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Friedman, Susana. "The festive song repertory of the Barbacoas, Columbia, and it's implications for Ballad Transmission". Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265780.
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Chua, Sharon Jane Go. "Negotiations and love songs Heloise and the question of religious authenticity /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/459742063/viewonline.
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Rutter, Philip. "Paris, Bibliotheque Nationale, fonds Latin 1240 : a transcription and analysis of the trope repertoire". Thesis, Royal Holloway, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307702.
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Warzycha, Anna K. "Inlargednesse of mind and activity of spirit : gender identities in the religious writings of mid-seventeenth-century England". Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10229.
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In dominant seventeenth-century thinking women's bodies, minds, and spirits were not only inferior to men's, but also more prone to evil. This study explores the ways in which the women writers attempted to redefine these assumptions. Through an analysis organised along various spiritual transformations the writers claim to go through, the study presents an insight into seventeenth-century women's construction and redefinition of femininity. The symbolic process of women's spiritual transfiguration results in them identifying with the metaphorical figure of Zion and in positioning women as godly agents of God, whereas male writers' transformations eventuate in their being effeminized and being turned into 'Crooked Agents' of God. Therefore, the study shows how the potentials inherent in the biblical figure of Zion were used in establishing a connection with God and in forming female and male authorial identity. The thesis draws on the understudied voices of women such as the anonymous Eliza, Elizabeth Major, An Collins or Gertrude More, and is contextualized by male-authored texts, some of them considered as canonical and popular in contemporary literature.
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Seal, Jill. "Psalms, sonnets and spiritual songs : some traditions and innovations in English religious poetry, c. 1560-1611". Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363689.
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Kim, Young-Mi. "Didactic strategies for the use of lyrics in religious education". Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49911.
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Thesis (PhD)--Stellenbosch University, 2004.ENGLISH ABSTRACT: The purpose of this study is to identify didactic strategies for the use of lyrics in children's religious education. This is done to enhance and facilitate children's spiritual growth by means of singing lyrics. The study pays particular attention to the recognition of the role of lyrics in Christian religious education as a maturing agent. Lyrics help to provide children with the opportunity to communicate with God by revealing God's characteristics through theoretical and doctrinal content in an artistic form. Lyrics enrich children's religious development by helping them to express their joy and praise of God. Lyrics can also help children to experience a special quality of fellowship when they sing together. Lyrics ease the stiffness which can occur during the process of education. The survey of lyrics in Christian history also reveals that lyrics played an essential role in the lives of Christians throughout history. Lyrics have been used for worship, education, evangelisation and fellowship. Lyrics have functioned as a medium in which people have conversations with God and worship Him. They have also been a delightful source through which people learn about God through joyful experiences. Lyrics have helped Christians to establish true fellowship in their faith by singing together. The study reveals, however, that lyrics today do not seem to be effective in supporting people, including children, in their encounters with God. As much as lyrics can help children, they can also be obstacles to children's spiritual growth because of their inappropriate contents or improper ways of presentation. Children might misunderstand religious concepts by acquiring "unfamiliar" doctrine from lyrics. It seems that children can also develop inappropriate ideas and attitudes about worshipping under the influence of self-oriented or fun-seeking styles of lyrics. This potential of lyrics to influence children either positively or negatively is often overlooked. The question that may be raised is: what should be done to facilitate the lyric's maturing role and to keep it from being a hindrance in children's religious education? This study attempts to identify systematic and scientific didactic approaches of teaching lyrics as a way of heightening the positive role of lyrics in children's spiritual growth. For the identification of didactic strategies which are best suited for children's spiritual growth, the study presents approaches in which systems of coherent ideas, findings, activities and views concerning instruction and learning are performed. The didactic strategies are illustrated in three main phases, i.e. introductory, executive and assessment phases. Essential characteristics of the instruction-learning phenomenon in all its facets are absorbed into the theory as an overall guide for every teaching situation. The study makes an effort to apply these didactic strategies to the practical situation of teaching lyrics. Korean children are chosen as the subjects for the teaching oflyrics and their religious development is empirically investigated as the basic research on the understanding of the learner in the didactic situation. The application of the general approaches to the definite and specific situation of teaching Korean children is explained. Didactic approaches are redesigned, taking the specific didactic situation of Korea, including Korean children's specific religious characteristics, into consideration. These programmes can be effectively applied to other didactic situations, keeping them flexible in the light of the uniqueness of each lesson. The ultimate aim of this study - the recognition of systematically organised didactic strategies and exemplification of their practical application to the detailed situation of teaching lyrics - is to maximise the effectiveness of lyrics for children's spiritual goodness, particularly in enriching children's religious knowledge and experience.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om didaktiese strategieë te identifiseer vir die gebruik van lirieke in kinders se religieuse opvoeding. Dit word gedoen om leerders se sprituele groei deur middel van die sing van liedjies te fasiliteer. Die studie fokus in die besonder op die herkenning van die rol wat lirieke, in hoofsaaklik Christelike religieuse onderrig, in die proses van volwassewording speel. Lirieke verskaf aan kinders die geleentheid om met God te kommunikeer deurdat God se eienskappe deur middel van teoretiese en dogmatiese inhoud as 'n vorm van kuns openbaar word. Lirieke verryk kinders se religieuse ontwikkeling deurdat dit hulle help om hul blydskap en eer vir God uit te druk. Lirieke kan kinders ook help om 'n besondere kwaliteit van gemeenskap ("fellowship") te ervaar wanneer hulle saam sing. Deur die gebruik van lirieke kan die stramheid wat dikwels met die opvoedingsproses gepaard gaan, in 'n groot mate verlig word. Die opname wat van lirieke in die Christelike geskiedenis gedoen is toon aan dat lirieke dwarsdeur die geskiedenis 'n baie belangrike rol gespeel het in die lewens van Christene. Lirieke is deur die eeue gebruik vir aanbidding, opvoeding, evangelisasie en geloofsgemeenskap. Lirieke funksioneer as 'n medium waardeur mense in gesprek tree met God en Hom aanbid. Dit dien ook as 'n bron waardeur mense deur vreugdevolle ervaring van God leer. Lirieke help Christene om ware geloofsgemeenskap deur hul samesang te bewerkstellig. Dit blyk uit die studie dat lirieke vandag nie meer effektief is om mense, insluitende kinders, in hulontmoeting met God te ondersteun nie. Alhoewel lirieke kinders kan help, kan hulle in dieselfde mate struikelblokke wees in kinders se sprituele groei weens onaanvaarbare inhoud of onvanpaste aanbieding. Kinders kan religieuse konsepte misverstaan deurdat hulle met "vreemde" dogmas vanuit lirieke gekonfronteer word. Dit blyk dat kinders ook onaanvaarbare idees en houdings oor aanbidding kan ontwikkel weens die invloed van die selfgeoriënteerde of pretsoekende styl van sommige lirieke. Die potensiaal van lirieke om kinders óf positief óf negatief te beïnvloed word dikwels misgekyk. Die vraag wat ontstaan is: Wat moet gedoen word om die lirieke se rol in die verwerwing van volwassenheid te fasiliteer en te verhoed dat dit 'n hindernis in kinders se religieuse opvoeding word? Hierdie studie poog om sistematiese en wetenskaplik-didaktiese benaderings te identifiseer om die onderrig van lirieke te bevorder ten einde die positiewe rol van lirieke in kinders se spritiuele groei te versterk. Om didaktiese strategieë te identifiseer wat die beste by kinders se spirituele groei pas, bied die studie benaderings aan wat stelsels van samehangende idees, bevindinge, aktiwiteite en sieninge betreffende onderrig en leer behels. Die didaktiese strategieë word in drie hooffases geïllustreer, nl. die inleidende fase, die uitvoerende fase en die assesseringsfase. Essensiële kenmerke van die onderrig-leerverskynsel in alle fasette daarvan is in die teorie opgeneem as 'n allesomvattende riglyn vir elke leersituasie. Die studie poog voorts om hierdie didaktiese strategieë toe te pas in 'n praktiese lirieke-onderrigsituasie. Koreaanse kinders is gekies as proefpersone vir die onderrig van lirieke, en hul religieuse ontwikkeling is empmes ondersoek as die basiese navorsing ten opsigte van die begrip van die leerder in die didaktiese situasie. Die toepassing van die algemene benaderings tot die bepalende en spesifieke situasie van onderrig aan Koreaanse kinders word verduidelik. Didaktiese benaderings word herontwerp met inagneming van die spesifieke didaktiese situasie in Korea. Koreaanse kinders se besondere religieuse karaktertrekke word tegelykertyd in aanmerking geneem. Hierdie plooibare programme kan ook effektief op ander didaktiese situasies toegepas word, wat beteken dat hulle by elke unieke les aangepas kan word. Die uiteindelike doel van hierdie studie - die erkenning van sistematies georganiseerde didaktiese strategieë en die toeligting van hul praktiese aanwending in die onderrig van lirieke - is om die effektiwiteit van lirieke vir kinders se sprituele welsyn te optimaliseer en veralom leerders se religieuse kennis en ervaring te verryk.
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Bibeau, Gabrielle K. "The Spouse of Christ in the Hereafter: A Historical Exploration of Nuptial Imagery and the Eschatology of Celibate Chastity in Religious Life". University of Dayton / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1565557401800574.
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Cedergren, Mats. "Lars Åke Lundberg och den andliga visan 1965-1973 : tolkning och teologiskt tänkande under 68-epoken". Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445511.
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Uppsatsen visar hur prästen och tonsättaren Lars Åke Lundberg har medverkat till den andliga visans teologiska bestämning i en banbrytande och samhällsomvälvande tid 1965-1973. Studien omfattar det urval av andliga visor Lundberg själv valt att tonsätta/översätta under tidsperioden. I uppsatsen görs en analys av vistexterna utifrån några valda samhällsteologiska motiv. Resultatet av textanalysen sammankopplas med den tidsanda, som då rådde. Uppsatsen bidrar också till en samhällsteologisk förståelse av vad som hände inom Svenska kyrkan under perioden. Förståelsen av den politiska förändringen kom inifrån Svenska Kyrkan i första hand och inte genom yttre påverkan.The essay shows how the priest and composer Lars Ake Lundberg has contributed to the theological determination of the spiritual song in the pioneering and revolutionary period of the society in 1965-1973. The study includes the selection of spiritual songs that Lundberg himself chose to compose/translate during the time period. In the essay, analaysis of the lyrics is made based on some selected theological motives belonging to the society. The result of the analysis of the texts is connected with the spirit of the time, which then prevailed. The essay also contributes to a theological understanding of what happened whithin the Church of Sweden during the period. The understanding of the politcial change came from the Church of Sweden itself and not primarly through external influences.
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Treacy, Susan. "English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331253/.
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Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693).
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Collingridge, Lorna Marie, i n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
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Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.
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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.
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Ballinger, Rebecca. "Sacred songs of Dvořák, Menotti, Ravel and Wolf". Kansas State University, 2012. http://hdl.handle.net/2097/13747.
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Master of MusicDepartment of Music
Amy Rosine
This report examines the sacred works of four composers that were intended for performance in a secular environment, rather than for any portion of a liturgical service. It will discuss the theoretical, stylistic and performance considerations of each work, as well as biographical information about each composer, their compositional style, and how the work was initially developed. These works include the Biblické písně, Op. 99 of Antonín Dvořák, selections from the Möricke Lieder and Spanisches Liederbuch of Hugo Wolf, Maurice Ravel’s Deux mélodies hébraïque, “Oh, Sweet Jesus” from Gian Carlo Menotti’s’ the Saint of Bleecker Street and the quartet from his Amahl and the Night Visitors.
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Caissy, André. ""Le songe est la règle de nos vies" : le rêve chez les Iroquoiens des XVIIe et XVIIIe siècles". Master's thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/24997.
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Gutekunst, Jason Alexander. "Wabanaki Catholics: Ritual Song, Hybridity, and Colonial Exchange in Seventeenth-Century New England and New France". Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1229626549.
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Youn, Heena. "Objects of popular devotion : Longquan ceramic religious figures during the Song-Yuan-Ming period". Thesis, SOAS, University of London, 2015. http://eprints.soas.ac.uk/20355/.
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This thesis investigates ceramic figures portraying religious images made at the kilns of Longquan in Zhejiang province, China between the Song and the Ming periods. Through a thorough examination of the images' iconography alongside further related sources drawn from diverse areas of study, the thesis offers a new understanding of the cultural and religious importance of the figures and examines how they became prevalent in Longquan and how they were used and valued within and beyond the Chinese mainland. The range of figures examined, including Buddhas, bodhisattvas, deified monks, Daoist deities, immortals and popular gods, allows an exploration of religious beliefs and practices in Zhejiang at that time and demonstrates in particular the significance of the medium of ceramic in the development of popular devotion and its visual imagery in late imperial China. Small ceramic religious figures have so far gone unnoticed, in both the fields of Chinese ceramics and Chinese religious sculpture. Notwithstanding, they are an important part of the long, rich history of Chinese ceramic sculpture. By adopting an interdisciplinary approach, this exploration of Longquan figures demonstrates that small ceramic religious figures are illustrative of the rich visual and material culture of Chinese religion and provides a glimpse into the spiritual lives and religious customs of the Chinese in the pre-modern period.
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Tarleton, Angela Brannon. "Raven's Song: an Original Musical". Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.
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Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.
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Marks, Loren Dean. "The Meaning of Religious Belief, Practice, and Community for Latter-Day Saint Fathers of Children With Special Needs". Diss., CLICK HERE for online access, 1999. http://patriot.lib.byu.edu/u?/MTGM,33230.
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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia". Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.
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Stone, Keith Allen. "Singing Moses's Song: A Performance-Critical Analysis of Deuteronomy's Song of Moses". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11007.
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Starting from the observation that Deuteronomy commands a tradition of performing the Song of Moses (Deuteronomy 32.1-43), in this dissertation I explore ways in which the performance of the Song contributes to Deuteronomy's educational program through an effect on those who perform the Song. In order to do so, I employ a performance-based approach that stresses the dynamic of re-enactment that operates in traditions of performance; I argue that performers of the Song are to be transformed as they re-enact not only the characters within the Song but also those who came before them in the history of the Song's performance, particularly YHWH and Moses, whom Deuteronomy depicts as that tradition's founders. In support of this thesis, I provide a close reading of the text of the Song (as preserved in Deuteronomy and as informed by Deuteronomy's account of its origins and subsequent history) that examines how the persona of the performer interacts with these re-enacted personas in the moment of performance. I also argue that the various composers of Deuteronomy themselves participated in the tradition of performing the Song, adducing examples from throughout the book in which certain elements originally found in the Song have been adopted, elaborated, acted out, or simply mimicked while being put to another use.Near Eastern Languages and Civilizations
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LeBeau, Timothy J. "You have to find yourself a place: Religion and the French-Canadian songs of departure for the United States". Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26688.
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This project undertakes the study of a collection of French-Canadian folk songs arising from the experience of the emigration of French-Canadians to the United States in the nineteenth and early twentieth centuries. The primary methodological tools employed in this study stem generally from the field of the history of religions, and specifically from the work of Charles H. Long. Religion here is understood as a mode of orientation that locates an individual or group meaningfully in the world in relation to ultimate reality. Religion can arise from situations of cultural contact and, therefore, is fundamentally important to issues of community and identity. As such, these songs articulate a mode of negotiating modernity that recognizes the homogenizing and silencing character of its discourse while simultaneously suggesting an understanding of human communities based on the recognition of the exchange of matter that served as the locus of the identity of Franco-Americans.
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Stafford, Charles Lester. "Good sons and soldiers : religion, education and the family in a Taiwanese village". Thesis, London School of Economics and Political Science (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245612.
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Vayo, Lloyd Isaac. "Fathers and Sons: The Generations of 9/11". Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143214295.
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Figlarz, Marissa. "A song to "The beautiful Goddess": Text, ritual, and devotion in the «Apirami Antati»". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86843.
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My project locates the 18th century Tamil poem Apirāmi Antāti at the interstices of popular Tamil devotion (bhakti), a form of South Indian Tantra known as Śrīvidyā, and the upper-caste (Brahmin) social, cultural, and ritual worlds that engender the text. Bringing together inter-textual, and ethnographic analysis, I argue that the simultaneous appearance of Tantric themes, alongside themes of Brahmanic domesticity in the text point towards Śrīvidyā, a practice that integrates esoteric Tantric practice with uppercaste Brahmanic social behaviour. My linkage of the Apirāmi Antāti with Śrīvidyā is substantiated by a critical historcization of the Apirāmi Antāti that locates the text in the emergent Tamil Brahmin Tantric milieu at the Tanjavur court in the early eighteenth century. Finally, there is something about this milieu, the shrine of the goddess, and her consort at Tirukkadaiyur that has had an enduring value for the largest group of Tamil Brahmins known as Smārtas. Using ethnographic data the later part of this thesis examines the contemporary appeal of this poem to upper-caste devotees of the goddess. I discuss a rite-of-passage (samskāra), known as śatābhisekam, which is performed at Tirukkadaiyur, and allows the poem and its goddess to become identified with Smārta Brahmin cultural values.Mon projet situe le poème Apirāmi Antāti à la croisée entre la dévotion populaire Tamoule (bhakti), une forme de Tantra d'Inde du Sud connu sous le nom de Śrīvidyā, et le monde social, culturel et rituel de la caste supérieure (Brahmane) qui ont engendré le texte. En reliant une analyse intertextuelle et ethnographique, je démontre que l'apparition simultanée de thèmes Tantrique avec des thèmes de la vie familiale Brahmanique dans le texte tend vers la Śrīvidyā, une pratique qui intègre des pratiques Tantriques ésotériques avec un comportement social de la caste supérieure Brahmanique. Mon association entre Apirāmi Antāti et Śrīvidyā est justifié par une historisation critique du Apirāmi Antāti qui situe le texte dans le milieu Tamoul Brahmane Tantrique émergent à la court de Tanjavur au début du dix-huitième siècle. Finalement, il se passe quelque chose au sujet de ce milieu, le tombeau de la déesse, et son époux à Tirukkadaiyur qui a eu une valeur durable pour le plus grand groupe de Tamouls Brahmanes appelé Smārthas. En utilisant des données ethnographiques, la dernière partie de cette thèse examine le rappel contemporain de ce poème pour les fidèles de la caste supérieure dévoués à la déesse. Je discute du rite de passage (samskāra), nommé śatābhiekam, qui se déroule à Tirukkadaiyur, et qui permet au poème et à sa déesse d'être identifié aux valeurs culturelles Smārtha Brahmanes
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Zhao, Yanxia. "On the ethical relationship of father and son : a comparative study of Xunzi and Paul". Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683328.
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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Rosenfeld-Hadad, Merav. "The paraliturgical song of Babylonian Jews in the context of Arabo-Islamic culture and religion". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608721.
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Gutekunst, Jason Alexander. "Wabanaki Catholics ritual song, hybridity, and colonial exchange in seventeenth-century New England and New France /". Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1229626549.
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Liu, Cuilan. "Song, Dance, and Instrumental Music in Buddhist Canon Law". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11232.
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Maintaining a balanced approach to music is a shared challenge in all religions. Depending on the context in which music is used in religious activities, it is either praised as a powerful medium to please the divine or condemned as a sensual allurement that hinders spiritual advancement. This study discusses the treatment of vocal and instrumental music as well as the allied category of dance in Buddhism. Specifically, it analyzes the regulations of different forms of musical activities in Buddhist canon law and their subsequent interpretation in Tibet and China.
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Moore, Gerety Finnian McKean. "This Whole World Is OM: Song, Soteriology, and the Emergence of the Sacred Syllable". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467527.
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This study explores the emergence of OM, the Sanskrit mantra and critically ubiquitous "sacred syllable" of South Asian religions. Although OM has remained in active practice in recitation, ritual, and meditation for the last three thousand years, and its importance in Hindu, Buddhist, and Jain traditions is widely acknowledged, the syllable's early development has received little attention from scholars. Drawing on the oldest textual corpus in South Asia, the Vedas, I survey one thousand years of OM's history, from 1000 BCE up through the start of the Common Era. By reconstructing ancient models of recitation and performance, I show that the signal characteristic of OM in the Vedas is its multiformity: with more than twenty archetypal uses in different liturgical contexts and a range of forms (oṃ, om̐, om, o), the syllable pervades the soundscape of sacrifice. I argue that music is integral to this history: more than any other group of specialists, Brahmin singers of liturgical song (sāmaveda) fostered OM's emergence by reflecting on the syllable's many and varied uses in Vedic ritual. Incorporating the syllable as the central feature of an innovative soteriology of song, these singer-theologians constructed OM as the apotheosis of sound and salvation. My study concludes that OM plays a crucial role in the development of South Asian religions during this period. As the foundations of South Asian religiosity shift, from the ritually oriented traditions of Vedism to the contemplative and renunciatory traditions of Classical Hinduism, OM serves as a sonic realization of the divine, a touchstone of Vedic authority, and a central feature of soteriological doctrines and practices.South Asian Studies
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Pewa, Sibusiso Emmanuel. "Song, dance, and worship in the Zionist Christian Churches: an ethnomusicological study of African music and religion". Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/1304.
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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Music in the Department of Music at the University of Zululand, South Africa, 1997.The aim of this study is to investigate the relationship between music and worship in contemporary African society. Since there are various forms of activities that constitute the African society, the study will focus on the Zionists' Church music and worship from an ethnomusicological point of view.
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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene". Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.
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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.Thesis (DMus)--University of Pretoria, 2005.
Music
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Zhang, Chao. "Formation des paradigmes religieux entre essai et hagiographie : étude de deux Biji du bouddhisme Chan des Song du Sud (1127-1279)". Paris, EPHE, 2014. http://www.theses.fr/2014EPHE4029.
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Durant la dynastie des Song, les écrits de l’école bouddhique Chan atteignent leur apogée. Plusieurs nouvelles formes littéraires voient le jour, dont le Biji (Mélanges) du Chan qui, apparu au début du XIIe siècle, s’épanouit au cours des siècles suivants. Composés essentiellement d’anecdotes hagiographiques, les textes Biji contiennent une quantité considérable de propos et de faits des religieux et des laïcs Chan inédits à l’époque et concernent divers aspects de la vie bouddhique de la Chine pré-moderne. Afin d’explorer ce genre littéraire négligé jusqu’à nos jours, l’auteur de ce travail s’appuie sur deux de ses ouvrages représentifs – le Luohu yelu (Recueil des propos officieux du lac de Luo) et le Ganshan yunwo jitan (Mémoires et propos de l’hôte de la chaumière « Nichée dans les nuages » du mont Gan). Après avoir mené dans un premier temps les études historiques et documentaires de ces textes, l’auteur en dégage quatre thèmes de recherche qui offrent une vision d’ensemble du paradigme religieux sous-jacent. Enfin, ce travail se termine par une réflexion sur les spécificités formelles des Biji du ChanDuring the Song Dynasty, the writings of the Buddhist Chan School reached their peak. Several new literary forms emerged, including the Chan Biji (Miscellanies) which appeared in the early 12th century and flourished during the following centuries. Composed essentially of anecdotes of hagiographic nature, the Biji texts contain a considerable amount of writings and acts of the clergy and laypeople of the Chan, which were unpublished at the time and deal with various aspects of Buddhist life in pre-modern China. To explore this genre, neglected until today, the author’s research is based on two representative Biji works - the Luohu Yelu (Record of unofficial sayings on the Luo Lake) and Ganshan yunwo Jitan (Memories and sayings from the host of the "Nestled in the clouds" cottage on Gan Mount). After historical and documentary studies of these texts, the author identified four research themes offering an overview of the underlying religious paradigm. This work concludes with a reflection on the formal characteristics of the Chan Biji
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Mallet, Maurice. "Etude de la correspondance des sons et des couleurs dans la musique d'Olivier Messiaen". Paris 8, 1992. http://www.theses.fr/1992PA080727.
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Selon messiaen, chacun de nous devrait etre en mesure de voir des couleurs se manifester pendant l'audition. Sa surprise, devant l'absence d'un tel phenomene chez la plupart des auditeurs, messiaen l'a decrite a claude samuel, et c'est dans l'ouvrage que ce dernier a intitule : musique et couleur, que se retrouvent les paroles du compositeur : "je le dis au public, je le repete a la critique, je l'ai explique a mes eleves, mais personne ne me croit. J'ai beau mettre des couleurs dans ma musique, dans les harmonies, dans mes complexes de sons et dans mon orchestration, les auditeurs entendent mais ils ne voient rien". L'etude proposee de la correspondance des sons et des couleurs dans la musique de messiaen, n'entend pas demontrer la necessite de voir des couleurs en ecoutant de la musique. Non. Plus modestement a l'aide d'observations ayant trait a la correspondance des sons et des couleurs, puis a la correspondance du son et de la couleur, il s'agira de proceder a la "defense et illustration" de l'intention de messiaen, laquelle, le fait est a noter, semble se rattacher a une tradition fort ancienneAccording to messiaen, every one could be able to see colours manifesting themselves during the hearing. His surprise, in front of the miss of such a phenomenon, with most of the hearers, messiaen described it to claude samuel, and it's in a work that this last one has intitled : music and color, that the words of the composer are found again : "i said it to the public, i repeat it to the cristicism, i have explained it to my students, but nobody believes me. I have in vain set colours in my music, in my harmonics, in my building of sounds and in my scoring, the hearers are hearing, but they are not seing anything". The study purposed about the correspondance of sounds and colours in the music of olivier messiaen, don't want to prove the necessity of seing colours by hearing music. No. More modestly, with the help of notes about the correspondance of sounds and colours, then the correspondance of sound and the colour, it will be the question to proceed with the "defence and immustration" of the messiaen's intent, which seems be connected to a very old tradition
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Huot, Hervé. "Songes, visions et rêves dans les sciences du corps et de l'esprit (langue française, milieu XVIe - début XVIIIe siècle)". Paris, EHESS, 2012. http://www.theses.fr/2012EHES0144.
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La première partie de ce travail est consacrée à la présentation des textes antiques, païens ou chrétiens, édités en France au 16e siècle, qui contiennent des passages relatifs aux songes et à leur interprétation. Les trois parties suivantes sont organisées autour de l’examen de documents imprimés en français depuis le milieu du 16e siècle jusqu’au début du 18e siècle, qui montrent comment « le songe » s’inscrit en Europe de l’Ouest dans les débats théologiques et « démonologiques », ainsi que dans le nouveau « progrès des sciences » et dans l’émergence du « discours philosophique moderne ». L’hypothèse est faite que l’évolution des discours savants tenus sur les phénomènes oniriques, dans une aire culturelle donnée, détermine dans une large mesure l’évolution des attitudes individuelles face aux songes, ainsi que l’évolution des définitions courantes de l’être humain. Ainsi, l’affirmation par la théologie chrétienne qu’il existe une contribution « divine » ou « démoniaque » à la formation de nombreux songes subit de si fortes attaques de la part d’éminents auteurs français et anglais pendant la seconde partie du 17e siècle, que « le songe » tendra à n’être plus considéré en Europe de l’Ouest au 18e siècle que comme une simple et peu intéressante « production de l’individu »The first section of this work is dedicated to the presentation of antique period texts, pagan or Christian, edited in France in the 16th century, containing passages relative to dreams and their interpretation. The three following sections are centered around the analysis of documents printed in France from the mid 16th century to the beginning of the 18th century, showing how “dreams” were portrayed in theological and “demoniacal” debates in Western Europe, as well as in new “scientific progress” and in the emergence of a “modern philosophic discourse”. This paper’s hypothesis is that the evolution of scholarly discourse surrounding dream-like phenomena, in a given cultural domain, determines to a large extent the evolution of individual attitudes towards dreams, as well as the evolution of popular definitions of human beings. Thus, the declaration by Christian theology of a “divine” or “demonic” influence on the creation of numerous dreams underwent such strong attacks by eminent French and English authors during the second half of the 17th century that the tendency in Western Europe during the 18th century was no longer to consider “dreams” as banal and uninteresting “constructs of the individual”
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Barbosa, Tercio Eliphas Leite. "Expressão musical do canto e experiência religiosa do sagrado: análise fenomenológica das vivências de uso compartilhado dos sons dos devotos de Krishna". Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUBD-9FYEJ2.
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We developed field research with devotees of Krishna in Belo Horizonte/ MG with the general objective of investigating the sensorial dynamism of shared musical expression of singing as a possibility of conducting a religious experience of the sacred. Specific objectives: a) to capture the way individuals perceive and construct their interaction with the proposal of participation in shared singing b) to apprehend the dynamics of the relationship between sensory experience and religious experience of the sacred, c) to understand how the gesture of revisiting the singing is part of the construction of the religious experience of the sacred Krishna devotees. In order to grasp the characteristic dynamism of the experience of devotees with singing we adopted the phenomenology (Husserl) as theoretical and methodological proposal. We used the concepts of hyletic, noetic, transcendence (V. Frankl), myth (Eliade) and religious experience of the sacred (Eliade, van der Leeuw and Giussani) to understand the areas of significance that emerged from subjects, music and religious cultural context. We collected material through semi-structured interviews to describe and analyze the meanings that individuals give to the experience of musical expression of singing checking the possibility of conducting a religious experience of the sacred. We selected three interviews for phenomenological analysis, following the criterion of intentional choice. In the analysis about how the subjects elaborate their experience with the singing emerge four main pillars from the structure of this experience: 1) the sensorial dynamism of singing as encounter with the sacred power, 2) the experience of singing as horizon of transcendence; 3) the experience of singing as a relationship with memorable figures of religious tradition, 4) shared musical expression of singing as religious experience of the sacred. The experience of devotees with singing emerges characterized by a sensorial dynamism in which the realization of a religious experience of the sacred is the fundamental theme. According to the devotees, the holy-sound power appears as a correlation with the use of shared sounds, belonging to the musical expression of singing in a comprehensive way. The singing is experienced as a way for reaching a broader horizon of understanding issues that arise existentially in daily life of devotees, as well as the celebration of memorable figures of religious tradition that deserve to be remembered due to the fully realized experience they had by the singing. The confidence and the existential reassurance from devotees, conquered by entrusting themselves to holy-sound power, with the reverence, respect and admiration for the tradition of memorable figures, reveal musical expression of singing from the position of the devotees in the way that is taken personally. We conclude that the experience of shared use of sounds reveals the centrality of the holy-sound power in the sensorial situation of musical expression of singing that presents itself structured on the questioning dynamism of the religious sense, so that the holy-sound power is experienced as response to questions of meaning from the devotees. The experience of shared use of sound shows that its empirical structure of repetition and reiteration consists of a deep movement in the relationship of the devotees with the holy-sound power. The pragmatic sense of the devotees in the shared use of sounds in momentum led to question of the dynamism of the religious sense in that same use of sound, marked by fundamental questions of meaning.Desenvolvemos pesquisa de campo junto aos devotos de Krishna em Belo Horizonte/MG com o objetivo geral de investigar o dinamismo sensorial da expressão musical compartilhada do canto como possibilidade de realização de uma experiência religiosa do sagrado. Objetivos específicos: a) captar a maneira como os sujeitos apreendem e elaboram sua interação com a proposta de participação no canto compartilhado; b) apreender a dinâmica das relações entre experiência sensorial e experiência religiosa do sagrado; c) compreender como o gesto de retomar o canto faz parte da elaboração da experiência religiosa do sagrado dos devotos de Krishna. De modo a apreender o dinamismo característico da experiência dos devotos junto ao canto adotamos a fenomenologia (Husserl) como proposta teorico-metodologica. Utilizamos os conceitos de elétrica, noetica, transcendência (V. Frankl), mito (Eliade) e experiência religiosa do sagrado (Eliade, van der Leeuw e Giussani) para compreender os ambitos de significância que emergiram entre sujeitos, musica e contexto cultural religioso. Coletamos material através de entrevistas semi-estruturadas para fazer descrição e analise dos significados que os sujeitos reconhecem na vivencia de expressão musical do canto verificando a possibilidade de realização de uma experiência religiosa do sagrado. Selecionamos três entrevistas para analise fenomenológica, seguindo o critério de escolha intencional. Na analise acerca do modo como os sujeitos elaboram sua vivencia junto ao canto emerge quatro eixos essenciais da estrutura dessa experiência: 1) o dinamismo sensorial do canto como encontro com a potencia sagrada; 2) a vivencia do canto enquanto horizonte de transcendência; 3) a vivencia do canto enquanto relacionamento com figuras memoráveis da tradição religiosa; 4) a expressão musical compartilhada do canto enquanto experiência religiosa do sagrado. A experiência dos devotos junto ao canto emerge caracterizada por um dinamismo sensorial em que a realização de uma experiência religiosa do sagrado e o tema fundamental. A potencia sonoro-sagrada aparece como correlato do uso compartilhado dos sons, pertencendo a expressão musical do canto de maneira integral. O canto e vivido como obtenção de um horizonte de compreensão mais amplo para as questões que os devotos se colocam existencialmente na cotidianidade, assim como pela celebração de figuras memoráveis da tradição religiosa que merecem ser lembradas porque realizaram plenamente sua existência junto ao canto. A confiança dos devotos e a segurança existencial conquistada pela entrega confiante de si a potencia sonoro-sagrada, junto da reverencia, respeito e admiração pelas figuras memoráveis da tradição, revelam a expressão musical do canto a partir da tomada de posição dos devotos. Concluímos que a vivencia do uso compartilhado dos sons evidencia a centralidade da potencia sonoro-sagrada na situação sensorial de expressão musical do canto que se mostra estruturada sobre o dinamismo interrogante do senso religioso, de tal modo que a potencia sonoro-sagrada e vivida como resposta às problematiza coes de sentido dos devotos. A vivência do uso compartilhado dos sons evidencia que sua estrutura empírica de repetição e reiteração consiste num aprofundamento do relacionamento dos devotos com a potência sonoro-sagrada. O senso pragmático dos devotos no uso compartilhado dos sons nos conduziu ao dinamismo interrogante do senso religioso nesse mesmo uso dos sons, marcado fundamentalmente por questões de sentido.
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Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.
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This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.History of Art and Architecture
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Manibog, Lianna Jean. "New Perspectives on Paul and Marx: William Blake's <">The Chimney Sweeper<"> in <<>i>Songs of Innocence and Experience<<>/i>". BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7337.
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New Perspectives on Paul and Marx: William Blake<'>s <&hyphen>œThe Chimney Sweeper<&hyphen> in Songs of Innocence and ExperienceLianna Jean Rose ManibogDepartment of English, BYUMaster of Arts This article explores the function of religion in socio-political spheres. Karl Marx is famously against religion in all its various capacities, arguing that it is a tool used by power structures to control the masses. William Blake, the British poet, is also seen as critical of religion, and because of this his works are often read through a Marxist lens. And yet depictions of Blake as a staunchly anti-religious man don<'>t seem to fit with what we know of him and his works. This article reexamines key texts that deal with the question of how faith and society intersect, particularly reading the works of the Apostle Paul through a Jewish understanding. In doing so, we gain a new understanding of religion as a balancing weight that combats the dangers of the oppressive governments that Marx staunchly opposed.
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Ruele, Moji. ""How can we sing the Lord's song in a strange land?" : constructing a contextual African theology of land and liberation with and for Basarwa/San in post-independence Botswana". Thesis, University of Wales Trinity Saint David, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683244.
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Jilek, Dwight. "Sven-David Sandström's Matthäuspassion: Examining J.S. Bach's Influence and Sandström's Compositional Language, Use of Symbolism, and Religious and Spiritual Motivations". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862768/.
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Beginning with his High Mass written in 1994, popular Swedish composer Sven-David Sandström modeled multiple compositions after famous canonical works using the same texts and/or instrumentation. Sandström wants to be compared to the greatest, specifically in how a twenty-first century composer responds to a text set , in the case of J.S. Bach's , over 250 years ago. His setting of Matthäuspassion (MP), which uses the same libretto as J.S. Bach, is his most extensive non-operatic work, one he considers his most significant, and likely his last work based on a preexisting model. This study 1) examines the influence of J.S. Bach's MP on Sandström's setting in the use of characters and chorales, 2) illustrates Sandström's compositional language in MP based on recent studies on his choral music, 3) describes his use of musical symbolism, and 4) discusses his religious and spiritual motivations behind the work, as well as his preferred uses in performance.
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Luz, Érica de Campos Visentini da. "A produção musical evangélica no Brasil". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-04062008-152940/.
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O objetivo da presente tese é oferecer um levantamento documental acerca da produção musical evangélica no Brasil. Em termos teológicos e institucionais, o protestantismo procurou evidenciar mais os elementos que uniam as diferentes denominações do que os que as diferenciavam, e essa característica transparece na produção musical, uma vez que há livre trânsito de cantores e compositores entre igrejas e empresas do ramo e o repertório musical é basicamente um só, oriundo da tradição norte-americana da chamada era missionária, ocorrida em meados do século XIX e uma posterior produção nacional, mantendo os mesmos padrões musicais e literários. Considerando os anos de 1930 a 1990, época anterior à produção e distribuição digital da música, em que predominavam os LPs, os famosos bolachões, a pesquisa foi realizada em gravadoras e rádios das cidades de São Paulo e Rio de Janeiro através de um mapeamento exaustivo de todo material disponível. Foi criado um banco de dados no Access - Microsoft, onde foram cadastrados 965 álbuns, 9370 canções e 6269 artistas, além de várias outras informações. Foi gerado um relatório que procurou contemplar a maior quantidade possível de dados, porém, para efetivo conhecimento do trabalho, recomenda-se a consulta direta ao banco de dados, disponível em CD-rom.The objective of the present thesis is to offer a documental survey about the evangelical musical production in Brazil. In theological and institutional terms, Protestantism tried to make more evident the element that united the different denominations than the elements that made them different, and this caracteristic was made clear in the musical production, once there is free transit of singers and composers in churches and companies and the musical repertoire is basically only one, which comes from the North- American tradition of the so called missionary era in the middle of the XIX century and a later national production, maintaining the same literary and musical standarts. Considering the period between 1930 and 1990, a period before the musical production and digital distribution, in which the LPs predominated, the research was carried out in recorders and radio station in São Paulo and Rio de Janeiro cities through an intensive registration of all the available material. A database was created in the Access software - Microsoft, where 965 albums, 9370 songs and 6269 artists were registered, in addition to many other pieces of information. A report was produced to provide the largest possible quantity of dada, nerthless, in order to reach effective knowledge and understanding of the research, a consult of the database, available in CD-rom, is recommended.
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Ekström, Alva. "Inget är skapat utanför : Teologi och kontext i Anders Frostensons författarskap". Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1339.
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To the general public, Anders Frostenson clergyman and poet, is primarily known for his many contributions to the Swedish hymn treasure. He was born on 23 April 1906. The present thesis examines and defines the theology embodied in his works, especially in his hymns, showing that Frostenson occupies a central and unique position in the Swedish 20th Century Christian tradition.
The study charts Frostenson´s life and work from poetry to hymn, and draws attention to the growth of a long-standing, significant authorship, that has served to make the Christian gospel accessible, relevant, and down-to-earth.
Much has happened in the last century. The 1900s have been characterised by enormous changes, social, cultural and public, involving both individuals and nations. Matters of opinion and aims, union and dissension, have in a special way been put at the centre of things. This is also reflected in Anders Frostenson´s work.
Frostenson´s autorship can be understood in terms of four concepts, which reflect the epiphanic mode of his works: the Word, the Testament, the Confirmation, and the Inheritance. These concepts can to a great extent be chronologically ordered, and taken together they function as the cornerstones on which Frostenson´s theology is built. The relationship between the four cornerstones and different periods is defined against the background of Frostenson´s existential situation and the socio-cultural context.
The theological analysis shows how central Christian themes and the Christian philosophy of life are shaped in the meeting of tradition and actuality. Frostenson conveys the idea that God reveals himself in the here and now. Human suffering is God´s injunction to the world to act with love in daily service. The sense of belonging and continuity makes life meaningful and excludes no one from the earthly and heavenly “endless home”. In true Lutheran spirit Frostenson places his creative will and words in the service of God.
The 1986 Hymnal is the cultural treasure through which Frostenson chiefly brought Word and Tradition into the everyday world. The cultural concept has been expanded with his help, through, among other things, spiritual song, where trust and tradition are obviously linked together with contemporary Christian culture.
In 1935, Anders Frostenson wrote ´Let my life also be a working day, in Your vast Kingdom!` On 4 February 2006, that long day´s work finally came to a close.
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Oliveira, Jefferson Rodrigues de. "A manifestação da fé em Cachoeira Paulista: o espaço sagrado da comunidade Canção Nova 1978-2011". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4124.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA geografia da religião no Brasil pós 1990, vem apresentando temas que auxiliam os geógrafos no entendimento do espaço. Para o geógrafo da religião, os estudos têm por análise a dimensão espacial da fé, no tempo e no espaço, trata-se da análise de duas categorias: o sagrado e o profano. Esta pesquisa visa como objetivo, o estudo da comunidade católica, a Canção Nova, inserida em um movimento renovador na Igreja Católica Apostólica Romana denominada Renovação Carismática Católica (RCC) em seu espaço e no tempo de fé. Torna-se necessário desenvolver a importância do sagrado no Vale do Paraíba Paulista em seus sucessivos (re) arranjos espaciais na hierópolis de Cachoeira Paulista. A interpretação dessas organizações espaciais ocorreu ao analisar os possíveis agentes modeladores no espaço: peregrinos, turistas, visitantes, comerciantes e moradores. O Espaço Sagrado e seus respectivos espaços vinculados representaram a contribuição geográfica dessa dissertação e facilitou a compreensão do homem com o divino e sua relação na dimensão econômica, a dimensão política e a dimensão do lugar.
The geography of religion in Brazil after 1990 has been presenting themes that assist geographers in the understanding of space. The geographer of religion studies by analyzing the spatial dimension of faith, in time and space. It is the analysis of two categories: the sacred and the profane. This researchs objective is the study of the catholic community, New Song, set in a renewal movement in the Roman Catholic Church called the Catholic Charismatic Renewal (CCR) in its space and time of faith. It is necessary to develop the importance of the sacred in the Vale do Paraiba Paulista at its subsequent (re) spatial arrangements in Hierópolis of Cachoeira Paulista. The interpretation of these organizations is to analyze the spatial potential modeling agents in space: pilgrims, tourists, visitors, merchants and residents. The Sacred Space and their respective spaces linked, geographically, represented the contribution of this dissertation and facilitated the understanding of man with the divine and its relation in the economic dimension, the political dimension and the dimension of the place.
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Liu, Hong. "Une vision de la Chine lettrée et de sa bureaucratie sous les Song du Nord (960-1127) : Étude du Bishu luhua (Propos notés dans ma retraite contre la canicule) de Ye Mengde (1077-1148)". Paris, INALCO, 2007. http://www.theses.fr/2007INAL0009.
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La dynastie des Song du Nord (960-1127) présente des changements radicaux par rapport aux époques antérieures. De profondes modifications se produisirent dans les domaines politique, économique, technique, culturel et social. Ce grand empire s'intéressait avant tout à la valeur des hommes. Il s'appuya sur l'administration civile (wenzhi 文 治) en réformant les examens de recrutement de fonctionnaires lettrés afin de permettre une croissance considérable du nombre et de la qualité des fonctionnaires lettrés et leur ascension dans la société. La mise en valeur de ces intellectuels favorisa une nouvelle vision du monde, qui engendra une transformation profonde de la civilisation chinoise à partir du XIe siècle. La Chine des Song inaugure une époque de renaissance qui se manifesta dans de nombreux domaines, dont celui des connaissances avec les premières collections de textes et de grandes encyclopédies. En particulier, le nombre de biji se multiplia. Les Propos notés dans ma retraite contre la canicule (Bishu luhua, désormais BSLH) de Ye Mengde (1077-1148), fait partie de la catégorie des biji. Le BSLH porte témoignage de l'évolution sociale, des réformes politiques, qui produisirent par ricochet des progrès surtout dans le monde des fonctionnaires lettrés. Ye Mengde est un lettré assez connu sous les Song. Issu d'une famille de hauts fonctionnaires en poste sur plusieurs générations, Ye mena sa carrière de fonctionnaire (1097-1144) pendant 47 ans, dont 29 ans sous les Song du Nord. It fut donc un témoin de la fin des réformes du XIe siècle et de la défaite des Song du Nord, et vécut la transition du pouvoir du Nord vers le Sud. Il fut fonctionnaire de province, académicien et ministre. Il exerça ses talents d'administrateur aussi bien dans la finance, la stratégie militaire que dans les secours aux victimes de grandes catastrophes. Le BSLH aborde des thèmes variés: anecdotes sur les fonctionnaires lettrés des Song, notations sur le thème "médecine et santé", en passant par les trois doctrines (confucianisme, bouddhisme et taoïsme), la vie et les loisirs des lettrés, les institutions et les usages sous les Song ou encore des propos littéraires. Ye Mengde cite fréquemment des noms de personnes (645) et des titres d'ouvrages (177). À travers notre étude, nous avons recensés dans le BSLH les thèmes fondamentaux suivants: les réformes sur les examens de recrutement des fonctionnaires et leurs conséquences vues par Ye Mengde; l'expansion religieuse (confucianisme, taoïsme et bouddhisme) et ses conséquences dans le monde des lettrés; le développement de la médecine et la participation des lettrés à celui-ci et quelques effets de la diffusion des remèdes; et la manière pour les hauts fonctionnaires de maintenir leur statut social et leur style de vie. Sur le premier thème, Ye Mengde porte en haute estime la croissance du recrutement dans la fonction publique et les réformes des examens. Le BSLH affirme que le changement du mode d'examen fondé sur l'esprit critique transforma profondément la vision des lettrés de l'époque. Cette ouverture d'esprit permit d'aboutir aux mouvements de réformes politiques du XIe siècle. Par ailleurs, Ye critique la baisse de niveau des connaissances historiques, conséquence de la réforme des examens de Wang Anshi, laquelle mit trop l'accent sur l'interprétation des Classiques. Il dénonce la négligence de cet enseignement comme une conséquence négative de la réforme. Cependant, quand il manifeste sa désapprobation sur l'essai satirique de Su Xun contre Wang (Bianjian lun), la notule en question devient l'un des arguments des compilateurs du SKQS pour juger de la position politique de Ye. Sur le deuxième thème, le BSLH suggère un lien entre l'expansion du Chan et le mouvement des réformes. Les réformes des examens favorisèrent le développement du bouddhisme, qui, sous le patronage de certains empereurs, cherchait à gagner le milieu intellectuel en intégrant la doctrine confucéenne dans la pensée bouddhique. Ye témoigne de l'intérêt pour l'expansion des religions et surtout pour l'effet que cette expansion produit dans le milieu des lettrés. Notre étude du contexte du renouveau du confucianisme a mis en lumière la croissance et l'imprégnation du bouddhisme Chan dans la société chinoise au cours du deuxième quart du XIe siècle. De nombreux fonctionnaires lettrés devinrent bouddhistes laïques cherchant à vivre dans la nature, avec modestie et sérénité. Le Chan révélait au monde intellectuel une nouvelle dimension du bouddhisme en rapprochant sa doctrine de celle du confucianisme, ce qui permit au bouddhisme de gagner le coeur des lettrés, classe dominante et dirigeante du pays, et de mieux s'implanter en Chine. Ye révéla indirectement de nombreuses anecdotes sur l'évolution du renouveau confucéen, des réactions hostiles au bouddhisme jusqu'aux positions de syncrétisme religieux en passant par l'intérêt des lettrés éminents pour la doctrine bouddhique. Il apporta ses réflexions personnelles qui privilégiaient la synthèse des trois doctrines. Le BSLH apporte son témoignage sur la ferveur passagère des fonctionnaires lettrés pour le taoïsme, qui se développait rapidement sous le patronage impérial au début du XIIe siècle. Ye distingua les taoïstes lettrés des magiciens en manifestant son mépris envers ces derniers. Il dénonce en même temps la participation des fonctionnaires lettrés aux pratiques occultes ou divinatoires. La médecine et la santé constituent le troisième thème. Ye témoigne de la préoccupation des fonctionnaires lettrés pour la santé de leurs administrés et révèle l'accès difficile du peuple à la médecine ainsi que la faiblesse de la gestion de la médecine et de la santé publique par l'État. Ye montre l'intervention spontanée des fonctionnaires lettrés dans les secours en cas d'épidémie ou de catastrophe naturelle, et dans la diffusion de remèdes. Ce phénomène était étroitement lié à la croissance de la doctrine médicale sous le patronage impérial afin de lutter contre les épidémies. Le BSLH témoigne que les livres (imprimés ou manuscrits) diffusaient les recettes traditionnelles et en faisaient la publicité. Ye affirme la tendance des gens du peuple à l'automédication qui conduisit, en cas d'usage aveugle d'une drogue à des accidents mortels. Il fut le premier et l'un des rares lettrés à révéler un de ces accidents dû à une composition médicamenteuse proposée par Su Shi. Ye considérait le texte rédigé par celui-ci comme coupable. Ye Mengde livre également sa vision de la vie matérielle de la société aristocrate de la Chine du XIe siècle, des relations limitées à son propre milieu et des loisirs des lettrés. La description de l'environnement naturel d'une maison de campagne ou la discussion sur l'art du jardinage illustrent l'amour des lettrés pour la nature. Le retrait dans la nature, l'esprit d'hédonisme, un goût raffiné et prononcé pour les divertissements intellectuels caractérisaient la vie des hommes de la haute société. Il montre que les distractions lettrés associent essentiellement la calligraphie et la collection de livres, de peintures et l'objets d'Antiquité. Ses récits expriment leur attachement à la civilisation de l'antiquité par le biais de leur collection d'objets anciens et leur intérêt pour les connaissances historiques véhiculées par ces objets, ce qui constitue un des signes de l'excellence du savoir des grands lettrés. Cette vision personnelle de leurs activités privées représente les choix de l'auteur, lesquels illustrent son engagement politique et social, spontané et conscient, dans la transmission du savoir-vivre et des valeurs morales de la société aristocrate.
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Stevens, Theresa A. "America's Patriotic Hymnal - Sweet Land of Liberty, Fruited Plains, and The Coming of the Lord". Ohio Dominican University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=odu1406576170.
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Wolff, Luiza Spinelli Pinto. "Seres materiais entre sons e afetos : uma etnografia arqueológica dos objetos em terreiras de Pelotas/RS". Universidade Federal de Pelotas, 2016. http://repositorio.ufpel.edu.br:8080/handle/prefix/3030.
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O objetivo geral desta pesquisa é produzir uma etnografia arqueológica dos objetos rituais dentro de três terreiras em Pelotas/RS, tendo como questão central as relações entre o mundo material e os humanos na produção e na reprodução das práticas afro-religiosas. O objetivo específico é produzir uma etnografia dos tambores preparados e dos objetos que participam de rituais de iniciação ou obrigações para problematizar sobre as relações humanos e não humanos dentro dos coletivos pesquisados, promovendo uma arqueologia do presente. Busco produzir uma arqueologia que dissolva os limites temporais, posto que são construções da ontologia moderna que desconsidera as interpenetrações entre passado e presente.
Pelotas/RS, with the central question being the relationship between the material world and the human production and reproduction of african - religious practices. The specific objective is to produce an ethnography of prepared drums and objects participating in initiation rituals or obligations to question on human and non-human relationships within the surveyed collective, promoting an archeology of the present. I seek to produce an archeology that dissolves the time limits, since they are buildings of modern ontology that ignores the interrelationships between past and present.
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Raguin, Marjolaine. "Propagande politique et religieuse dans la "Chanson de la Croisade albigeoise", texte de l'Anonyme". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30064/document.
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Ce travail de thèse de doctorat consiste en une analyse minutieuse du discours de propagande politique et religieuse dans la partie anonyme de la Chanson de la Croisade albigeoise, construite comme une suite qui détourne, fond et forme, le texte du premier auteur Guilhem de Tudela. Située dans le champ disciplinaire de la littérature médiévale, cette étude prend en compte les apports interdisciplinaires de la théologie chrétienne, l’histoire politique, militaire et religieuse, pour l’essentiel. Nous avons pu souligner les relations d’intertextualité entre les sirventés de la période du conflit albigeois et certains points importants du propos de l’Anonyme. Cette étude a permis de réorienter les recherches en vue de l’identification de l’auteur en démontrant la mention explicite d’un mécénat. L’Anonyme remplace l’argumentation de Guilhem de Tudela sur l’hérésie en pays d’oc qui justifiait la croisade, par la notion d’héritage lignager qui, elle, implique que les Méridionaux luttent contre leur dépossession sous la conduite des comte raimondins de Toulouse. Nous avons montré que le discours politique se fonde dans le religieux, car l’Anonyme a bien compris que seule la démonstration de la catholicité des Raimondins pouvait assurer le succès de l’entreprise de reconquête : il élabore l’idéologie d’une contre-croisade. L’auteur insiste sur une triangulation d’un lien à la terre qui vaut lien du sang entre les Méridionaux, leur seigneur raimondin et les territoires placés sous la garde d’un Dieu protecteur. Nous montrons que l’argumentation est fondée sur deux postulats : la trahison du suzerain français et ses barons, associés à un clergé menteur de faux prédicateursThis doctoral dissertation is a detailed analysis of the religious and political propaganda in the anonymously authored section of the Song of the Albigensian Crusade, a section generally thought of as reshaping the form and content of the text of its original author, Guilhem de Tudela. Anchored in the field of Occitan medieval literature, this study takes into account interdisciplinary contributions of Christian theology as well as religious, political and military history. This work highlights intertextual connections between sirventés from the period of the Albigensian war and certain aspects of the work of the anonymous author. This study permits a reorientation of scholarship on the identification of the author by bringing attention to the explicit mention of a sponsor. The anonymous author replaces Guilhem de Tudela’s arguments of heresy in the Occitan territories, which justified the crusade, with the notion of inherited lineage to imply that the Southerners were fighting against their dispossession under the command of the Raimondin count of Toulouse. The political discourse in the work is based on religious rhetoric, as the anonymous author understood that only a demonstration of the catholicity of Raimondins could ensure the success of the reconquest; as such he developed an ideology of a counter-crusade. The author insists on a threefold connection to the land consisting of a blood relationship between the Southerners, their lord Raimondin, and territories under the care of a protective God. The anonymous author’s argument is based on two postulates: the betrayal of the French suzerain and the association of its barons with a lying clergy of false preachers
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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.
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Cowell, Emma Mildred. "Dialogues with the Past: Musical Settings of John Donne's Poetry". Youngstown State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1339692006.
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Merck, Rhea Ann M. "Transgenerational Patterns of Adult Attachment Relationships". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278195/.
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The purpose of the study is to examine adult attachment relationships among a group of college students and their parents. Two attachment hypotheses were tested: The mental model hypothesis for attachments with parents and romantic partners and the compensation hypothesis for attachment with God. Hypothesis 1 attempted to determine if there was agreement between parents and children about a self-reported attachment style. Support was found as students and parents had a significantly higher level of agreement when reporting a secure style of attachment between them, with sons being significantly highest. Hypothesis 2 examined agreement on attachment style between generations: Children's report of attachments to parents and parents' report of attachment to their parents. Results indicated that parents' reporting a secure style of attachment to their parents was significantly higher with their same gender parents. Hypothesis 3 produced two 15 x 15 correlation matrices including measures of romantic attachment and religiousness for children and parents. In general, further validity for measures used is provided in numerous expected correlations. Anxious and avoidant romantic attachment styles and desperate love were significantly positively related and were often negatively related to a secure style of attachment. Results indicate significant relationships between fathers' and children's (particularly daughters') romantic styles. The only significant correlation for mothers and sons was on religiousness; however, mothers and daughters, fathers and daughters, as well as mothers and fathers were all significantly positively correlated on religiousness. Hypothesis 4 results indicated that when there was disagreement with fathers on attachment style, children scored higher on a measure of religiousness, supporting the compensation hypothesis. Hypothesis 5 found that children with secure attachments to both parents and mothers with high importance of religion also scored significantly higher on importance of religion, supporting the mental model hypothesis. Overall, this study suggests that the mental model and compensation hypotheses do not compete, but rather, coexist in different contexts, perhaps with mediating events that discriminate between the two processes.