described in terms of a 'handy', limited but extensive cultural code/repertoire of signs, symbols and metaphors that is utilised in getting the message across to others and in which animals bear the main symbolic load (see chapter 4). This leads logically to a reappraisal of Hammond-Tooke's (1975b) well-known model of Cape Nguni symbolic structure particularly in so far as it pertains to the way in which diviners classify animals, both wild and domestic (see section 4.6). A striking evocation and confirmation of the view argued here, namely of the diviner as bricoleur/'man of knowledge', is contained in chapter five dealing with an analysis of the diviner's 'river' myth and the context, form and content of the divinatory consultation itself. Finally, the conclusions, arising out of this study of contemporary Cape Nguni diviners in town, are evaluated in the ligrht of Lewis's (1966, 1971, 1986) deprivation hypothesis of spirit possession (see chapter 6)
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Bonine, Kathleen Anne. "Culture contact change and continuity: The Mohave Indians." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/673.
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Aka, Christine. "Unfallkreuze : Trauerorte am Straßenrand /." Münster [u.a.] : Waxmann, 2007. http://www.waxmann.com/kat/1791.html.
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Van, Heerden Gary Paul. "Holding on or letting go?: the resolution of grief in relation to two Xhosa rituals in South Africa." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1016055.
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The dominant emphasis in Western models of bereavement is on the breaking of bonds with the deceased in order for healing to occur. Failure to let go often leads to a diagnosis of 'pathological grief'. This paper challenges the assumption that death invariably means that the bonds with the deceased have to be severed. Situating Western models of bereavement in a modernist context not only challenges the 'truth' claims of these models, but also facilitates a deconstruction of the elements that contribute to the emphasis on letting go. In contrast to these theories, two Xhosa rituals (umkhapho and umbuyiso) that seek to sustain the bond with the deceased person will be examined. Such rituals demonstrate that it is possible to both maintain the bond and for the bereaved person to move on with their lives. Despite different contexts, it will be argued that these Xhosa bereavement rituals have a contribution to make to Western models of bereavement and some implications for therapy will be explored.
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Alyasin, Ghaza. "Genus i gester : En studie om könsbundenhet inom etruskisk begravningskonst." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352845.
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Etruscan art was greatly influenced by Greek art, which is especially apparent in the Etruscan funerary art. A common motif within Greek funerary art is the prothesis, the lying in state, which appears in Etruria during the sixth and fifth centuries BCE. However, the Etruscan scenes differ from the Greek scenes in that they portray a wider flexibility when it comes to gender roles. Women and men are not limited to gestures or positions within the scenes of prothesis. This in turn, along with other factors not discussed in this paper, has led to discussions of a more gender equal Etruscan society. Yet there is a specific gesture within the Etruscan scenes that is not found in the Greek material. The gesture in question, portrayed with both hands on the chest either in fists or placed one on top of the other, appears in other funerary art outside of the prothesis scenes. The aim of this thesis is to examine this gesture and its relation to gender and whether it is gender constricted. By analyzing and comparing funerary art limited to Chiusi and Vetulonia that includes the gesture, found in reliefs, statuettes as well as sculptures, this paper sets out to deepen our understanding of Etruscan gender roles. Since the material being examined is extremely restricted, the only thing an analysis of this size can determine is that there is indeed a gender constriction within the funerary art from the cities of Chiusi and Vetulonia, speaking to a possible wider occurrence within the entire Etruscan society. To delve deeper into the questions of gender roles and how they affect the Etruscan art, it is necessary to broaden the scope of material – both in form and origin.
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Dauscha, April. "(Un)Veiled: An Examination of Conscience." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2779.
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I use the body to investigate the ideas of morality, mourning and mortification. I look towards costume history, traditional Catholic rituals and themes in 19th century literature to feed my obsession with transformation, reconciliation and communication through dress. My making focuses on feminine objects and materials. Lace, veils, undergarments and hair adornment speak not only of womanhood, but also of the duality of human nature. Lace speaks of purity and sexuality, it reveals and conceals, it is humble, yet gluttonous in its ornamental overindulgence; lace is the ultimate dichotomy. I use it as a potent symbol to represent the duality of body and soul, right and wrong, good and evil. Historically, neglected, disheveled and unbound hair was a sign of mourning and penance, a physical representation of one's sin and sorrow. In my work, hair comes to represent an uncomfortable binding of one's self to one's alter ego, while helping to serve as an act of penance and mortification. As I make, my hands hopelessly yearn to create beauty from burdens; the repetitive and penitential process of stitching creates a metaphor for my longing towards perfection and purification. My use of video, photography and installation work to provide a unique experience for the viewer, for here they are invited to enter these imaginary worlds of wonder.
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Houde, Audrey. "Le travail de production et de reconstruction des mises en scène rituelles dans le contexte de la ritualité funéraire /." Thèse, Chicoutimi : Montréal : Université du Québec à Chicoutimi. Université de Montréal, 2005. http://theses.uqac.ca.
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Thèse (M.Th.Pr.) -- Université du Québec à Chicoutimi, programme en extension de l'Université de Montréal, 2005.Bibliogr.: f. [74]-76. Document électronique également accessible en format PDF. CaQCU
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Elsley, Judith Helen 1952. "The semiotics of quilting: discourse of the marginalized." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/565534.
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Girod, Virginie. "L’érotisme féminin à Rome, dans le Latium et en Campanie, sous les Julio-Claudiens et les Flaviens : recherches d’histoire sociale." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040075.
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Le fonctionnement de la société romaine reposait en partie sur la distinction de genre et de groupe social. Cela était particulièrement prégnant dans le domaine de l’érotisme. Au-dessus de tous les groupes sociaux se situait celui des hommes libres dont le rôle sexuel était celui de dominant-pénétrant. De fait, l’érotisme à la romaine peut être défini comme étant phallocentrique. Par opposition, toutes les autres catégories de personnes formaient le groupe des dominés-pénétrés. Néanmoins, le degré de soumission de chacun était déterminé par sa position sur l’échelle sociale. Les matrones avaient accès à un érotisme restreint qui se voulait procréatif. Les autres femmes, dans une certaine mesure, pouvaient être utilisées par les hommes de qui elles dépendaient comme des instruments de plaisir. Ainsi, la prostitution a toujours eu un rôle important à Rome. Bien qu’infâmes, les prostituées avaient pour mission d’assouvir les besoins charnels des hommes et pratiquaient une sexualité récréative plutôt décomplexée. Toutes les pratiques sexuelles n’étaient cependant pas admises et si, contrairement aux chastes matrones, les prostituées pouvaient s’autoriser des formes de sexualité non fécondantes, les pratiques jugées perverses (scopophilie, exhibitionnisme, agalmatophilie, etc…) étaient, selon la morale, à bannir de tous les litsThe functioning of the Roman society was based partially on the distinction of genre and social group. It was particularly strong in the eroticism. Over all the social groups was situated that of the free men whose sexual role was the one of dominating - penetrating. Actually, the Roman type eroticism can be defined as being phallocentric. By opposition, all other categories of persons formed the group of dominated penetrated. Nevertheless, the degree of submission of each was determined by its position on the social scale. The stout women had access to an eroticism restricts who was procreative. Other women, to a certain extent, could be used by the men as instruments of pleasure. So, the prostitution always had an important role in Rome. The prostitutes had an important mission. But, all the sexual practices were not allowed and if, contrary of the matronae, the prostitutes could adduce forms of sexuality for not being pregnant, the practices considered perverse (scopophilia, exhibitionism, agalmatophilia, etc.) were banished, according to the morality, of all the beds
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Kucerova, Anastasiia. "Mezinárodní přeprava uměleckých předmětů." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-206263.
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The master´s thesis deals with the international transportation of art objects (for instance paintings, sculptures, etc.). The aim of diploma paper is to scrutinize the issues of transportation of works of art in the Czech Republic and beyond its borders. It includes different formalities, packing, laws, customs and insurance specifics. The application part contains analysis of the case study. It shows practises for transportation of art objects in Galerie Rudolfinum. Subsequently,it includes recommendations for the gallery. Moreover, there is an evaluation of weak points in the field of international transportation of works of art and outline of possible future trends.
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Medich, Melissa N. "Etruscan mortuary practice a comparative analysis of funerary art in Etruscan tombs during the fourth and fifth centuries BCE /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/662.
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Ackers, Helen Inge. "Portrait busts of Roman women in the third century AD." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:68647af9-5bd3-4f93-ab36-123c2e2f09dc.
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The purpose of this dissertation is to conduct a comprehensive study of Roman women's portrait busts of the third century AD. The free-standing portrait bust forms a discrete historical category through which to trace developments in third-century women's portraiture. The high-status, commemorative tradition of the bust and the durability of this format, which could be displayed and utilised in a large range of different contexts, made this an important portrait genre for women in the third century. These busts consequently offer powerful insight into the ideological function and status of Roman women in the third century. By placing third-century women's busts in the context of their form, history and provenance, I hope to create a methodology that allows me to ascertain the ancient intention of these portraits. My hypothesis is that, while elements of self-styling and bust-format reveal innovation, the moral vocabulary of Empire as presented in women's portrait busts did not change dramatically in the third century. I will argue that these portraits reflect the heightened ideological status of certain forms of Roman femininity in this period. Rather than being expressive of spiritual escapism or emotional turmoil women's portrait busts functioned as a means of re-confirming the Roman rhetoric of feminine virtue in the third century.
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Van, Heerden Lorinda. "The poetry of silence : perpetuating the profound burden : a female family narrative." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18032.
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Thesis (MA (VA)--Stellenbosch University, 2011.ENGLISH ABSTRACT: The thesis investigate the family narrative. While engaging specifically with my female family narrative, it essentially questions how and why we create and perpetuate this narrative of absence and presence. The acts of memory, autobiography, testimony and the subsequent creation of the archive are probed. Such probes attempt to enter the sphere of the unsayable and unsaid, partially lifting the female existence, identity and body from the silence surrounding the private and intimate realm she dwells in. The creation and recreation of meaning through the use and manipulation of time and language is examined through-out whilst continually reading absence as presence. This is done in order to locate and access the silent and forgotten. The thesis problematises the notion of the ‘I’ and the ‘initial’ through looking at the repercussions of the employing linearity. Ultimately, this writing process reveals the contradictions and dualities we both create and aim to obliterate within the individual and collective composition of the family narrative.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die familienarratief. Terwyl dit spesifiek die vroulike familienarratief bespreek bevraagteken dit hoe en hoekom ons die narratief van afwesigheid en teenwoordigheid skep en voortsit. Die dade van onthou, outobiografie, getuienis, en die daaropvolgende ontstaan van die argief, word gepeil. Hierdie ondersoeke poog om die sfeer van die ‘ongesêde’ en die ‘onsêbare’ binne te dring, en so die vroulike bestaan, identiteit en liggaam te bevry uit die stilte van die ‘private’ en die intieme terrein waarbinne sy woon. Die skep en herskep van betekenis deur die gebruik en manipulasie van taal en tyd word deurlopend ondersoek, terwyl afwesigheid as aanwesigheid gelees word. Dit word gedoen in orde om die stilte en vergete te vind en toegang daartoe te bewerkstellig. Die tesis problematiseer die begrip van die ‘ek’ en die ‘initiële’ deur na die reperkussies van die toepassing en gebruik van lineariteit te kyk. Uiteindelik onthul die skryfproses die kontradiksies en dualiteite wat ons beide skep asook poog om uit te wis binne die individuele en kollektiewe komposisie van die familie narratief.
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Clifford, Zachary Lee. "Anthem." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574675376205461.
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Noret, Joël. "Autour de "ceux qui n'existent plus" : Deuil, funérailles et place des défunts au Sud-Bénin." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210757.
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