Dissertations / Theses on the topic 'Sacred'
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Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.
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Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.Department of Art
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Miller, Lori Samlin. "Sacred memories /." Full text available online, 2007. http://www.lib.rowan.edu/find/theses.
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Brodén, Linus. "Sacred coloration." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-694.
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Abstract Prints and artwork in fashion are often made separately from the body and garment, processed through digital media and printed with mechanized precision. Far from the dynamic experience a painting can offer. This work elaborates how to build a collection of garments based on the body, using interactive methods. Its purpose and context is to find another print aesthetic in garment through abstract painting and cutting. In regard to the craft I hope to preserve the hands involvement as part of the expression. Suggesting another way to do prints in fashion that allow a more intimate relationship between body, fabric and color. This work explores the body-fabric relation through abstract painting to develop another print aesthetic and way of doing print. Hanging rectangular pieces of fabric over my head and energetically painting the fabric against the body results in an abstract approximation of the body-fabric relation. This approximation is analyzed by cutting and draping in regard to the painting and study of directions through lines. This method has generated a static approximation of the body-fabric relation which can be used as a tool for composing colors.
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Gonzalez, Liliana Maribel. "Sacred + Profane." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42854.
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In Iztapalapa, south of the Yuhualixqui volcano, lies an informal settlement of an estimated 2600
people. Informal settlements have with them the connotation of quick, temporary, unthoughful
architecture that dissolves with the first pass of rain. In reality, most of the informal settlements
that appear become permanent homes for those families. A community emerges through the
rough architecture and the need for the basic necessities becomes a daily struggle. Religious
faith is something that remains strong in slum communities, although water, the most essential
element is missing. I attempt to address both the religious faith of the community and their
need for water by providing a place where the most sacred and the profane meet.Master of Architecture
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Kaufman, Bradley Richard. "Sacred Space." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/75172.
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This thesis is an exploration of the historical, societal, and individual as well as material factors that contribute to the constructing of space, and in particular, sacred space. With the idea that the making of sacred space is simultaneously a material construct and a construct of the mind, both postures were considered and studied throughout the research and design process of the thesis.Master of Architecture
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Williams, Gary D. "[Sacred] Aperture." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363338.
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Lemieux, Glenn C. (Glenn Claude). "Sacred Symphony." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330973/.
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Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals.
The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.
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Airy, Melissa. "Sacred steps." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6694.
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The action and tradition of pilgrimage in any faith, is the accumulation of many small steps over a great distance leading to a sacred destination. Pilgrimage is a way of letting the outward journey of our bodies enrich and enable the inner journeys of our hearts and minds.
Roman Catholics undertake the pilgrimage to Rome in order to be close to the center of their faith. Millions flock to Lourdes, France to experience healing through touching the holy water where the Virgin Mary appeared to St. Bernadette. Others walk on foot across the ancient 800 km sacred route across Spain called the Camino de Santiago following in the footsteps of St. James. Regardless of the destination, pilgrims move within the geography of faith, along a path scattered with traces of holiness, in places where God’s grace has been shown abundantly to bring conversions of holiness.
My work is a visual representation of my personal experiences as a sojourner to these three sacred landscapes in an attempt to understand the profound sense of purpose and awakening that I encountered along the way.
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Hirji, Naznin. "Learning the sacred." Thesis, University of Surrey, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443387.
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Gewalt, Sara. "Sacred and profane." Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6281.
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With employing the intuitive method as the initial approach in my bachelor work, I seek to express what I feel but can not see. In my body and in the clay. In my thoughts and in the clay. A meeting of the hand and the thought in which the subconscious and conscious build in unison. My bachelor work has been a searching process with clay, where I’ve allowed my memories and my states of mind to color my work. My hands describe an alternative world from my subconscious and conscious states. A world in which nothing is what it seems.
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Burdzy, Donna. "Sacred Emotional Scale." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395415876.
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Pemberton, Diana Ruth. "The Sacred Transfigured." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587732487572178.
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Spencer, Edward G. S. "The sacred way." Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/53387.
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The real task of architecture begins once functional and behavioral needs have been satisfied. Its essence is to give poetic form to the pragmatic. My work is only interested in the discovery, not the recovery of ideas; the invention, not classification. In working this way the search is for the essential and lasting principles in architecture, the origins of which must lie in the psychological experience of a building which is physically realized in the mind through one's senses. Thus architecture's manifestation begins as a set of intended experiences which begin to write a narrative or fable for a building. In writing a fable rather than a theoretical essay something basic has been found; fables remain immutable long after theories have disappeared. The invention of these writings is central to the work and not merely literary accessory, for it is this narrative that gives a building its ritual of experience, and it is to the support of these rituals that most of my work addresses itself. Thus the poetic form begins in the composition of experiences; the narrative.Master of Architecture
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Nieuwsma, Shenandoah L. "The shifting sacred." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1404339941&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Reichert, Alexis. "Sacred Trees, Sacred Deer, Sacred Duty to Protect: Exploring Relationships between Humans and Nonhumans in the Bishnoi Community." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32877.
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This thesis explores relationships between humans and nonhumans in the Bishnoi community. The Bishnoi are a small Vaishnavite community most densely located in Rajasthan. They are well known in North-West India for defending and protecting the environment; sometimes even sacrificing their own lives to save trees or wild animals. This thesis is informed by the author’s short-term ethnographic study in the winter of 2013. The author combines symbolic and interpretive anthropology with multispecies ethnography in order to explore issues of relatedness, exchange and embodied experience between humans and nonhumans in the Bishnoi community. This research elaborates on central themes that emerged from the fieldwork, including themes of embeddedness, duty, dharma, sacrifice, nonviolence, purity, impurity, and contemporary challenges. This research attempts to treat nonhumans as agents and participants in Bishnoi life, active in their physical and perceptual engagement with the world, and details the centrality of the nonhuman in the constitution of Bishnoi communities and identities.
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Wood, Amber Sheree. "Sacred women/sacred children: Tradition, identity, and abortion among the Lakota." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1456704.
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Alcântara, Ailton S. de [UNESP]. "Paulistinhas: imagens sacras, singelas e singulares." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86900.
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alcantara_as_me_ia.pdf: 955474 bytes, checksum: 9fa77531cdb9717c1f0821596c52b168 (MD5)Universidade Estadual Paulista (UNESP)
A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco.
The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called “Green-gold”. Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.
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Drake, David Doyle. "Sacred Union and Sacred Violence in Tournier's Gilles et Jeanne." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2494.
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Written in 1983, the novella Gilles et Jeanne seems to be one of Michel Tournier's simpler works at first glance. Yet, for all of its simplicity, Tournier does not repress his desire to lace the tale with metaphoric and metaphysical symbolism. It is through a symbolic marriage on the battlefield that Tournier links the two characters in a sort of mystical union. All of the crimes following this ritual that precipitated Gilles descent into depravity were in fact an attempt to reunite with the departed spirit of his "spouse", either by mimetically recreating the circumstances of her death, or by metaphysically recreating the location of her eternal resting place. Joan of Arc was not canonized as a saint until 1920. Because she was burned at the stake for crimes against the church, Joan's place in Gilles' mind was in hell. This article focuses on the symbolism of catastrophic marriage in the novel. It traces the literary allusions to marriage that follow and prelude this central moment, and examine Gilles' subsequent deviant behavior through this lens. Once it has been established that this symbolic marriage was present in Tournier's work, this leads to the next important question: If Tournier deliberately employed marriage imagery in describing Gilles de Rais' relationship to Joan of Arc, what was his purpose in doing so? The article then uses the Tournier's own philosophy, the literary theory of Girard and Bataille, and examines the significance of the marriage allegory in a post-revolutionary, secularized France. The trauma of the rupture with the old regime is reflected in the violence and turmoil that is born of the titular characters' failed attempt at sacred union.
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Tilley, Jessica. "Death in Sacred Harp." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/rs_theses/11.
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The extraordinary body of Sacred Harp music has been dubbed "the oldest continuously sung American music." Steven Marini, scholar of sacred arts, proposes that the Sacred Harp community welcomes anyone into their singings, regardless of their religious beliefs. His analysis does not take into account the emphasis placed on conversion to Christianity that is demonstrated by the lyrics and the rituals of the Sacred Harp community, however. Religion is not "a matter of personal faith" to Sacred Harp singers as Marini suggests, but a matter of a very specific set of faith commitments. The implications of these commitments for Sacred Harp singers determine their eternal destiny. An investigation into the lyrics of The Sacred Harp hymnal reveals a preoccupation with death, always with intent to point toward the individual "religious" choice of eternal death or eternal life and the desire to share that knowledge with anyone who comes in contact with this remarkable phenomenon.
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Yu, Shiu-nung, and 余劭農. "Upholding the sacred teachings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31952549.
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Kimbriel, Samuel Calvin. "Friendship as sacred knowing." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607905.
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Lu, Xiao. "Searching for the Sacred." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228501.
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Hameed, Rabeea. "Threshold to the Sacred." Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/42872.
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In designing a sacred space, the work should be a product not only of the mechanics of the mind but also a response of the heart, and therefore the spirit or soul that an architect must possess. For the soul is the harmony between the two. This is what gets diffused into the work, the subjectivity of which gives it its reality. The work too can then become animate with soul. Mircea Eliade believed that through symbols, the world becomes transparent and transcendence becomes visible. The religious man therefore relies on symbols to recognize sacred reality. â Divine work always preserves its quality of transparency, that is it spontaneously reveals the many aspects of the sacred,â which is why the very existence of the cosmic system and everything within presents itself as a proof of divine presence.1 For the construction of a sanctuary, the goal is to be able to perceive what is sacred in the mundane, and then bringing it forth, extracting it, distinguishing it to be experienced sensually. Sacred architecture is what identifies and then exposes these hierophanies.
The site is located on the intersection of Pennsylvania Ave NW and 26th ST NW in Washington DC. For the design development, the story of the first revelation of Prophet Muhammad, peace be upon him, is used as a narrative through the project. His search for meaning and retreat into nature, teaches of Islamic monasticism, the path that leads completely inward to a place with no one but God.
â Every road will lead you to this sense of initiation â the light, the secret, are hidden in the place from which you set out. You are on your way not toward the end of the road but toward its beginning; to go is to return; to find is to rediscover.â 2Master of Architecture
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Ackerman, Joy Whiteley. "Walden: A Sacred Geography." Antioch University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1268155007.
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Sisson, Sarah A. "Redefining what is sacred." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002784.
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Whitson, Robert. "Sacred landscape : An unsettling." Thesis, Mt. Helen, Vic. :, 2002. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/36547.
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"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
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Whitson, Robert. "Sacred landscape : an unsettling." Mt. Helen, Vic. :, 2002. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15639.
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"This project is concerned with a visual exploration of the land of the Western Plains of Victoria and the nature of "the sacred" in that landscape. Specifically, I have explored these ideas through the medium of painting and works on paper. The studio practice has been informed both by my personal experiencs of this geographic region and by research into the histories associated with white settlement and the subsequent forms of erasue of aboriginal presence."Master of Arts- (Visual Arts)
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Khan, Sharmeen. "Sacred space and sacred symbol : Hamas' use of Jerusalem during the first Intifada." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79955.
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The imbroglio of Jerusalem is arguably at the center of the Arab-Israeli conflict and presents an impasse to establishing peace. Its capacity to evoke powerful emotions is the key to understanding the connection between politics and sacred.1 The intent of this work is to closely examine the connection between politics and holy space by analyzing how Hamas' use of Jerusalem's sanctity and space for its symbolic value during the first Intifaḍa (1987--1993) contributed to simultaneously fueling the Intifaḍa and creating the potential to thwart peace in a number of ways: by portraying the Palestinian-Israeli conflict as a continuation of the conflict between the Muslim and Jewish communities in seventh century Arabia; justifying the Muslim Palestinian claim that Israel is an illegitimate entity on Islamic land; rejecting any form of negotiation or peace process as un-Islamic; mobilizing the masses; justifying armed struggle for Jerusalem in the form of jihad; gaining political influence; and presenting an alternative to the national-secular agenda of the Palestine Liberation Organization (PLO).1Roger Friedland and Richard D. Hecht, "The Politics of Sacred Spaces: Jerusalem's Temple Mount/al-haram al-sharif" in Sacred Places and Profane Spaces: Essays in the Geographics of Judaism, Christianity, and Islam, ed. Jamie Scott and Paul Simpson-Housley (New York: Greenwood Press, 1991): 23.
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Bhatta, Deen B. "COMMUNITY APPROACHES TO NATURAL RESOURCES MANAGEMENT: SACRED AND NON-SACRED LANDSCAPES IN NEPAL." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1056396738.
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Raaijmakers, Janneke Ellen. "Sacred time, sacred space history and identity at the monastery of Fulda (744-856) /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/70408.
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Jones, Charlotte. ""THIS SACRED LAND IS OUR SHIELD": Deploying the Sacred in Indigenous Art and Activism." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1206.
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My art historical and sociological thesis will take Cheyenne-Arapaho artist Edgar Heap of Birds’ Defend Sacred Mountains print series as the point of departure for examining the interventions of Native artists and grassroots activists in their decolonizing campaigns. Heap of Birds’ exhibition of sixty-four mono-prints, to be exhibited at Pitzer College Art Galleries in January 2018, calls attention to the ongoing injustices committed against four indigenous sacred sites across the United States: Bear Butte, South Dakota; Bear’s Lodge, Wyoming; San Francisco Peaks, Arizona; and Mauna Kea, Hawaii. Heap of Birds’ monoprints address and allude to indigenous struggles to undermine insensitive development, non-Native encroachment, and environmental despoliation on their sacred mountains. Consequently, one chapter will pay special focus to the case studies of contemporary legal and social battles occurring at these sites to counter land dispossession and reinforce tribal sovereignty. How tribal leaders and grassroots activists employ claims to these lands based on their sacred value and/or based on treaty rights will be explored on a case-to-case basis and guided by the theories of decolonization, survivance, and tribal sovereignty. Two other chapters will address Heap of Birds as a decolonial actor, one grounding his career in the theories of spatial politics and historical remembrance explored by other American Indian Movement era (AIM) indigenous artists such as George Longfish, Kay WalkingStick, Rebecca Belmore, and Demian DinéYazhi´; the second will consider the implications of Defend Sacred Mountains in relation to his wider oeuvre. In highlighting both grassroots and artistic responses to indigenous claims to these four sacred sites, this thesis hopes to explore the concrete and diverse interventions made in decolonial campaigns to reclaim tribal sovereignty and support cultural survivance.
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Kaha, Myra. "The vessel and the sacred." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4791.
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Thesis (M.F.A.)--West Virginia University, 2006.Title from document title page. Document formatted into pages; contains v, 15 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 13).
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Kennedy, Jean Marie. "Architecture and the sacred way." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21695.
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Pollard, P. A. "The sacred landscape of Ireland." Thesis, Queen's University Belfast, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432511.
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Burrows, Donald. "Handel in England: Sacred Music." Bärenreiter Verlag, 1987. https://slub.qucosa.de/id/qucosa%3A37211.
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Geng, Bowen. "Sacred Groves in Burial Grounds." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/96149.
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The thesis starts with the study of a Miao village in China, which is known as the center of the Miao culture. In Miao settlement landscape history, there is one feature that can be found in many cultures. The Fengshui Lin, also known as the Sacred Grove, protects the village. The ancient songs and tales of Miao show that the Fengshui Lin can be seen as the spirits of the ancestors (Wang, X. 2015). Since ancient times, Miao people have a tradition of respect for nature, and Fengshui Lin is the most important landscape element for them. It is not only part of the natural flexible border, but also associated with many social activities.
Sacred groves are created and evolved through human acts and the long span of human history (Jackson J. B. 1980). They play an important role in many different cultures around the world. Sacred groves may reflect the culture of society as settings for specific functions, or serve as objects of worship for people to purify their souls and refresh their spirits.
In burial grounds, there also are sacred groves which could be a place for praying and commemorating. Since sacred groves are seen as spirits of life, it is necessary to think about the relationship between sacred groves and burial grounds.
The thesis focuses on the issue of what is sacred? How to make a grove sacred or create a sacred grove in burial grounds? What kind of scenario for the design? With the inspiration of the Fengshui Lin in Miao village, the project aims to create a sacred space with trees for people who lost their family or friends in local communities. My thesis addressed these questions through a design project for sacred groves in the local parks of Arlington, Virginia. With design criteria derived from case studies and literature review, my goal is to create neighborhood cemeteries in the local parks to bring people closer to life as well as death and to let people get the experience of mortality.Master of Landscape Architecture
In many ancient societies, sacred groves were an essential aspect of life. In some cases, these groves encompass a large territory; in other cases they may be a few trees. These groves originated in the time following the introduction of agriculture. When societies evolving, sacred groves became not a piece of nature, but an institution that depending on custom, agriculture, and even the cycles of life. Sacred groves are a legacy for everyone. These sacred groves may reflect the culture of society, they are not merely symbols but dynamic and complex landscapes created as settings for specific functions. These sacred groves serve not only as totems of worship, but as moments or places where people purify their souls. Sacred groves surrounding or covering burial grounds have existed widely throughout the world (Tuan, Y. 1977). In many burial sites, sacred groves dominate the landscape. They serve the spiritual needs of the living as well as keep alive memories of the dead. This thesis will discuss the method to make a grove sacred and develop a landscape to provide an opportunity for people to get a sense of their life and culture. The concept is to reinstate the connection between burial grounds and neighborhoods by creating neighborhood cemeteries in the local parks of Arlington, Virginia. Through thoughtful site selection and design, sacred groves can hold precious information about the history of communities for generations.
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Gaiser, Sebastian. "Sacred Space - Journey and Change." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31215.
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Religion developed out of myths. Myths developed independently in different places of the world. It seems that people have the wish to explain themselves what they perceive. Our psychological setting make us journey within ourselves to develop us.
This building tries to support this process with its layout and design.Master of Architecture
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Ehmann, Christine Marie. "A dream of the sacred." Thesis, Virginia Polytechnic Institute and State University, 1994. http://hdl.handle.net/10919/53373.
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Memory
Childhood
Walking the long, winding dirt road to our home. The road is flanked by pine, birch, fern, occasioned by bold jack-in-the-pulpit and fire-red newts.
Underfoot, stones roll and skitter.
Each stone, solid, whole, each, an open eye, feigning sleep. Holding secret its very center.
Dream
Powerful in its simplicity. One stark picture frame. Like a billboard in an endless landscape, it comes between two other dreams.
It is the cross section of a stone. Thin skinned and ordinary on the outside. Obsidian black inside, with a cube of transparent crystal rising in the center.
Once a dream.
Now a talisman.Master of Architecture
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Mitchell, Darren. "Anzac Rituals – Secular, Sacred, Christian." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/22695.
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This thesis argues that Australia’s Anzac ceremonial forms emerged from Christian thinking and liturgy. Existing accounts of Anzac Day have focussed on the secular and Western classical forms incorporated into Anzac ritual and minimised the significant connection between Christianity and Anzac Day. Early Anzac ceremonies conducted during the Great War were based on Anglican forms, and distinctive commemorative components have their antecedents in religious customs and civic rites of the time. Anglican clergy played the leading role in developing this Anzac legacy - belief in Australia in the 1910s and 1920s remained predominantly Christian, with approximately half of believers being Anglican adherents - yet this influence on Anzac ritual has heretofore received scant acknowledgement in academic and popular commentary which views Anzac Day’s rituals as ‘secular’, devoid of religious tradition and in competition with it. Sydney’s Anzac Day in 1916, the first anniversary of the Gallipoli landings, and the ceremonies that followed through to 1919, illuminate the significant role of the city’s Anglican leadership in early Anzac ceremonial remembrance practice. The history, adoption and adaptation of elemental Anzac commemorative elements such as laying wreaths at memorials and pausing in silence, as well as the unique Australian ‘dawn service’ tradition, reveal their roots in Biblical theology and church approaches to mourning, challenging the secularisation hypothesis. Christian design motifs and inscriptions will also be noted in significant public memorials, adding to the argument that Christianity was the principal cultural repository for responding to the disastrous consequences of the Great War. This study will reveal the deep current of Biblical thinking in Anzac commemoration and how Anzac public remembrance is not only ‘sacred’ in a ‘secular’ formulation but also, fundamentally, Christian.
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Souza, Anderson Alves de. "Mortals, hear the sacred cry." Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/85670.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-20T21:25:25Z (GMT). No. of bitstreams: 0
Os símbolos nacionais e, mais especificamente, os hinos nacionais desempenham um papel importante nas lutas pela manutenção e disputa do poder político nas sociedades. Entretanto, poucos estudos têm sido realizados a respeito da natureza, funções e características dos hinos nacionais. Além disso, a maioria do material sobre hinos nacionais limita-se a publicações que trazem apenas as letras e os nomes dos autores dos hinos. Nesta dissertação, eu investigo 9 hinos nacionais sob a perspectiva da Análise Crítica do Discurso (Fairclough, 1989) e da Gramática Sistêmica Funcional (Halliday 1978, 1989, 1994). Os hinos analisados foram sub-divididos em 3 grupos: a) monárquicos, b) revolucionários, e c) hinos de consolidação. Os resultados sugerem que (i) os hinos monárquicos refletem a tentativa dos Monarcas de permanecerem no poder através de uma caracterização positiva que objetiva representa-los como seres humanos especiais, principalmente na posição de Meta e Beneficiários; (ii) os hinos revolucionários refletem a tentativa de um grupo de conquistar o poder exortando os cidadãos à luta e representando-os na posição de Atores, Portadores, Identificados, e Possuidores; e (iii) os hinos de consolidação refletem a fase pós-conquista do poder através da representação de elementos simbólicos tais como países e bandeiras na posição de Atores, Portadores, Identificados, e Possuidores. Além disso, os hinos nacionais trazem em sua estrutura os quatro elementos exortativos (Longacre, 1992) que os permitem serem classificados como um tipo de discurso exortativo. A importância deste trabalho reside no fato de que o mesmo contribui para uma melhor compreensão de como as lutas pelo poder político moldam a produção dos hinos nacionais e como os detentores de poder e os cidadãos são representados neste processo.
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Scott, Tashiara. "Bantaba: Designing the Sacred Circle." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5848.
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MOTIVATION In Richmond, there are 1.21 times as many African Americans as any other ethnic group. Yet 63.4% of African Americans live in poverty (Richmond, VA). African Americans face greater exposure to stress due to low socioeconomic status and poverty. In these communities, “discrimination and deprivation undermine individuals’ ability to accumulate the social and material resources to mitigate the effects of stress” (Brondolo, 2018). In this city’s African American community, where stress levels are high and consequential health concerns are prevalent, dance can be a remedy for managing stress and improving health (Hanna, 2006).
DESIGN PROBLEM How can an intentionally designed interior environment support dance as a remedy for stress and its negative health effects? How can the design of this environment celebrate the culture of the African American community?
METHODS Literature reviews on the relationship between space and dance will help inform design decisions. Studies of programmatic precedents will focus on spaces involving dance, healing, community engagement and cultural specificity. Studies of conceptual precedents that involve movement, rhythm and the body will take place. Rudolf Laban’s notation system for studying movement in dance will be utilized to analyze the movements required of African dance, resulting in a more targeted design approach. A dancer with a background in African dance will serve as a research advisor. Interviews of African American dancers will be conducted to gain insight into the practice of dance and the needs of a dance space.
PRELIMINARY RESULTS Research shows that dance reduces stress levels. Specifically, African dance, significantly decreases perceived stress and repeated practice can lead to overall stress reduction (West, J. et al). African dance’s main purpose is to serve as an expression of the physical and psychological states of individuals, allowing for emotional release.(Welsh-Asante, 1996). Dance can be used to cope with stress by discharging repressed aggression, improving self-esteem and allowing for self expression . Dance also prevents stress through physical exercise (Hanna, 2006). Additionally, research from Steven Holl, Santiago Calatrava and other architectural masters discuss the relationships between dance and architecture.
CONCLUSION The research will inform the design of a cultural dance center for the city’s historically African American neighborhood. The interior design of this center will support African dance and culture, foster creativity, and encourage stress reduction. The design will also support the secondary programs of dance movement therapy, seminars, celebrations, community outreach, educational programs, and exhibitions.
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Pew, Douglas. "Missa 'Musica Sacra' for Mixed Chorus and Orchestra." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336763001.
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Meri, Josef Waleed. "Sacred journeys to sacred precincts : the cults of saints among Muslims and Jews in medieval Syria." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286898.
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Dexter, Phillip. "Towards a political economy of the sacred: a Marxist critique of the sacred dynamics of society." Doctoral thesis, Faculty of Humanities, 2010. http://hdl.handle.net/11427/31562.
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This thesis puts forward the argument that the efficacy of ideas that have an impact on human subjects, causing them to act or behave in particular, noticeable ways, such as religion and ideology, is a product of the process of the necessary social labour involved in the production, circulation, exchange and consumption of symbolic property. Symbolic property is itself a product of the set-apart sacred, which is a basic, primary, socially constructed category that is strategically deployed in systems for the appropriation, expropriation, ownership, control and management of all property, whether material or symbolic. Socially effective ideas are expressed symbolically, whether they are signs of material, or real objects, or of imaginary things. It is further argued that to better comprehend these systems for managing the symbolic property, a critique of the political economy of the set-apart sacred must be developed. In developing this argument a literature review was conducted, primarily of structuralist and Marxist social theory, but also of key texts in the study of religion, political economy and of social theory more generally general. In the course of this review arguments to defend this hypothesis are developed and the critique of these arguments and the theory behind them also developed. Ideology, the fetish and money, three crucial categories of the set-apart sacred, are considered in terms of their function within the political economy of the sacred. Conclusions reached include the argument that religion as a category needs to be set aside and the set-apart sacred utilized as a pivotal concept in the study of religion, politics and the economy. Historical materialism, it is also concluded, has many flaws and weaknesses; including idealism, economism and a productivist bias, that make it essential to re-think and to re-materialise the methodology. The product of this work is a unique conversation between two schools of though often thought to stand in opposition to one another, namely, Durkheimian social theory and Marxist historical materialism. In the course of this argument, a materialist definition and theory of the setapart sacred is developed and a re-materialised historical materialist methodology is also proposed. These two theoretical premises are utilised to consider how systems for managing the set-apart sacred function.
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McQuarrie, Kylie. "Sacred Things, Sacred Bodies: The Ethics of Materiality and Female Spirituality in Purple Hibiscus." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4409.
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Thing theorist Bill Brown writes that “the thing names less an object than a particular subject-object relation.” This article examines the subject-object relation between African things and African bodies in Nigerian author Chimamanda Ngozi Adichie's first novel, Purple Hibiscus. While the main character, Kambili, eventually learns to assimilate Western Catholicism into her Nigerian reality, her Christian fundamentalist father, Eugene, uses Catholicism to justify his self-hating destruction of African things and bodies. This article argues that both reactions are rooted in the characters' ability or inability to see African material things, including both objects and bodies, as autonomous subjects. Adichie's novel demonstrates that religious syncretism centered in an ethics of things is a viable, fruitful reaction to the colonizers' religion, and that religious practice can be healthily enacted through the medium of things and bodies.
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Brown, Keri Aroha Michelle. "Upsetting Geographies: Sacred Spaces of Matata." The University of Waikato, 2008. http://hdl.handle.net/10289/2290.
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My research focuses on the emotional experience of the unearthing of ancestral bones for local Māori of Matata. The coastal town of Matata in the Eastern Bay of Plenty provides a central case study location as it is a town that is facing the pressure of coastal residential development as well the added strain of dealing with the 2005 flood which has compounded issues over local waahi tapu. Local iwi have continued to actively advocate for the protection of these sites especially with regard to the ongoing discovery of ancestral bones. Cultural and emotional geographies provide the theoretical framework for this research. This framework has been particularly useful as it encourages reflexive commentary and alternative ways of approaching and thinking about, and understanding knowledge. I have incorporated the research paradigm of kaupapa Māori which complements my theoretical framework by producing a research design that is organised and shaped according to tikanga Māori while (in) advertently critiquing and challenging traditional ways of conducting research. The overall aim is to explore the current issues surrounding the discovery of ancestral bones through korero with local iwi members. It is through their perspectives, stories, beliefs and opinions that provide a better understanding of the meanings attributed to waahi tapu and the influence of certain events such as the 2005 flood. I examine, critically the relationship between power, sacred sites, bones and the body. It is from these objectives that I contribute to an area of scholarship that has been largely left out from geographical enquiry. I suggest that the importance of sacredness and spirituality has been relatively overlooked as an influential factor in people's perceptions of the world around them. This thesis is intended to demonstrate the value of indigenous perspectives of bones, the body and sacredness as a way of better understanding some of the complexities that can arise when cross-cultural approaches collide in environmental planning. There are three main themes that have emerged from this research. The first theme has to do with competing knowledges. To Māori, the location and knowledge of ancestral bones is culturally important and is in its self sacred, therefore certain tikanga is applied as a means of a protection mechanism. However this ideologically clashes with traditional scientific western approaches which are privileged over other alternative ways of understanding knowledge, in this case Māori knowledge. The second related theme concerns the process of boundary making and cross-cultural ways of perceiving 'sacred' and 'everyday' spaces. To better understand these perspectives involves acknowledging the embodied and emotional experience of wāhi tapu to Māori, and the active role of kaitiaki in the protection and careful management of these culturally important spaces.
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Johnson, Brian Todd. "Sacred conversations viewing liturgy through art /." Theological Research Exchange Network (TREN) Access this title online. Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Surrency, Donald. "The proliferating sacred : secularization and postmodernity." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002283.
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Wood, Jacqueline Elizabeth. "D.H. Lawrence : sex and the sacred." Thesis, University College London (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283660.
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Lastennet, Pierre. "Saint-John Perse and the sacred." Thesis, University College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249741.
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