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Journal articles on the topic 'Ritual clothing'
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Turdubaeva, Zura Akmatovna, Aiturgan Baktyarovna Turdubaeva, and Janylmyrza Shermamat kyzy. "RITUAL SIGNIFICANCE IN KYRGYZ CHILDREN’S S CLOTHING." Bulletin of Osh State University 1, no. 3 (2021): 65–70. http://dx.doi.org/10.52754/16947452_2021_1_3_65.
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Tian, Tian. "From “Clothing Strips” to Clothing Lists: Tomb Inventories and Western Han Funerary Ritual." Bamboo and Silk 2, no. 1 (September 24, 2019): 52–86. http://dx.doi.org/10.1163/24689246-00201004.
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“Clothing strips” refers to those sections of tomb inventories written on bamboo and wooden slips from the early and middle Western Han that record clothing items. The distinctive characteristics of the writing, check markings, and placement in the tomb of these clothing strips reflect funerary burial conventions of that period. “Clothing lists” from the latter part of the Western Han period are directly related to these clothing strips. Differences in format between these two types of documents are the result of changes in funerary ritual during the Western Han period.
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Quillien, Louise. "Identity Through Appearance: Babylonian Priestly Clothing During the 1st Millennium BC." Journal of Ancient Near Eastern Religions 19, no. 1-2 (December 10, 2019): 71–89. http://dx.doi.org/10.1163/15692124-12341305.
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Abstract Through a study of Babylonian priestly clothing, one can see the social role and attitudes of priests in Babylonian cities, not only when they worship deities, but also in their daily lives. Information on priests’ clothing is rare in cuneiform texts. A Hellenistic ritual from Uruk gives interesting insights that one can compare with the data from the daily records from the Neo-Babylonian period. It appears that outside the temple, the priests wore “civil” clothes. Religious garments were kept in particular rooms of the temples, and their terminology is archaic and similar to the garments of the gods. During worship, each category of priest had its own specific dress identifying its status and its role in the rituals. These garments were sometimes adorned with motifs representing celestial symbols or protective deities.
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Molchanova, Lyudmila Anatolyevna. "UDMURT CLOTHES IN TRADITIONAL CEREMONIES." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 131–37. http://dx.doi.org/10.35634/2224-9443-2020-14-1-131-137.
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This article discusses the role of traditional clothing in Udmurt ritual practices. The way garments are worn, the use of items and rites and, most of all, the semantics of costume patterns tell us about the inseparable connection between costumes and ritual ceremonies, and about the deep symbolic significance attributed to the costumes by the participants of the ritual. The main familial cult of the Udmurts is vorshood. The vorshood complex is multifaceted and polysemantic. It is embodied in the area, in poetry, in prayers, in legends and in rituals. The vorshood family tree has the highest sacral significance to Udmurts. Tree symbols prevail in items of embroidery and decorations. One can see embroidered trees on the śulyks (kerchiefs), belts, headscarves, sleeves of a shirt and on breastplates. The holistic woman figure in the costume is compared to the world tree not only in the Udmurt traditions. The costume, with its ’magic’ symbolism, in a traditional society is inseparable from ritual activities, whereas costume patterns act like ‘guides’ for human beings to the supreme powers of nature. It is vividly seen by the example of Udmurt costume ornaments.
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Rodgers, Susan. "Symbolic Patterning in Angkola Batak Adat Ritual." Journal of Asian Studies 44, no. 4 (August 1985): 765–78. http://dx.doi.org/10.2307/2056447.
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In Sumatra's Angkola Batak culture, rituals celebrating major kinship-related events such as marriage have many layers of social and symbolic meaning; they have political, kinship, musical, mythic, and philosophical dimensions as lengthy, oratory-filled ceremonies that unite wife-giving lineages with wife-receivers. This article examines several ways that the interpretive approach that is discussed in the introduction can help students of Indonesian ritual grasp diverse aspects of Batak marriage rituals such as their hidden symbolic organization and their practical political implications. The article deals with a short sequence of adat dance staged for anthropological research purposes. (Adat, once translated as customary law, roughly means Angkola ceremonial life, kinship norms, and political thought; adat is eminently flexible, redefined by each Batak generation.) The choreography of the dance (wife-receivers dancing with wife-givers), songs, clothing, the political biographies of the participants, and the fact that the event was staged render the ceremony open to both structural and social contextual inquiry.
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Petrov, Igor G. "CLOTHING OF A DECEASED IN THE CONTEXT OF FUNERAL AND COMMEMORATIVE CUS-TOMS AND RITUALS OF THE CHUVASH." Vestnik Chuvashskogo universiteta, no. 4 (December 25, 2020): 86–99. http://dx.doi.org/10.47026/1810-1909-2020-4-86-99.
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Funeral and commemorative ritualism as a set of magical and religious rituals related to the burial of a deceased, is a rich historical and ethnographic source. These rituals are rooted in the thickness of centuries and reflect the most ancient beliefs and ideas. Despite mass Christianization, funeral and commemorative customs and rituals of the Chuvash people preserved many elements of the pre-Christian (pagan) funeral cult. Household items, including clothing and individual items play an important role in the organization of substantive processing of funeral customs and rites. Being included in the ritual action, they brought in additional information about the essence of the performed actions, enhanced their sensory perception and acted as expressive markers and symbols. In this context, magical perceptions and actions with the clothing of a deceased are of particular interest. Almost at every stage of the funeral rites, the Chuvash performed a number of purposeful actions with the clothes of a deceased that were aimed to accompany step-through the deceased from the profane to the sacred space or to the world of ancestors. In the form of rudiments, they still exist at present time.
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Kennedy, Matthew. "Clothing, Gender, and Ritual Transvestism: The Bissu of Sulawesi." Journal of Men's Studies 2, no. 1 (August 1, 1993): 1–13. http://dx.doi.org/10.3149/jms.0201.1.
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Mazzocca, Ann E. "Inscribing/Inscribed: Bodies and Landscape in the Ritual of Embodied Remembrance at Souvenance Mystique." Congress on Research in Dance Conference Proceedings 2015 (2015): 95–101. http://dx.doi.org/10.1017/cor.2015.17.
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There are many ways in which Haitian Vodou ceremonies defy Western binaries of ritual and performance, sacred and profane, and choreography and improvisation. Vodou, a danced religion, is an embodied practice. Souvenance Mystique refers to a place and an event. Eponymously named, it is a mystical remembrance that occurs annually in a weeklong ritual of Vodou ceremonies in the Artibonite Valley outside of Gonaives, Haiti. At Souvenance, the reference to memory and remembrance is embodied, and therefore Souvenance greatly reflects what Diana Taylor refers to as a repertoire of embodied memory. As a scholar, choreographer, and practitioner of Haitian folkloric dance, I have read this ritual in terms of its significations occurring through various signs such as the practitioners' clothing, their proximity to one another, movement, gesture, and ritual choreography.Souvenance is a site where the multiplicity of histories and bodies signify in relation to one another. While arguably an embodied history in itself, Souvenance also writes. The practitioners enacting the several-days-long ceremonies inscribe upon the surface of the earth. Repetition reinscribes ritual pathways, while a particularly important and meaningful pathway is traversed only twice—at daybreak toward a site and then at sundown returning to the central peristyle. It is the landscape that is inscribed by the practitioners. However, they also become written upon by sweat and sacred blood. In this paper, I will explore the ways in which the rituals at/of Souvenance write history annually and how, simultaneously, the history of Souvenance is being written.
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Pesetskaya, Aleksandra Aleksandrovna. "CLOTHING AS A PART OF THE MARI WEDDING GIFT EXCHANGE (THE LATE 19TH AND EARLY 20th CENTURIES)." Yearbook of Finno-Ugric Studies 13, no. 2 (June 25, 2019): 312–24. http://dx.doi.org/10.35634/2224-9443-2019-13-2-312-324.
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The article considers using clothing items during the traditional Mari wedding gift exchange ceremony. In addition to its emblematic function represented by a dress as a whole, the Mari wedding clothing has always been a part of the wedding gift exchange ritual. Though, it rarely was an object of research in this respect. The rite of exchange of the clothing items takes an important place in the Mari wedding procedure, because it pinpoints social relations of different levels, of both individual and group levels. Items of exchange serve as communication mediators and form a pattern of the rite. The research is based on the archival exhibits and written sources of the Russian museum of ethnography. Apart from that, the author’s field materials for the period from 2009 to 2018 obtained through own expeditionary work in various regions of the Mari El were used. Based on the sources, the article analyses information on the extent of the clothing’s significance and usage as an object of the gift exchange ceremony, considers different types of clothing items used for the exchange as well as their possible equivalents, discloses relevant features of these items. The paper specifies levels of the wedding ceremony with an exchange of the clothing items fixed. In particular, a primary secret agreement, marriage proposal, gifting guests with a bride are crucial components of the rite with a public agreement present. The study of the Mari wedding gift exchange seems to be promising, as, despite a transformed wedding ceremony, the procedure itself remains unchanged, being one of the most sustainable mechanisms of the public regulation.
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Ron, Zvi. "Stripes, Hats, and Fashion." Modern Judaism - A Journal of Jewish Ideas and Experience 40, no. 3 (September 1, 2020): 312–26. http://dx.doi.org/10.1093/mj/kjaa011.
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Abstract This article examines the relationship between fashion and Jewish clothing. Certain clothing elements that are today considered signifiers of Jewish people, even among non-Jews, did not begin as specifically Jewish clothing. They started as the fashion of the general society but were retained by the Jewish community even after the fashions changed in the general world. In this article, we trace the process by which three such elements became associated specifically with Jews and Jewish ritual practice: the striped tallit, Hasidic dress, and black hats. Black hats are the most recent example of this process, and in this case have also developed legal significance in some Orthodox circles. This results in a fashion element being prevented from ever going out of style by virtue of being considered a halachic requirement.
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Danilova, N. K. "Ritual Clothing of the Sakha People: tangalai son (Historical Memory and Semantics)." Nauchnyi dialog 1, no. 11 (December 7, 2020): 362–78. http://dx.doi.org/10.24224/2227-1295-2020-11-362-378.
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VanPool, Christine S., Todd L. VanPool, and Lauren W. Downs. "DRESSING THE PERSON: CLOTHING AND IDENTITY IN THE CASAS GRANDES WORLD." American Antiquity 82, no. 2 (April 2017): 262–87. http://dx.doi.org/10.1017/aaq.2017.4.
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Casas Grandes Medio–period (A.D. 1200–1450) human effigies are unique in the North American Southwest in that they depict primary and secondary sexual traits, making determination of sex and gender roles possible. Here, we build on previous discussions by considering the importance of depictions of clothing (e.g., belts and sashes), personal adornments (e.g., necklaces and bracelets), facial decorations, and other aspects of dress. We find that Medio-period symbolism for males and females was based on gender complementary that combined the productive, reproductive, and ritual activities of men and women within a single symbolic and ritual system. Some clothing styles are found on both males and females (e.g., arm bands), but there are also sex-based differences. Women wear low horizontal belts across their hips, whereas men primarily wear sandals and elaborate headbands. Aspects of dress also appear to be continued from previous cultures such as the Classic Mimbres (A.D. 1000–1150) and continued into historic northern Mexican and southwestern groups (e.g., headgear and some sandal types). Ultimately, we find that males have more elaborate dress and are associated with a specific set of ritually important symbols. Females are associated with cloud/fertility symbolism, sternal decorations, and birds.
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Delay, Cara. "Fashion and Faith: Girls and First Holy Communion in Twentieth-Century Ireland (c. 1920–1970)." Religions 12, no. 7 (July 9, 2021): 518. http://dx.doi.org/10.3390/rel12070518.
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With a focus on clothing, bodies, and emotions, this article examines girls’ First Holy Communions in twentieth-century Ireland (c. 1920–1970), demonstrating that Irish girls, even at an early age, embraced opportunities to become both the center of attention and central faith actors in their religious communities through the ritual of Communion. A careful study of First Holy Communion, including clothing, reveals the importance of the ritual. The occasion was indicative of much related to Catholic devotional life from independence through Vatican II, including the intersections of popular religion and consumerism, the feminization of devotion, the centrality of the body in Catholicism, and the role that religion played in forming and maintaining family ties, including cross-generational links. First Communion, and especially the material items that accompanied it, initiated Irish girls into a feminized devotional world managed by women and especially mothers. It taught them that purchasing, hospitality, and gift-giving were central responsibilities of adult Catholic women even as it affirmed the bonds between women family members who helped girls prepare for the occasion.
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Sahertian, Claudya Ingrid. "Sakralitas Burung Enggang dalam Teologi Lokal Masyarakat Dayak Kanayatn." EPIGRAPHE: Jurnal Teologi dan Pelayanan Kristiani 5, no. 1 (May 31, 2021): 58. http://dx.doi.org/10.33991/epigraphe.v5i1.202.
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This article aims to explore the culture of the Dayak Kanayatn people regarding the rituals and sacredness of hornbills. Retrieval of data using qualitative research with the ethnography method, through interview techniques, observation, documentary studies, and literature studies. The community makes hornbills a sacred symbol. This attitude can be seen when the community carries out Karana traditional rituals as an implementation of local theology and narrates them in dances, carvings, carvings, and traditional clothing attributes. Through rituals, the community believes that the hornbill is a link between heaven (subayatn) and the world that brings people to death (pidara) into eternity. Hornbills have a significant influence on the Kanayatn Dayak indigenous people because they contain noble values. Everything related to hornbills, including their lifestyle, natural seed dispersers, forest guards, physical beauty, has become sacred to the Kanayatn Dayak community. This study concludes that the hornbill is a sacred symbol in local theology and capital of social integration for the Kanayatn Dayak community.AbstrakArtikel ini bertujuan untuk mengeksplorasi budaya masyarakat Dayak Kanayatn tentang ritual dan sakralitas burung Enggang. Pengambilan data menggunakan penelitian kualitatif dengan metode ethnografi dan nethnografi, melalui teknik wawancara, observasi, studi dokumenter dan studi pustaka. Masyarakat menjadikan burung Enggang sebagai simbol sakral. Sikap tersebut terlihat ketika masyarakat melaksanakan ritual adat Karana sebagai implementasi teologi lokal, serta menarasikannya dalam tarian, ukiran, pahatan dan atribut pakaian adat. Melalui ritual masyarakat meyakini bahwa burung Enggang sebagai penghubung surga (subayatn) dan dunia. Burung Enggang yang membawa orang meninggal (pidara) masuk kekekalan. Burung Enggang memberi pengaruh yang signifikan bagi masyarakat adat Dayak Kanayatn karena mengandung nilai-nilai yang luhur. Segala sesuatu yang berhubungan dengan burung Enggang baik pola hidup, pemencar biji alami, penjaga hutan, keindahan fisik, menjadi sakral bagi masyarkat Dayak Kanayatn. Penelitian ini menyimpulkan bahwa Burung Enggang adalah simbol sakral dalam teologi lokal dan modal integrasi sosial bagi masyarakat Dayak Kanayatn.
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Makka Sultan-Gireyevna, Albogachieva. "The Changes in Ingush Traditional Clothing Under the Influence of Islam (middle of XIX – XXI Centuries)." Islamovedenie 11, no. 4 (December 2020): 59–68. http://dx.doi.org/10.21779/2077-8155-2020-11-4-59-68.
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The article considers the changes happened in men's and women's clothing under the in-fluence of requirements imposed by Islam. The brief historical information about distribution of Islam among Ingushs is given. The main requirements of an obligatory covering of parts of a body imposed both to women, and to men depending on madhhab are shown. The changes in men's and women's clothes for the last decades are noted. The process of a reislamization left a strong mark on the appearance of inhabitants of the region. During the last historical period (be-fore 90s of the XX century) the traditional clothing did not undergo significant changes, but dur-ing the last decades it changed significantly. Historical continuity of traditions and innovations in clothing is shown in the article. Features of men's and women's clothing characteristic of partici-pants of a ritual zikr are considered. The distinctive features existing in a men's clothing depend-ing on confessional accessory are noted. The author notes that the tradition of designing clothes having deep, century-old roots has been changed and dynamically modified in the new millen-nium in compliance with the inquiries of the population under the influence of Islam.
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Szücs-Csillik, Iharka, and Zoia Maxim. "Stele și mărgele." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 320–24. http://dx.doi.org/10.47802/amet.2018.32.18.
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The story behind these clothing accessories represented in the Prehistoric Art and in the stars makes that the man to be closer to sky (heaven, deity), the microcosmic Earth merging with the macrocosmic Universe. From the cycle of the clothing’s constellation symbolism we will approach the „Collier-Necklace” constellations. The "necklace (collier)" is meaningful myth-ritualistic clothing accessory and is represented on the sky by cluster of seven (nine) star forming the Pleiades in the constellation Taurus. Denomination of the "Necklace-Collier" is given in Romanian cosmogony for the Lira and Dolphin constellations. Necklace (collar, choker, lei, band, beads) has a rich sacred and ritualistic symbolism, being a sign of belonging to a certain age and social status, symbol of sentimental, or of gratitude and reward civil, or military, sealing the connection between the giver and the receiver. Moreover, it means the order (strings of beads), the respecting of customs, being an element of pomp and display of wealth, some worn daily, others within the sacred ritual ceremonies. Archaeologically, there were identified several statues bearing the "necklace" as "Adonis" from Ruginoasa and the idol of Truşeşti.
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Stillman, Yedida K., and Nancy Micklewright. "Costume in the Middle East." Middle East Studies Association Bulletin 26, no. 1 (July 1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.
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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, and ornamentation of a garment are commonly badges of socioeconomic status. More subtly and often symbolically, clothing reflects religious and political norms. In Islamic society, clothing has historically been intimately connected with notions of purity and impurity (tahāra and najas), ritual behavior (sunna), and the differentiation of the believer from the unbeliever (ghiyār), as well as the separation of the genders (hijāb). Thus, within Islamic society clothing constitutes a cultural complex, or what Roland Barthes has dubbed a “vestimentary system.” (Barthes 1957).
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Subair, Subair. "SIMBOLISME HAJI ORANG BUGIS MENGUAK MAKNA IBADAH HAJI BAGI ORANG BUGIS DI BONE SULAWESI SELATAN." Ri'ayah: Jurnal Sosial dan Keagamaan 3, no. 02 (January 22, 2019): 17. http://dx.doi.org/10.32332/riayah.v3i02.1317.
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Hajj experiences fluidity when interpreted by Bugis, which has implications for meaningful symbolic aspects, tends to be mystical and contemplative. For the Bugis, the pilgrimage is a symbol of the transformation of one's selfhood, where hajj means reaching the highest position that a person can attain. Using hajj attributes is a necessity. Attributes such as hajj clothing are highly valued because they have been blessed through the mappatoppo ritual. Aside from being a symbol of Hajj graduation, mappatoppo is also believed to be a condition of hajj perfection which is related to the ability to use the title of hajj and the appropriateness of wearing hajj clothing. The use of hajj clothing must be carried out at public events, if not, it is considered to be an insult to the status of the study. On the contrary, wearing hajj clothing by people who are not public pilgrimage is considered to be a person who has no shame (to de 'gaga siri'na), and undoubtedly will be sanctioned in the form of reproach and exclusion in social interaction.
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Černelić, Milana. "The Role of Ritual Traditional Clothing among Bunjevci Croats in Serbia in the Revitalisation of Annual Customs and Rituals." Folklore: Electronic Journal of Folklore 66 (December 2016): 59–78. http://dx.doi.org/10.7592/fejf2016.66.cernelic.
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Sodnompilova, M. M. "Ritual Use of Clothing by the Mongolian Peoples in the Past and Present." Bulletin of the Irkutsk State University. Geoarchaeology, Ethnology, and Anthropology Series 23 (2018): 111–23. http://dx.doi.org/10.26516/2227-2380.2018.23.111.
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Білей-Рубан, Н. В., Є. В. Сєдоухова, and Л. М. Петрусь. "ХУДОЖНЬО-СТИЛІСТИЧНА РОЛЬ ВИШИВКИ ГУЦУЛЬЩИНИ В ПРОЄКТУВАННІ СУЧАСНОГО ВЕСІЛЬНОГО ОДЯГУ." Art and Design, no. 2 (September 21, 2020): 27–38. http://dx.doi.org/10.30857/2617-0272.2020.2.2.
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The aim is to study the artistic and compositional characteristics of Hutsul’s ceremonial clothing on the basis of a comprehensive analysis of the decor of the Hutsul wedding dress. In the course of research, the methods of visualization and comparative-historical reconstruction of the national order were used in the analysis of Hutsuls clothing. For the transformation of structural and decorative characteristics into the design principles of modern women's ensembles the method of stylization and the method of combinatorics have been used. The work is based on art analysis and the use of a literary-analytical method to analyze the main information sources. Thanks to the analysis of Hutsul’s ritual clothing in combination with modern technologies of its decoration, the ornamentation on the basis of authentic embroidery of Hutsul region for design ethno-ensembles has been improved. The resulting stylized patterns of embroidery are offered for use in the design of wedding dresses in the ethno style. The methodological basis for the artistic design of the collection of modern ensembles of wedding clothing with ethno-elements is theoretically substantiated and created with the use of the stylization of the main decor. Styled embroideries were developed on the base on the characteristics of Hutsul’s casual clothing as well as a collection of modern wedding dresses in ethnic style was created. The proposed ornamentation of wedding clothing is presented in the design of ethno ensemble, which is useful for experts in the methodology of artistic design of industrial products based on ethno motives.
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Dixon, R. "Review: The Performance of Self: Ritual, Clothing, and Identity during the Hundred Years War." French Studies 57, no. 3 (July 1, 2003): 367. http://dx.doi.org/10.1093/fs/57.3.367.
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Kurbanova, Z. I. "Karakalpak Family Ritualism: The Bes Kiyim Custom in the Transformation of Traditional Culture." Archaeology, Ethnology & Anthropology of Eurasia 48, no. 3 (October 4, 2020): 124–33. http://dx.doi.org/10.17746/1563-0110.2020.48.3.124-133.
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This study describes the bridal and funerary rite of exchanging clothes (Bes Kiyim – ‘Five Costumes’) in the context of the traditions and innovations in the Karakalpak culture. On the basis of fi eld data collected in 2014–2019 and earlier in places with a continuous or patchy distribution of the Karakalpak population (Chimbaysky, Karauzyaksky, Kegeyliysky, Nukussky, Khodzheyliysky, and the Takhiatashsky districts of the Republic of Karakalpakstan, Republic of Uzbekistan) and of earlier sources, changes in ritualism are analyzed. Bridal rites include exchanges of gifts, such as items of clothing. The comparison of sources shows that the Bes Kiyim rite originated in the mid-20th century in the context of socio-cultural changes. It has remained rather stable up to the present time, being an integral part of Karakalpak bridal ritualism. This indicates its importance in the normative culture of that ethnic group. In one district of Karakalpakstan, the term Bes Kiyim was transferred from the bridal to the funerary rituals. The origin of the rite relates to the transformation of the Iyis custom—the distribution of the deceased person’s clothing among those participating in the ablution of the body. In the late 20th century, specially purchased items of clothing began to be used for that purpose. Apparently, the fi ve items distributed among those participating in the rite symbolize the deceased person’s transition to the ancestors’ world. By the same token, the bride’s fi ve outfi ts allude to her passage to the category of married women and the beginning of her marital life. Therefore, the ritual innovations of the Karakalpaks, caused by socio-cultural and economic changes, mirror the logic and content of traditional family festivals whose complex symbolism relates to status change.
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Stock, Lorraine Kochanske. "The Performance of Self: Ritual, Clothing, and Identity during the Hundred Years War. Susan Crane." Speculum 79, no. 1 (January 2004): 158–61. http://dx.doi.org/10.1017/s0038713400094951.
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Glodt, Julie. "Putting on Christ." Religion and the Arts 24, no. 5 (December 16, 2020): 491–516. http://dx.doi.org/10.1163/15685292-02405002.
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Abstract In medieval Christendom, liturgical vestments were not just attributes for priestly identity. In direct contact with the celebrant’s body, they were charged with numerous allegorical significations that this article is aimed at studying. The first one associated the priest’s clothing with a moral “rite of passage.” Each vestment symbolized a virtue, thanks to which the priest was supposed to get ready for the Mass. A new allegorical system emerged in the thirteenth century: as symbols of arma Christi, the vestments invited the priest to follow Christ in his Passion. These liturgical garments were even considered as metaphors for Christ’s flesh. Towards the end of the Middle Ages, the celebrant’s clothing was a kind of new embodiment. By putting the liturgical vestments on, the priest was able to transform into the ultimate priest with a new emphasis on his quasi-demiurgic power; as such the priest became one of the most sacred components of the ritual of the Eucharist.
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Barnes, Liberty. "Holiday Gifting at a Children’s Hospital: Sacred Ritual, Sacred Space." Journal of Contemporary Ethnography 48, no. 5 (December 26, 2018): 591–618. http://dx.doi.org/10.1177/0891241618820110.
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Every Christmas season children’s hospitals in the United States are flooded with gift donations. Businesses, service organizations, and the public deliver carloads of new toys, puzzles, games, books, electronics, sports equipment, art supplies, cosmetics, blankets, and clothing for sick children. The practice is so common and widespread that donors rarely ask whether they may donate, what types of donations are welcome, and when and where they should deliver their donations. Based on ethnographic observations of holiday gifting at University Children’s Hospital, a nationally ranked pediatric hospital on the West Coast, the purpose of this paper is to investigate the implicit cultural beliefs that guide holiday gifting practices. Eschewing the popular rhetoric of American hyper-consumption and hedonism, I use a Durkheimian framework to argue that holiday gifting in children’s hospital is a sacred ritual. The data presented describe the wide-ranging variety of donors—from Boy Scouts to nightclub strippers—who journey to the hospital bearing gifts. Drawing on sacred conceptualizations of childhood and gifting in American culture, I argue that children’s hospitals are more than medico-scientific institutions. They represent sacred unifying spaces and the heart of their local communities where individuals and organizations come to privately and publicly reaffirm their moral commitments to society through holiday gifting.
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Sponsler, Claire. "The Performance of Self: Ritual, Clothing, and Identity During the Hundred Years War by Susan Crane." Studies in the Age of Chaucer 26, no. 1 (2004): 375–78. http://dx.doi.org/10.1353/sac.2004.0033.
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Mead, Jenna. "The Performance of Self: Ritual, Clothing and Identity During the Hundred Years War (review)." Parergon 20, no. 1 (2003): 210–12. http://dx.doi.org/10.1353/pgn.2003.0091.
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Machmudah, Umi. "BUDAYA MITONI (ANALISIS NILAI- NILAI ISLAM DALAM MEMBANGUN SEMANGAT EKONOMI)." El-HARAKAH (TERAKREDITASI) 18, no. 2 (December 22, 2016): 185. http://dx.doi.org/10.18860/el.v18i2.3682.
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Culture as the result of ideas, feelings and intention in Islam is the manifestation of worship. This paper is written through literary review that is completed with observation from some mitoni traditions. The culture form of ideas, activities and artifact is applied in 'mitoni'. It is a celebration on seventh month of pregnancy age. The activities done in mitoni are 1) bathing, 2) 'brojolan' ritual, 3) clothing change ritual, 4) prayer, 5) gift. Islamic values that inspire economic activities in mitoni are 1) thanksgiving that encourages people to be productive, 2) 'tafaa’ul' through prayer to be selective in consuming goods, 3) helping each others to manage the production cost, 4) implied education as all the activities are based on knowledge, 5) visitation to make connection through service distribution, 6) almsgiving through the gift that will maximize the production value, 7) reciting the verses of al-Quran and their meaning, some of which related to prosperity, 8) economic creativity, through the use of various apparatus and foods, bearing production activities.
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Mannermaa, Kristiina, and Tuija Kirkinen. "Tracing the Materiality of Feathers in Stone Age North-Eastern Europe." Current Swedish Archaeology, no. 28 (December 14, 2020): 23–46. http://dx.doi.org/10.37718/csa.2020.02.
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The use of feathers in ritual costumes and everyday clothing is well described in ethnographic sources throughout the world. From the same sources we know that bird wings and feathers were loaded with meaning in traditional societies worldwide. However, direct archaeological evidence of prehistoric use of feathers is still extremely scarce. Hence, feathers belong to the ‘missing majority’: items that are absent from the archaeological record but which we can assume to have been of importance. Here we present microscopic analysis of soil samples from hunter-gatherer burial contexts which reveal the first direct evidence of the use of feathers in the Mesolithic period of north-eastern Europe.
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Adler, Yonatan. "Between Priestly Cult and Common Culture:." Journal of Ancient Judaism 7, no. 2 (May 14, 2016): 228–48. http://dx.doi.org/10.30965/21967954-00702005.
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Although miqwa’ot and chalkstone vessels have been found throughout Israel, the unparalleled number of such finds at Jerusalem has conventionally been explained in terms of the special demands of the Temple cult and of the city’s priestly residents. In light of a growing number of archaeological discoveries from the past number of years, however, the conception that Jerusalem and its Temple served as focal points of ritual purity observance deserves to be significantly reevaluated. The new data indicate that regular, widespread use of ritual baths and chalkstone vessels was not at all unique to Jerusalem or the priesthood, but rather was commonplace to a comparable degree in Jewish society throughout early Roman Judea. Jews everywhere throughout the country strove on a regular basis to maintain the purity of their bodies, clothing, utensils, food, and drink, and there is no reason to suppose that in doing so they somehow had the Temple in mind. Most Jews living at this time would probably have understood the pentateuchal purity regulations as prescribing that ritual purity be maintained on a regular basis in ordinary, everyday life – without specific regard to the Temple or its cult. This new understanding encourages us to reinterpret the archaeological finds from Jerusalem as reflecting an important facet of prevailing common culture rather than as stemming from the unique sanctity of Jerusalem, the Temple, or its priests.
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Loewenthal, Kate Miriam, and Lamis S. Solaim. "Religious Identity, Challenge, and Clothing: Women’s Head and Hair Covering in Islam and Judaism." Journal of Empirical Theology 29, no. 2 (December 6, 2016): 160–70. http://dx.doi.org/10.1163/15709256-12341344.
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This qualitative research examined the issues of women’s head covering in Islam and Judaism. It focuses on the role played by head-covering decisions in the development of religious identity. Translated sources of Islamic and Jewish law on modest dress set the context of religious rulings in which women wrestle with decisions about head-covering. Ten practising Muslim and Jewish women were interviewed about their experiences of head/hair covering. Head/hair covering was seen as an expression of identity, and as a way of managing identity. It is a key topic for both Muslim and Jewish women, central in identity development and in decisions relating to identity development, identity threat, acculturation, spirituality, and social relations with men. The role of dress is one of many aspects of ritual deserving closer attention from psychologists of religion, along with the more general topic of the impact of religious practice on religious and spiritual development.
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Méndez Santiago, Borja. "El dios Fauno y el ritual de los lupercos. Representaciones de la desnudez masculina = God Faunus and the ritual of the luperci. Representation of the male nudity." ARYS. Antigüedad: Religiones y Sociedades, no. 17 (November 20, 2019): 161. http://dx.doi.org/10.20318/arys.2019.4594.
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Resumen: Este trabajo pretende ofrecer, a través de un análisis iconográfico y literario, una nueva perspectiva acerca del grado de desnudez exhibido por los lupercos durante la celebración de las Lupercalias en Roma. Para ello, partimos del análisis de los principales temas que han abordado varias generaciones de estudiosos en relación con esta festividad para pasar, a continuación, a tratar de explicar, a través de las diferentes funciones del ritual, la finalidad de la ceremonia religiosa a los ojos de la propia sociedad romana. Finalmente, y haciendo uso de las únicas imágenes antiguas que de los lupercos han llegado hasta nuestros días, se busca dar cuenta de la evolución de su indumentaria. Así, trataremos de determinar hasta qué punto la opinión mayoritaria de la historiografía, según la cual, hasta Augusto, los lupercos exhibirían sus cuerpos desnudos, pero que tras sus reformas comenzarían a hacer uso de unas vestimentas mucho más pesadas, es válida o no. Esta supuesta variación de los atavíos sacerdotales tal vez guarde relación con cierto cambio fundamental que, auspiciado por Augusto, privó a los senadores de seguir ejerciendo como lupercos en favor de los caballeros. Los equites, que verían así ensalzada su posición social, terminarían siendo, a su vez, relegados de este papel en algún momento indeterminado de los siglos IV o V d. C., cuando sus antiguos roles pasaron a ser desempeñados por actores profesionales, lo que terminaría desvirtuando buena parte del contenido de un ritual ya milenario.Abstract: This work aims to offer, through an iconographic and literary analysis, a new perspective towards the degree of nudity exhibited by the Luperci during the celebration of the Lupercalia in Rome. To reach this objective, we make a start with the analysis of the main topics that have been studied in relation to this holiday by several generations of scholars. We, then, go on to try to explain, through the different functions of the ritual, the purpose of this religious ceremony in the eyes of Roman society itself. Finally, and making use of the only ancient images of the luperci that have survived to this day, we seek to account for the evolution of their clothing. Thus, we will try to determine to what extent the main opinion of historiography is valid or not –concerning the fact that the luperci, until Augustus, exhibited their naked bodies, but after his reforms they would start to use much heavier clothing–. This supposed variation of the priestly attire may be related to a certain fundamental change that, under the auspices of Augustus, deprived the senators of continuing to exercise as luperci in favor of knights. The equites –who would thus see their social status elevated–, would end up being, in turn, relegated from this role at some undetermined time in the IV or V centuries AD. After that, their old roles came to be played by professional actors, which would finally distort much of the content of this millennial ritual.Palabras clave: Desnudez, Lupercalias, lupercos, religión, ritual.Key words: Lupercalia, luperci, nudity, religion, ritual.
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Sessions, Jennifer. "Making Settlers Muslim: Religion, Resistance and Everday Life in Nineteenth-Century French Algeria." French History 33, no. 2 (April 1, 2019): 259–77. http://dx.doi.org/10.1093/fh/crz005.
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Abstract On 26 April 1901, members of the Righa tribe overran the French colonial village of Margueritte in central Algiers province. They seized the settlement’s male colonists and demanded they ‘make [them]selves Muslims’ by reciting the shehada and donning North African clothing. Several Europeans who could not or would not comply were killed. This article explores the meanings of this forced conversion of European settlers, which made the Margueritte revolt unique in the history of Algerian resistance to French colonialism. For French colonial officials, the religious ritual indicated the causal role of ‘Islamic fanaticism’ in fomenting the revolt. Administrators and magistrates focused their investigations on the religious habits of the revolt’s leaders, possible ties to Sufi brotherhoods and pan-Islamist conspiracies. But in doing so, they largely overlooked the more quotidian meanings of the conversion ritual for the inhabitants of Margueritte itself. By resituating the symbolic transformation of body and soul within the cultural logics of everyday life in the settler village, the article attempts to map out the more mundane social practices by which ethno-religious colonial hierarchies were enacted and embodied in French Algeria.
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Lukpanova, Yana Amangeldyevna. "A complex of ritual objects from the elite female burial in Western Kazakhstan." Samara Journal of Science 7, no. 4 (November 30, 2018): 228–32. http://dx.doi.org/10.17816/snv201874211.
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The paper discusses in detail the items from the female burial of mound 6, Taksai-1 burial site, located in the West Kazakhstan Region, Terektinsky District, near the village Dolinnoe. A complex architectural gravestone structure, an accompanying rite of burial with the use of fire, the presence of rich clothing with various decorations, a complex of specific objects found in the pit, testify to the special status of the buried. All archaeological materials from the central pit of mound 6 performed a certain role in the life of the early nomads, composing a complex of ritual things for performing special rites. The functional significance of all the artifacts identified in the grave emphasizes the relation of the buried to the priestly class. In scientific literature there is no consensus about the existence of the priesthood as a profession in ancient times, but the early nomads revered the cult of a woman - the ancestor, and the priestesses were guides, keepers of the fire, the Sun, revered the goddess responsible for fertility. The burials of rich priestesses are distinguished by their special pomp of funeral ritual, the presence of gold jewelry and the individual composition of the inventory. All these characteristics are traced in mound 6 of Taksai-1 burial, it is a cult monument confirming the existence of a special priestly status in a social organization of the nomadic society.
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K., Yanchuk, and Harashchak T. "ANALYSIS OF THE GENRE PALETTE F. KIESLER’S CREATIVE ACTIVITIES." Architectural Studies 6, no. 1 (September 1, 2020): 41–45. http://dx.doi.org/10.23939/as2020.01.041.
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Kiesler’s art was not based on the theory of form, color, and means; his art was not a political instrument to comment on the state of society, and he did not consider his art to be the product of a scientific process, a result that contained a truth that was absolute. He believed that his art revealed a truth that science could not see, and that truth was the key to a “core” existence. He believed that his process and his ritual were attacked by the deceptive beliefs of others. “A revived art that has been stolen from a warm embrace, freezing in its nakedness, cooled by the sweat of its forehead, desperately needs a new cloak so as not to freeze to death.” Kiesler’s environmental and galactic art, like its endless architecture, was warm clothing for art that desperately needed warmth.
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Dudareva, Marianna, and Vlada Nikitina. "Color Designation in V.V. Mayakovsky’s Poetics: “Red” and “Yellow” (mythological implication)." SHS Web of Conferences 55 (2018): 04004. http://dx.doi.org/10.1051/shsconf/20185504004.
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The article deals with semantics of “red” and “yellow” color in V.V. Mayakovsky’s poetics. A lot has been written about “red” color; this color is associated with the revolutionary ideas and symbols, and it is often used in Mayakovsky’s early works. However, “yellow” color is used along with “red” one and, in our opinion, it has more complicated semantics. This color is important for the poet himself and his creative life (Mayakovsky’s yellow blouse), and for his early poems where we see the clothing elements of this color. According to folkloric ideas, it is the very color which is ambivalent; it correlates with the sun and a new life, and is attributed to mourning ritual symbolism. Folklore commentary to some details in the poems “A Cloud in Trousers”, “A Man” and “Fifth International” allows us better understanding the poet’s figurative and metaphorical system.
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Pereira, Diana. "“Like a doll …”." Religion and the Arts 24, no. 5 (December 16, 2020): 517–52. http://dx.doi.org/10.1163/15685292-02405003.
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Abstract In the 1990s there was a growing and renewed interest on the practice of clothing images of saints after, as Richard Trexler put it, the negligence demonstrated towards it by art historians until then. In 2018, following the publication of new and unprejudiced studies about it, the presence of two dresses belonging to statues of the Virgin Mary in the Metropolitan Museum of Art’s exhibition “Heavenly Bodies: Fashion and the Catholic Imagination” testified to the impact clothed images had on fashion creators and, according to David Morgan, the Church’s ritual and performative life. While focusing on the miraculous image of Nossa Senhora da Lapa from Quintela, Portugal, this article aims to acknowledge the many roles played by its clothes and jewels, assessing the complexity of this phenomenon and aiming for a wider understanding of how the faithful engaged with devotional sculpture.
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Egreteau, Renaud. "Fashioning Parliament: The Politics of Dress in Myanmar’s Postcolonial Legislatures." Parliamentary Affairs 72, no. 3 (June 26, 2018): 684–701. http://dx.doi.org/10.1093/pa/gsy026.
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AbstractThis article discusses the significance of dress codes and clothing in postcolonial Myanmar’s successive legislatures. Burmese representatives have since the 1950s been strongly encouraged to wear dignified garb and non-Western dress when carrying out their duties in parliament. What does it tell us? The contribution of this study based on field interviews and the analysis of newspaper reports and parliamentary procedures, is threefold. It first sheds light on Myanmar’s understudied parliamentary history and some of its startling institutional continuities despite decades of military rule. It then shows how the fashioning and reinvention of traditional attires by Burmese parliamentarians has accelerated the pace of decolonisation, while serving as an effective tool of representation. Lastly, it argues that the ritual of dress in parliament has contributed to a persistent reification of identities, thereby reinforcing the politicisation of ethnicity in an already fragmented Myanmar society.
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Glebova, E. V. "Review of the catalog «Ulchi» from the collection of the Khabarovsk Regional Museum n.a. N.I. Grodekov." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (49) (June 5, 2020): 173–79. http://dx.doi.org/10.20874/2071-0437-2020-49-2-16.
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The article presents the analysis of the catalog «Ulchi» by the Khabarovsk Regional Museum n.a. N.I. Gro-dekov. The performance of the local museum is considered in the context of all-Russian experience of cataloging of the museum collections, which is of a particular importance for historical science. The author examines the program of scientific cataloging of the museum collections, featuring the traditional culture of almost all indigenous peoples of the Russian Far East. We conclude that the series of ethnographic catalogues of the museum has made a significant contribution to the Far East museum studies and ethnography. The new catalog «Ulchi» pre-sents the largest ethnographic collection of the museum, which characterizes the material and spiritual culture of one of the eight indigenous populations of the Lower Amur River Region — the Ulchi. The catalog includes 808 ethnographic artifacts — household items, clothes, fishing and hunting equipment, items of ritual culture, shaman-ism and family relations of the Ulchi (19th–21st c.). Specific sections include more than 300 photographs and nega-tives (19th–20th c.), as well as detailed background information. Some artifacts, such as ritual sculptures, shaman clothing and attributes, utensils for ritual rites, ancient devices for fishing etc., are published for the first time. The catalog was prepared by a large team of authors involving Ulchi craftsmen and linguists. The catalog «Ulchi» introduces new materials into scientific discourse, and it can serve as a source for comparative ethnographic, historical and museum studies analysis. It has been emphasized that the newly published catalog of the Kha-barovsk Regional Museum n.a. N.I. Grodekov allows representatives of this people to connect with their own cul-tural heritage; it contributes to the formation of their historical memory and identity.
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Hlačar, Tajda. "Laibach, Anti-fashion and Subversion." Textile & leather review 3, no. 2 (June 16, 2020): 78–91. http://dx.doi.org/10.31881/tlr.2019.32.
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The worldwide renowned Slovenian industrial alternative music group Laibach, which was also a member of the multimedia artists’ collective called NSK, has been a subject of many professional discussions. This article attempts to analyse Laibach’s conception of a uniform according to the theory of anti-fashion. As one of the most recognizable elements expressing a mythical, totalitarian aura, inseparably linked with the performers’ distant and constrained attitude, Laibach’s uniform can be erroneously comprehended as anti-fashion clothing, expressing fixed and rigid social environments. The analysis of Laibach’s television interview from 1983, in which the band is directly imitating the ruling ideological language, shows that the strategy of over-identification and subversion represent dominant principles of Laibach’s actions, combining them with the retro-method of using symbols and images of various cultural traditions and periods, as seen in their diversity of clothing worn, including the Yugoslav military uniform, miner and hunting uniforms, jeans and shirts, and even fashionable items. With the performative dimension in the ideological ritual and by emphasizing totalitarian tendencies in contemporary society, Laibach endeavours to show that all changeable multiform clothes are uniforms – timeless, universal and deprived of semiological meaning and thus surpasses the distinction of fashion and anti-fashion or fixed and modish costume. Nearly forty years after the establishment of the group, Laibach is conventionally dressed in regular clothes, nevertheless providing a sentiment of wearing a collective’s uniform.
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Patraș, Roxana. "Hayduk novels in the nineteenth-century Romanian fiction: notes on a sub-genre." Swedish Journal of Romanian Studies 2, no. 1 (May 16, 2019): 24–33. http://dx.doi.org/10.35824/sjrs.v2i1.18769.
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In the context of nineteenth and early twentieth-century Romanian literature, hajduk novels and hajduk short fiction (novella, short-story, tale) are called to bring back a lost “epicness,” to give back the hajduks their lost aura. But why did the Romanian readers need this remix? Was it for ideological reasons? Did the growing female readership influence the affluence of hajduk fiction? Could the hajduk novels have supplied the default of other important fiction sub-genres such as children or teenage literature? The present article supports the idea that, as a distinct fiction sub-genre, the hajduk novels convey a modern lifestyle, attached to new values such as the disengagement from material objects, the democratization of access to luxury goods and commodities, and the mobility of social classes. Clothing, leisure, eating/ drinking/ sleeping/ hygiene, work, military and forest/ nomad life, and ritual items that are mentioned in these novels can help us correlate the technical tendencies reflected in the making of objects to a particular ethnicity (Romanian).
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Anawalt, Patricia Rieff. "Aztec Knotted and Netted Capes." Ancient Mesoamerica 7, no. 2 (1996): 187–206. http://dx.doi.org/10.1017/s0956536100001401.
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AbstractThe past two decades of research and debate in anthropology have shown how ethnocentric perspectives in methodology and interpretation have led to misinterpretations in ethnography and archaeology. This article contrasts Western and indigenous perceptions of ritual attire that marked the role and status of Aztec rulers and deities. Stimulated by inconsistent Spanish colonial descriptions of the emperors' xiuhtlalpilli “blue-knotted” cloaks, the study compares all of the relevant Nahuatl terms, contexts, and native-drawn images and analyzes these in the light of linguistic, technological, social, archaeological, pictorial, iconographic, textual, and ethnographic evidence. This contextual analysis of the primary data reveals the nature of Spanish misperceptions and the true structure of the indigenous clothing-symbol system. While Spanish chronicles are easily accessible and thus more heavily utilized, this study makes the point that only systematic assessment of Nahuatl terms, indigenous images, and contexts are fully dependable. Reliance on the native perspective and evidence allows new insights into pre-Hispanic categories and worldviews.
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Besom, Thomas. "Inka Sacrifice and the Mummy of Salinas Grandes." Latin American Antiquity 21, no. 4 (December 2010): 399–422. http://dx.doi.org/10.7183/1045-6635.21.4.399.
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AbstractIn the last 25 years, materials from some human sacrifices that the Inkas carried out on high mountains (e.g., Aconcagua and Llullaillaco) have been thoroughly analyzed and adequately interpreted. Remains from immolations that took place in other contexts, however, which tend to be poorly preserved and incompletely studied, are not as well understood. In this article, I begin to remedy this imbalance in our knowledge by discussing the sacrifice from Salinas Grandes, which is a salt flat situated in northwestern Argentina. I describe the body of the victim—who was very likely a qhapaq hucha, a specially chosen child—and his clothing, accouterments, and hairstyle. I offer hypotheses on where he came from and on the reasons behind his ritual dispatch. I demonstrate how the different items that were buried with him all contributed to the meaning of his immolation. I also show how the lords of Cuzco may have employed the sacrifice to tie the region where the salt flat is located to the empire.
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Juško-Štekele, Angelika. "PRESENTATIONS OF AGLONA’S PILGRIM GROUPS: AUDIO-VISUAL CODES." Via Latgalica, no. 8 (March 2, 2017): 153. http://dx.doi.org/10.17770/latg2016.8.2232.
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The article „Pilgrimage to Aglona: Audio-Visual Codes” is dedicated to Aglona pilgrimage, which is considered a significant element of intangible cultural heritage of Latvia. The importance of this tradition has been acknowledged by its vitality: in spite of the historical complexities, the tradition of Aglona ritual pilgrimage has survived for more than a century and in due course has strengthened its value in practice and social memory of the community. At the same time it is not a rigid value based in the past; instead it exists on its own and develops according to the dialectical patterns of ritual.The aim of the article is to investigate the most significant audio-visual codes featured in Aglona pilgrimage, by revealing the most distinctive expressions of identity among pilgrims and by highlighting the diachronic development of audio-visually perceptible attributes relevant to the pilgrimage. The subject of the research is a specific part of the pilgrimage ritual – presentations of pilgrim groups on Assumption Day of the Virgin Mary into Heaven on August 14, which are staged during the holy mass dedicated to pilgrims and youth. Typologically presentations staged by pilgrim groups are being viewed as a closure phase (postliminal rite) of a transition ritual (liminal rite).The article examines 93 presentations prepared by pilgrim groups in 2014, 2015 and 2016. For data acquisition an on-site observation was applied, which falls under the definition of the sensory anthropological meaning (Howes 2003:54). Analysis of presentations staged by pilgrims was conducted by means of structurally semiotic approach that allows defining the specific symbolic language of the pilgrimage while displaying sensory perceptible ritual codes of the pilgrimage – visual and audial codes, i.e. the visual attributes of pilgrim groups and verbally musical representations with their characteristic performative and reproduction elements.The visual code of pilgrimage refers to various aspects of social identity. The affiliation to religious identity has been presented by such religious symbols as cross, flags belonging to various congregations, religious movements or separate Christian communities, tablets with images of pilgrimage patrons and visualisations of the intent of participation in pilgrimage; locally patriotic identity has been attested by the flag of the country, region, municipality or city. The research confirms that religious symbols (especially cross) and the related ceremonies are becoming more modest, whereas locally patriotic representations are expanding, thus marking the geographical circumference of the pilgrimage and confirming Aglona as a sanctuary of international significance. The clothing of participants reflects either their professional identity (National Armed Forces, clergymen, nuns) or affiliation to a specific interest group (European Guides).The audial codes are explored within the repertoires of pilgrim presentations, appearing in the form of performance and reproduction. Metonymically, the audial codes in pilgrim presentations contain the most essential functions related to the ritual in general and demonstrate such inherent features of the postmodern culture as interplay of the traditional and the innovative. The traditional values have been represented by sacred symbols and topics, but the innovative by artistic performance techniques: method of exact dating, typological generalizations directed towards community identity generation, stylization of texts drawn from other cultural areas (folklore, pop culture). The verbal codes of pilgrim groups in turn manifest ambivalence that is inherent to the pilgrimage ritual in general and marks not only the text, but also a the dialogue among generations and values. The audio-visual codes being organically embedded in the symbolic system of pilgrimage ritual language reveal multi-layered dialogue on cultural values, which is present within the ritual at subject, text and action level.
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Mainy, Shenne B., and Maria S. Kukhta. "SACRED SEMANTICS OF TUVAN TRADITIONAL COSTUME." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 242–49. http://dx.doi.org/10.17223/22220836/40/22.
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The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).
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Bruzzone, Mario. "Respatializing the domestic: gender, extensive domesticity, and activist kitchenspace in Mexican migration politics." cultural geographies 24, no. 2 (November 10, 2016): 247–63. http://dx.doi.org/10.1177/1474474016673063.
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The collective ‘Las Patronas’ is one of Mexico’s most famous and most decorated activist groups. For the past 20 years, they have given food, water, and clothing to migrants on moving freight trains, without reciprocation. This article considers the centrality of the kitchen and of kitchenspace to the group’s project, especially as part of their strategy for becoming and remaining ‘public’. In Mexico, ‘the kitchen’ may be two different kitchens and two types of kitchenspace, one for the everyday, the other for the singular and special. The ceremonial cocina de humo figures prominently in the Patronas’ day-to-day lives as well as media representations. It legitimates their public place and enacts a ritual importance to their provisioning. In tracing the importance of kitchenspace, how the Patronas’ project becomes translated in media accounts such as the documentary De Nadie and the television show Tiempo de Héroes, and how the Patronas perform maternal domesticity to take up a form of authority, this article argues that the Patronas spatially perform publicness and domesticity non-exclusively. The Patronas’ strategy produces a spatially expansive, rather than exclusive, domesticity, and in so doing, the group explodes the domestic–public binary.
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Delogu, Daisy. "The Performance of Self: Ritual, Clothing, and Identity during the Hundred Years War. Susan Crane. Philadelphia: University of Pennsylvania Press, 2002. Pp. ix+269." Modern Philology 103, no. 1 (August 2005): 95–98. http://dx.doi.org/10.1086/499179.
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Lerer, S. "Fiction and Incarnation: Rhetoric, Theology, and Literature in the Middle Ages; The Performance of Self: Ritual, Clothing, and Identity During the Hundred Years War." Comparative Literature 56, no. 3 (January 1, 2004): 262–66. http://dx.doi.org/10.1215/-56-3-262.
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Buraeva, Olga V., and Svetlana V. Buraeva. "Lower Tunguska ethnographic expedition of 1930 (based on the personal archive of P.P. Khoroshikh)." Reports of the Laboratory of Ancient Technologies 16, no. 3 (2020): 112–26. http://dx.doi.org/10.21285/2415-8739-2020-3-112-126.
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The article introduces written and visual materials from the center for Oriental Manuscripts and Woodcuts of the Institute of Mongolian, Buddhist and Tibetan Studies of the SB RAS archival collections related to the 1930 expedition to the Evenks of Lower Tunguska. Ethnographers Poltoradnev P.G. and P.P. Khoroshikh from Irkutsk worked as the members of the expedition. In the personal archive of P.P. Khoroshikh a map-scheme of the route, field records about the material, ritual and everyday culture of the Evenks, drafts of articles on the results of the expedition, as well as photographs and drawings with explanations by the author were revealed. The narrative part of the travel diary is compiled in chronological order of visiting camps and localities, contains various details of a complex and long journey. For the first time, the text of travel notes “Under the Arctic circle” is published, compiled in chronological order of visiting camps and localities and revealing various details of a complex and long journey. The subject matter of the identified materials fully reflects both the tasks set for the expedition and the professional interests of the team members – this is an information about the settlement of families, the peculiarities of making homes (chums), boats, utensils, clothing, crafts, rituals, etc. The collected information is supplemented by numerous photos of the region's aborigines, objects and localities, as well as drawings and diagrams of the location of objects with dimensions, orientation to the cardinal directions, location relative to each other, Evenk names and translation into Russian. The authors have formulated the questions, the answers to which have not yet been found in the archive materials – about the future fate of the collected collections, about the actual distribution of the responsibilities in the expedition, about a small number of publications on its results.