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1
Galadari, Abdulla. "Spiritual ritual : esoteric exegesis of Hajj rituals." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211314.
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Religion has a spiritual message embedded, as its purpose is to establish a relationship between the seen and the unseen worlds. However, to allow people to understand its spiritual message, it uses symbolism in such a way that the physical person would try to comprehend the inner meanings of the spiritual message that lies therein. This study is not about ‘how' the Hajj rituals are to be performed, because the answer to that question is trivial and have been thoroughly studied throughout centuries. This study is an attempt to answer the question ‘why.' Why is the Hajj to be performed in a certain way? This study delves into what must be a deeper meaning. Its methodology is through the etymological usage of the terminologies textually and intertextually between Scriptures, including the Qur'an and the Bible. It attempts to explore the polysemous nature of the root words and to resurrect the inner meanings that can be ascertained from the root. This study introduces a new methodology for Scriptural hermeneutics, while comparing the methods used by Biblical and Qur'anic scholars. Once the methodology is established, it is applied to increase understanding of the inner meanings of the Hajj rituals portraying the journey of a dead soul from death, sacrifice of the ego, resurrection into life, and spreading the seeds and Water of Life to other dead souls trying to fight their egos and, likewise, resurrect them into life.
2
Robinson, Rebecca. "Ritual and sincerity in early Chinese mourning rituals." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106338.
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This thesis examines the emphasis Eastern Han (24 – 220 CE) men placed on mourning their mothers and peers within the context of ritual theory and practice. The ritual texts, used as the basis for an imperial ritual reform in 31 BCE, provided instructions on how to properly perform the mourning rites, as well as whom to mourn. Full mourning was to be worn for fathers and superiors, yet in the Eastern Han, many did not heed these prescriptions, choosing in addition to mourn their mothers, equals, or inferiors, thereby subverting the traditional patriarchal model. By examining theories of ritual current in the Han, the mourning prescriptions themselves, and introducing the concept of sincerity in ritual, I argue that the changes in mourning patterns during the Eastern Han are indicative of the beginnings of a fundamental change in beliefs towards ritual and the ancestors.<br>Cette thèse examine l'importance que les hommes des Han orientaux (24 – 220 EC) accordaient au deuil envers leurs mères et leurs semblables dans le cadre de la théorie et de la pratique du rituel. Les textes rituels, sur lesquels fut établie une réforme impériale du rituel en 31 AEC, fournissaient les instructions nécessaires pour déterminer comment performer correctement les rituels de deuil, de même que ceux et celles à qui ces rituels pouvaient être adressés. Le deuil complet devait être observé pour les pères et les supérieurs, mais chez les Han orientaux, plusieurs n'observèrent pas ces directives et choisirent plutôt de porter le deuil de leurs mères, de leurs égaux, voire de leurs subordonnés, renversant ainsi le modèle patriarcal traditionnel. Grâce à une analyse des théories du rituel pratiqué chez les Han, des directives relatives au deuil elles-mêmes, et en introduisant le concept de la sincérité dans le rituel, j'avance que les changements dans les structures du deuil au cours de la période des Han orientaux révèlent les premier changement fondamentaux dans les croyances envers le rituel et les ancêtres.
3
Shannon, Avram Richard. "Other Peoples' Rituals: Tannaitic Portrayals of Graeco-Roman Ritual." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429830562.
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Baer, Kevin A. "Ritual Process." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1606.
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My art is a means for investigating the passage of time, the decay of physical things, and the truth of mortality. I explore these concepts through process-oriented sculptures that emphasize ritual and material. The process is communicated with the creation of relics, often existing as drawings or the remains of degenerated sculptures. These relics bear witness to the process. I focus on themes of temporal change and death because they remain central to our metaphysical and physical existence. I see a diminished reverence for the power of death in our culture, and through my work I aim to pay homage to death while offering viewers an experience of “being present,” a deeper awareness of our existence in time. The mindfulness I speak of is an awareness of life’s temporal nature. My intention is to evoke an awareness of mortality giving rise to feelings of gratitude and humility.
5
SEEK, AMY. "RITUAL PLAY: EXPLORING THE INTERIORS OF RITUAL THROUGH PLAY." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1053371989.
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Seek, Amy. "Ritual play exploring the interiors of ritual through play /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1053371989.
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Reynolds, Paige Martin. "Reforming Ritual: Protestantism, Women, and Ritual on the Renaissance Stage." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5439/.
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My dissertation focuses on representations of women and ritual on the Renaissance stage, situating such examples within the context of the Protestant Reformation. The renegotiation of the value, place, and power of ritual is a central characteristic of the Protestant Reformation in early modern England. The effort to eliminate or redirect ritual was a crucial point of interest for reformers, for most of whom the corruption of religion seemed bound to its ostentatious and idolatrous outer trappings. Despite the opinions of theologians, however, receptivity toward the structure, routine, and familiarity of traditional Catholicism did not disappear with the advent of Protestantism. Reformers worked to modify those rituals that were especially difficult to eradicate, maintaining some sense of meaning without portraying confidence in ceremony itself. I am interested in how early Protestantism dealt with the presence of elements (in worship, daily practice, literary or dramatic representation) that it derogatorily dubbed popish, and how women had a particular place of importance in this dialogue. Through the drama of Shakespeare, Webster, and Middleton, along with contemporary religious and popular sources, I explore how theatrical representations of ritual involving women create specific sites of cultural and theological negotiation. These representations both reflect and resist emerging attitudes toward women and ritual fashioned by Reformation thought, granting women a particular authority in the spiritual realm.
8
Ellison, Samuel C. "Forming Ritual Reality." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282576025.
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Snider, Gordon L. "Cleansing in Psalm 51 cultic or ethical? /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Chan, Margaret. "Ritual is theatre and theatre is ritual : Tang-Ki spirit medium worship." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271422.
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Maloney, Carmel. "Ritual and pedagogy : Teachers' use of ritual in pre-primary classroom settings." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/883.
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Pre-primary teachers' daily organisation and routines are established through repetitive patterns of actions which become highly ritualised. This study examines how pre-primary teachers use ritual and how ritual structures teaching in pre-primary classroom settings and in doing so serves a pedagogical purpose for teachers. Describing forms and functions of ritual provides a way of examining and interpreting what teachers know and do and how they go about their work. The interpretive paradigm of qualitative methodology has been adopted for the study. Participant observation and structured interviews are used as the primary methods of conducting field work and collecting data. The research is designed in the form of three case studies. Each case focuses on the teacher within the context of an interactive pre-primary classroom. Two classrooms are situated within the state education system, whilst the third setting is a Montessori pre-school. Data are reported for each of the cases. Six key features of ritual as it is enacted in pre-primary settings emerged from the data. Findings indicate that: pre-primary classrooms are highly ritualised; rituals are taken for granted; some rituals are sacrosanct; rituals can act as a framework; rituals are an expression of values and beliefs; and rituals are didactic. Classroom ritual has the potential to act as a tool through which teachers structure a particular form of praxis which goes beyond surface meaning and which carries a rational, pedagogical purpose for teachers. Ritual in each of the three pre-primary settings went beyond the realm of conveying messages of conformity, consensus and cohesiveness and was a means of putting in place a particular instructional form and leaching procedure for each of the three teachers
12
Hahn, Jeremy. "Ritual| A passage through." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523252.
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<p> The exploration of ritual during rehearsals has been the foundation for this thesis and the basis for the creation of three choreographed dances entitled: <i> Arrival, Nautilus</i>, and <i>Being, Witnessed</i> performed at the Martha B. Knoebel Dance Theater on the campus of California State University, Long Beach. Each piece explored different themes yet shared a similar process, which developed the use of ritual and its relationship to the shaping of a dancer's expressivity, authenticity and agency, and the development of choreography. Each dance served as an applied practice that refined the presentation of choreographic intent and explored a variety of different collaborative relationships. This project report chronicles the analysis of these three dances, which explored the application of theoretical information and experimental practice.</p>
13
Razmjou, Shahrokh. "Ritual Practices at Persepolis." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499208.
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Pease, García Yrigoyen Franklin. "Ritual y conquista incaica." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114449.
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Egbert, Jessica Amber. "Pattern, Ritual and Thresholds." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5683.
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The work in this show reflects my interest in the role of the ceramic vessel historically as well as its place in the dialogue of contemporary art. Traditionally thought of as an object of craft and function, the vessel has found footing also as a conceptual container of ideas and artistic expression. It teeters on the threshold between craft and art, between art and life. Because of its strong association with the domestic, I find the vessel to be a fitting form on which to paint ornamental patterns and imagery associated with my own home life and to put into question its role as a strictly functional object.
16
Kyriakidis, Evangelos. "Ritual and its establishment : the case of some open air rituals in Minoan Crete." Thesis, University of Cambridge, 2002. http://kar.kent.ac.uk/8474/.
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This work aspires to contribute to the study of ritual in as constructive and methodologically sound way as possible. The contentious issue of ritual interpretation is deliberately avoided. Instead, methodologies for positively recognising ritual and assessing its establishment are developed. The study of the establishment of ritual is based on the premise that it can be a valuable source of information for the dynamics and establishment of the given society. The entire study takes the special perspective of prehistoric and more specifically of Minoan archaeology, concentrating on the case of some open air rituals. Firstly, ritual value is attributed to some Minoan open air sites and to the relevant iconography. Subsequently, following the methodology developed in the first chapters, it is shown that all studied rituals were highly established. Moreover, some of these ritual sites could be seen as entities which also managed, produced, and invested wealth, demonstrating the great establishment of the respective rituals, and further contributing to it through their own establishment. The high level of establishment of the Minoan ritual sphere, as seen through the open air rituals, points to the great importance of rituals to the dynamics of Minoan society. It also implies a high level of establishment of other spheres such as the political or that of social relations. Finally it contributes to the overall establishment of Minoan society, as a factor which unified the politically fragmented island. Our discussion of the Minoan material demonstrated that the methodologies developed for the attribution of ritual value to an activity and for the assessment of its establishment can be beneficial for prehistoric archaeology and for most social sciences. The Minoan material profited from these ideas but also showed that their implementation is feasible.
17
Persson, Lovis. "Buddha på burk : En religionssociologisk studie av Rituals reklamfilm "The Ritual of Laughing Buddha"." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444117.
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This study has three aims. The first one is to review which Buddhist symbols are used in Rituals commercial “The Ritual of Laughing Buddha”, where Rituals is a cosmetic company, with a main focus on skin care. The second aim with my study is to examine how semiotic resources are used to depict Buddhist symbols based on multimodal critical discourse analysis, and the third aim is to examine how the concept of banal religion in the theory of mediatization can contribute to the understanding of the representation of Buddhist symbols. This paper will use a multimodal critical discourse analysis to examine the commercial and then analyze the material in relation to the theory of mediatization as described by Hjarvard. The semiotic resources made the Buddhist symbols appear explicitly and since several Buddhist symbols were found in the material, the concept of banal religion could be used as a theoretical focus and contribute to an understandning of how Buddhist symbols are used in the commercial. The results show that the commercial is not intended to convey a religious message, but was mainly used to connote emotions such as happiness, warmth and extravagance. Representation of religion is thus found in the commercial, but the Buddhist symbols are used in a different way, and are in a new context than from institutionalized religion.
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Steynberg, Kristen Fay. "Private rituals, public selves : reclaiming urban public space through celebrating the ritual of washing." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/45301.
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The thesis explores the existing urban landscape of Jeppestown, specifically with
regard to the consequences of the hijacking of inner-city buildings for residential
purposes. The aim is to reclaim public space from the post-industrial landscape and
reconfigure the existing fabric, by means of a fragile intervention so as to connect the
social realm with the built fabric. The project accepts the hijacked typology of urban
living as part of the context. It is viewed as an existing and ongoing condition, which
far exceeds the current capacity of state-funded housing. From this stance, the project
aims to provide public services that celebrate the rituals of washing in a meaningful
and accessible way. The project endeavours to utilise theories related to African space
to address local contemporary urban issues contextually. It uses the rituals of the
everyday as a muse for creating eventful public space, an amenity which is becoming
increasingly important with the growing densities of South Africa’s cities.<br>Dissertation (MArch(Prof))--University of Pretoria, 2014.<br>Architecture<br>MArch(Prof)<br>Unrestricted
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Cameron, Roger Neil, and n/a. "New Alignments in Ritual, Ceremony and Celebration." Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050627.105721.
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Increasingly, cultural workers and artists from many disciplines are finding themselves involved in the creation of public and private rituals, ceremonies and celebrations. Focusing on ritual and celebration in Australian contexts, this thesis posits a new categorisation of the types of event that might be encountered, grouping and examining them according to their action upon participants with the aim of enabling a more practical methodology of design in contemporary societal conditions. Existing categories, which have defined these age-old activities in terms of anthropological observation or social intention, must now be regarded as obsolete because they take no account of rapid and widespread changes in degrees of adherence to traditional belief systems, in social orientation and in Western cultural practices. There is a need to reappraise why individuals and communities might continue to hold rituals and celebrations, and how these can be designed, managed and operated most effectively. The thesis identifies four major categories of ritual: Transformation, Reinforcement, Transcendence and Catharsis. It argues that, by recognising the differences between how each category operates for participants and also certain commonalities across categories, effectiveness of design is facilitated. In developing parameters for each category and giving examples of contemporary praxis, the writer stresses the importance of understanding traditional ceremonies so that elements of a rich repertoire of techniques developed over long periods can be planned into new rituals for contemporary application, despite the dissipation of shared, coherent belief systems in a highly secularised culture. This impels consideration of questions of cultural sensitivity, raises the need for close community involvement in design, and requires exploration of managing the challenges of multiple signification. Contemporary cultural contexts for ritual and celebratory events are marked by plurality, multi-vocalism and multicultural experience. Designers thus need to achieve, out of difference, an event that produces coherence, deep effects for each participant and a sense of shared experience. The thesis demonstrates means to this end through informed praxis, that is, by practitioners ensuring that theory and practice are working together in these complex contexts that involve the well being of individuals and communities. The categories have been identified through investigations into the literature of myth, ritual and celebration, helpful frameworks developed in cognitive science, and extensive research provided by thirty years of practice in the field. As a designer and director of rituals and celebrations, the writer seeks both to confirm the importance of the artist within the process and to demonstrate a new, practical, ethically located and effective approach for the education of intending practitioners. No claim is made that the four categories are definitive or mutually exclusive of one another. It is accepted that in many situations the categories might coalesce, be added to and/or fragment. However, the categorisation provides a fresh vantage point from which to view the potentially powerful effects of ritual experience, an effective tool of construction for the use of artists and cultural activists working in this field, and an informed basis for praxis. In developing this new categorisation the writer argues an ongoing need for rituals and celebrations to clarify and enrich the lives of individuals and the community while stressing the importance of careful and appropriate design of such events.
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Cameron, Roger Neil. "New Alignments in Ritual, Ceremony and Celebration." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366171.
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Increasingly, cultural workers and artists from many disciplines are finding themselves involved in the creation of public and private rituals, ceremonies and celebrations. Focusing on ritual and celebration in Australian contexts, this thesis posits a new categorisation of the types of event that might be encountered, grouping and examining them according to their action upon participants with the aim of enabling a more practical methodology of design in contemporary societal conditions. Existing categories, which have defined these age-old activities in terms of anthropological observation or social intention, must now be regarded as obsolete because they take no account of rapid and widespread changes in degrees of adherence to traditional belief systems, in social orientation and in Western cultural practices. There is a need to reappraise why individuals and communities might continue to hold rituals and celebrations, and how these can be designed, managed and operated most effectively. The thesis identifies four major categories of ritual: Transformation, Reinforcement, Transcendence and Catharsis. It argues that, by recognising the differences between how each category operates for participants and also certain commonalities across categories, effectiveness of design is facilitated. In developing parameters for each category and giving examples of contemporary praxis, the writer stresses the importance of understanding traditional ceremonies so that elements of a rich repertoire of techniques developed over long periods can be planned into new rituals for contemporary application, despite the dissipation of shared, coherent belief systems in a highly secularised culture. This impels consideration of questions of cultural sensitivity, raises the need for close community involvement in design, and requires exploration of managing the challenges of multiple signification. Contemporary cultural contexts for ritual and celebratory events are marked by plurality, multi-vocalism and multicultural experience. Designers thus need to achieve, out of difference, an event that produces coherence, deep effects for each participant and a sense of shared experience. The thesis demonstrates means to this end through informed praxis, that is, by practitioners ensuring that theory and practice are working together in these complex contexts that involve the well being of individuals and communities. The categories have been identified through investigations into the literature of myth, ritual and celebration, helpful frameworks developed in cognitive science, and extensive research provided by thirty years of practice in the field. As a designer and director of rituals and celebrations, the writer seeks both to confirm the importance of the artist within the process and to demonstrate a new, practical, ethically located and effective approach for the education of intending practitioners. No claim is made that the four categories are definitive or mutually exclusive of one another. It is accepted that in many situations the categories might coalesce, be added to and/or fragment. However, the categorisation provides a fresh vantage point from which to view the potentially powerful effects of ritual experience, an effective tool of construction for the use of artists and cultural activists working in this field, and an informed basis for praxis. In developing this new categorisation the writer argues an ongoing need for rituals and celebrations to clarify and enrich the lives of individuals and the community while stressing the importance of careful and appropriate design of such events.<br>Thesis (Masters)<br>Master of Philosophy (MPhil)<br>School of Arts<br>Full Text
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Gouy, Audrey. "La danse étrusque (VIIIe-Ve siècle avant J.-C.) : étude anthropo-iconologique des représentations du corps en mouvement dans l'Italie préromaine." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP044.
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A partir de la seule documentation disponible, à savoir l’iconographie, il a été dressé un corpus de 526 objets, tous supports confondus, à partir de l’Etrurie tyrrhénienne, de l’Etrurie campanienne et de l’Etrurie padane. Cette thèse propose dans un premier temps, en plus de justifier et de délimiter le corpus des scènes de la danse étrusque et de poser les fondements historiographiques, de penser et définir la représentation même de la danse. Quels éléments dans l’image permettent de définir une scène de danse comme telle ? S’agit-il véritablement de danse ? La confusion que l’on note dans les textes grecs et latins entre pratiques dansées, sportives et guerrières se rencontrent aussi dans l’image, ce qui a amené à appréhender la danse au sens large, en termes de performance et d’évènement. Cette première définition permet de délimiter les scènes de danse par rapport aux scènes de cortège, de parade, de duel, et de distinguer les danseurs d’autres personnages récurrents de l’iconographie étrusque comme les « orants ». Dans un second temps, l’étude typologique et l’analyse sérielle des scènes de danse permet de dresser un répertoire étrusque de 2143 positions corporelles, et ainsi de préciser la définition de l’image de la danse. Cet axe permet d’identifier les différentes positions corporelles, ainsi que les gestes, les accessoires des acteurs, leurs caractéristiques physiques, et les objets et les lieux de la danse. Cette identification systématique est accompagnée de l’étude des interactions corporelles, gestuelles, vestimentaires, ou colorés. Délimiter le répertoire iconographique de la danse étrusque implique aussi d’en définir les modalités d’élaboration et la porosité. Les données sont ainsi replacées dans un contexte géographique et historique afin de repérer les particularités de l’iconographie étrusque, de distinguer les modèles étrangers et les réélaborations. La mise en série révèle que la comparaison avec l’iconographie grecque s’impose pour certaines postures. Mais les imagiers sélectionnent et agencent selon une disposition qui s’adapte aux pratiques étrusques de l’image. Les Étrusques ont ainsi puisé dans un répertoire grec des postures puis les ont adaptées et enrichies, à l’image de l’adaptation de l’alphabet grec en Étrurie. La diffusion des éléments constitutifs de l’image étrusque de la danse d’une cité étrusque à une autre permet de délimiter un répertoire iconographique préromain commun, mais aussi des choix locaux. Nous relevons en particulier les cas de Chiusi et de Tarquinia. A côté d’un répertoire commun, les deux cités ont développé chacune des solutions différentes qui répondent à des constructions propres de l’image. Dans un dernier temps enfin, sont étudiés les différents types de danse relevés, ainsi que le statut et la fonction des différents acteurs. Il s’agit de comprendre, par une orientation historique et anthropologique, et lorsqu’il est possible de le relever, l’enchaînement de ces danses, leur fonction, leurs différentes phases et leur place dans les pratiques rituelles de l’Italie préromaine. De cette étude découlent des questions quant à l’utilisation de l’image étrusque de la danse. Il s’avère en effet qu’une sélection des types de danse et des postures est opérée par les imagiers. Dans ce cadre, c'est sur le fonctionnement et le système de l'image, comparée à un langage, que nous avons mis l'accent. La direction adoptée dans ce troisième axe est aussi iconologique et vise à déchiffrer l'image de la danse étrusque en s'orientant vers le structuralisme et la sémiotique. L’étude a abouti à la conclusion selon laquelle les postures et les éléments visuels qui composent l’iconographie étrusque de la danse étaient sélectionnés et agencés dans des programmes iconographiques donnés, selon leur signification, leur portée discursive, et la fonction et la temporalité du rituel auquel ils font référence, puis adaptés à la fonction rituelle du médium sur lequel ils sont agencés<br>From the iconographical sources, the only available, a corpus of 526 objects has been selected, irrespective of the medium, and from Tirrenian, Campanian and Po plain Etruria. Besides explaining and delineating the corpus of the representations of Etruscan dance and posing the historiographical bases, this thesis proposes in the first instance to think and define the representation itself of dance. Indeed, which elements in pictures permit to define a scene of dance as such ? Can we really consider it as dance ? The confusion we note in Greek and Latin texts between danced, sports and war practices are also present in pictures. This brings to consider dance in a large sens, in terms of performance and event. This first definition permits to delineate the scenes of dance from the scenes of processions, of dueling, and to draw a distinction between dancers and other recurrent actors in the Etruscan iconography such as the « orans ». In a second phase, the typological and serial analysis of representations of dance has permitted to raise an Etruscan repertoire of 2143 body postures, and thus to precise the definition of the pictures of dance. This axis has thus contributed to identify the different body positions, but also the gestures, the actors’ props, the actors’ physical features, the objects and places of dance. This systematic identification is accompanied by the study of coloured, clothing, gestural, and body interactions. Delineating the iconographical repertoire of Etruscan dance also implies to define the conditions of its elaboration and its porosity. The datas are thus replaced in a geographic and historic – Ancient Mediterranean – context in order to identify the foreign patterns and the reworked ones. The connection in series reveal that the comparison with Greek iconography is necessary to better understand some body positions. But the painters select and dispose according to the Etruscan practices of pictures making. Thus, the Etruscans digged into a Greek repertoire for some postures and then adapted and enriched them, such as their adaptation of the Greek alphabet in Etruria. The spread of the constitutive éléments of the Etruscan pictures of dance from a city to another permits to delineate a mutual and shared Preroman iconographical repertoire, but also local choices and adaptations. On this point, the cases of Tarquinia and Chiusi has been studied. Besides a common iconographical repertoire, in the two cities different visual solutions has been developped, linked to own pictures constructions. As a final step, the different types of dance previously delineated are studied further, such as the status and the function of the different actors. It aims to understant, thanks to an anthropological and historical approach – and when it’s possible –, the sequences and chaining of the different dances, their diffent phases and their place in the ritual practices of Preroman Italy. From this point, the question of the use of the Etruscan pictures of dance has been raised. And it has been highlighted that a precise selection of types of dance and of body positions has been made by the artists. In this frame, it’s the functioning and the system of the pictures – compared to a language –, which have been emphasized. The orientation taken in this third axis is also iconological and aim to decrypt and better understand the Etruscan pictures of dance in which the visual elements and the body postures are selected and disposed, in the iconographical program in which they are used, according their signification and their discursive dimension, and adapted to the ritual function of the medium on which they are disposed
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Carminati, Erika. "Rituels et cérémonials civiques en Terre Ferme vénitienne : le cas de la ville de Bergame (XVII-XVIIIe siècle)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP046.
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Cette thèse enquête sur la dimension rituelle et cérémonielle d’une municipalité soumise à la domination vénitienne : la ville de Bergame. Le point de départ de l’analyse est le « Livre de Cérémoniels » de la ville, rédigé par les chanceliers à partir de la fin du XVIIème siècle. L’analyse est donc conduite selon trois directives. La première considère les aspects qui définissaient l’identité culturelle et rituelle de la ville de Bergame. Les objectifs sont de reconstruire son calendrier festif spécifique et de présenter certaines des récurrences rituelles parmi les plus importantes. La deuxième vise à identifier les usages et les fonctions de la ritualité dévotionnelle, publique et collective, durant le XVIIIème siècle, en illustrant les effets socio-politiques. Dans ce sens, des épisodes liés aux litiges entre l’institution ecclésiastique et l’institution civique, pour la gestion du « patrimoine immatériel » de la ville, sont retranscrits. Enfin, la troisième cherche à clarifier la relation politique et culturelle entre Bergame et Venise au travers du prisme de la dimension rituelle. Pour atteindre cet objectif, les cérémonies relatives aux Recteurs de Terre Ferme ont été considérées, telles que les entrées, les célébrations de la fin du mandat, les baptêmes de leurs fils et les élections des « protecteurs de la ville ». Des cas spécifiques d’altération de ces cérémonies ont aussi été analysés dans le but de d’identifier et de comprendre les formes de l’expression de positions opposantes et contestataires<br>The present dissertation investigates the ritual and the ceremonial dimension of a municipality subjected to the Venetian domain: the city of Bergamo. The point of departure is the “Book of ceremonials” written by the chancellors starting from the end of the XVIIth century. The thesis has been led along three directives. The first one aims to pinpoint the elements defining the cultural and the ritual identity of the city of Bergamo, reconstructing the specific festive calendar and presenting some of the most important ritual events. The second one considers the uses and the functions of the public and collective devotional rituality during the XVIIIth century and tries to illustrate its socio-political effects. Thus, some episodes related to the competition for the administration of the “immaterial patrimony”, between the local ecclesiastical institution and the civic, are evoked. Finally, the third one seeks to clarify the political and the cultural relation between Bergamo and Venice as developed into the ritual dimension. For this purpose, the ceremonies related to the Rectors of the so-called Terraferma have been considered, such as their entrees into the city, the celebrations for the end of the mandate, the baptism of their sons and their election as “protectors of the city”. Some specific cases of alteration of these ceremonies have also been considered, in order to intercept and to understand the forms and the expressions of protesting positions<br>La presente tesi indaga la dimensione rituale e cerimoniale di un soggetto municipale sottoposto al dominio veneziano: la città di Bergamo. Il punto di partenza dell’analisi è costituito dal « Libro de Cerimoniali » della città, redatto dai cancellieri bergamaschi a partire dalla fine del secolo XVII. L’analisi viene quindi condotta secondo tre direttive, tra di esse intrecciate. La prima considera gli aspetti definenti l’identità culturale e rituale della Città di Bergamo e ha come obiettivo quello di ricostruire il calendario civico festivo, nonché quello di illustrare alcune delle ricorrenze rituali cicliche più ricorrenti. La seconda, invece, mira ad individuare gli usi e le funzioni della ritualità devozionale - pubblica e collettiva - durante il secolo XVIII, chiarendone gli effetti sociali e politici. Sono quindi ricostruite alcune delle vicende concorrenziali insorte tra l’istituzione ecclesiastica e quella civile nella gestione del « patrimonio immateriale » cittadino. La terza, infine, intende chiarire la relazione politico-culturale dispiegatasi tra l’istituzione civica bergamasca e quella repubblicana entro la dimensione rituale. A tale scopo, sono state prese in considerazione alcune delle cerimonie principali che si costituirono attorno ai Rettori di Terraferma, quali le entrate e le uscite cerimoniali dalla città, le cerimonie di battesimo dei loro figli, le elezioni al « patronato », nonché analizzati dei casi studio in cui alcune di queste cerimonie furono turbate e alterate in funzione dell’espressione di istanze contrarie o contestatorie
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Lee, Hung-Fu. "Movement in Shaman ritual : the Mirecuk ritual in the amis village of Lidow, Taiwan." Thesis, University of Surrey, 2001. http://epubs.surrey.ac.uk/748/.
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Pasiziel, Maria. "Trauerräume Trauer, Ritual und Musik." Saarbrücken VDM, Müller, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2869490&prov=M&dok_var=1&dok_ext=htm.
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Cooper, Gemma. "Exploring McClenon's ritual healing theory /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsc7761.pdf.
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Witte, Craig Eric. "Ritual space : an urban monastery." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/70629.
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Nascimento, Marcelo Fernandes do. "Elégùn: Ritual e Formação Humana." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7800.
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Este estudo tem como objetivo central investigar o processo de constituição de identidades ritualístico-culturais dos adeptos dos cultos negros brasileiros a partir dos rituais de iniciação propostos pelas comunidades de cultos. A partir de sua consagração ritualística,os iniciados são denominados elégùn e passam a conviver entre o sagrado, por intermédio da concepção da ancestralidade divinizada, e as relações estabelecidas no devir de sua história. Foi fulcral para este estudo a correlação feita pelos adeptos entre suas práticas ritualísticas e sua formação histórica, social, política e, sobretudo, cultural. Permeado pelas histórias e pelas memórias individuais e, em alguns momentos, coletivas, o estudo entremeia-se aos aportes teóricos de, propondo constante diálogo entre eles. A concepção de que as culturas que se efetivam e se estabelecem mediante relações construídas e vivenciadas no cotidiano são ações profícuas e intensas de identidades próprias cunhou grande parte do referido estudo. Observou-se que a ancestralidade transita pelas diversas esferas vividas pelo elégùn, interagindo, integrando e reelaborando rituais e sujeitos.<br>This study is mainly aimed to investigate the process of formation of ritual and cultural identities of supporters of black Brazilian cults, from initiation rituals proposed by communities of worship. From its ritual consecration they are called elégùn and start to live between the sacred, through the design of the deified ancestry, and established relationships in the transformation of its history. Was central to this study the correlation between his supporters made by ritual practices and their historical, social, political and especially cultural training. Permeated by stories and individual memories and moments, the collective, the study intertwines itself to theoretical studies proposing constant dialogue between them. The conception that the cultures that take place and settle through the built and lived in everyday relationships are intense and fruitful actions own identities, coined much of the study. It was observed that the ancestry transit in various spheres exibit elégùn, interacting, integrating and reworking rituals and subjects.
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Mndende, Nokuzola. "Signifying practices : Amaxhosa ritual speech." Doctoral thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7720.
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Bibliography: leaves 197-204.<br>As part of the process of South Africa's transition to democracy, the government, the media, and other institutions have recognized the need to understand and recover African Traditional Religion as the indigenous religion of this country. Much remains to be done to entrench this recognition. There is a growing demand for literature that will document and analyse African Traditional Religion not only as an indigenous religious heritage but also as a contemporary living religion in South Africa. This thesis seeks to address the need for recognition, documentation and analysis of African Traditional Religion with specific focus on the role of ritual speech in AmaXhosa religious practice way of religious practice. Written from the perspective of an academic and a practitioner, the thesis attempts to further a clearer understanding of amaXhosa practice of African Traditional Religion as well provide a useful resource for students of African Traditional Religion. In historical, anthropological, and other academic literature on African Traditional Religion in South Africa, scholars have tended to focus on one aspect of religion, such as sacrifice, the divination techniques of sangomas, or the veneration of ancestors in rituals dealing with death. This thesis argues, however, that a more comprehensive perspective on African Traditional Religion can be gained by focusing on the meaning, power, and performance of ritual speech that runs through all of these religious practices. Ukuthetha, or, ritual speaking which produces ukuvuma, ritual acceptance, agreement, or consensus, lies at the heart of amaXhosa religion. Distinguished from ordinary speech by its heightened intensity and its performance which occurs within a sacred time and place, ukuthetha, or ritual speech, is the medium linking the physical and spiritual world within the amaXhosa worldview. As this thesis focuses on the analysis of amaXhosa ritual speech, chapters on ukuthetha which occur during ritual performances associated with sacrifice, divination, and funerals provide a profile of different types of speech acts within the framework of African Traditional Religion. These speech acts are examined against the background of two theoretical perspectives. One theory, associated with Maurice Bloch, argues that ritual speech is a form of social control, limiting what can be said. The other theory, associated with Stanley Tambiah, maintains that ritual speech is creative performance, expanding the scope of what can be said. The thesis tests these theoretical perspectives against the evidence of amaXhosa ritual speech, finding aspects of both social control and creative performance in African Traditional Religion. Although the analysis of amaXhosa ritual speech in this thesis focuses primarily on religion in the traditional rural context, a chapter on tradition and change considers new challenges for ritual speech in sacrifice, divination, and funerals within urban environments. Adapting to new contexts, the signifying practices of ukuthetha maintain the integrity of amaXhosa religion. By focusing on the meaning and power of ritual speech in different ritual settings and social contexts, this thesis hopes to contribute to our understanding of the continuity and coherence of African Traditional Religion in South Africa.
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Barbosa, Maria Aparecida. "O ritual da plenitude poética." Florianópolis, SC, 2000. http://repositorio.ufsc.br/xmlui/handle/123456789/78116.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.<br>Made available in DSpace on 2012-10-17T10:33:08Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-25T17:37:51Z : No. of bitstreams: 1
172547.pdf: 5310371 bytes, checksum: dc31c11d27eaa3d580c2ee0c26b9dbe2 (MD5)<br>Nesta dissertação, discuto um aspecto que considero importante da obra de E. T. A. Hoffmann (1776-1822), a partir da leitura e análise do conto "O Pote de Ouro". O estudante Anselmo, herói desse "conto de fadas dos dias atuais", cumpre um ritual de iniciação, passando por uma "transformação ontológica", que é seu primeiro contato com o mundo maravilhoso. Ao longo de 12 vigílias, Anselmo distancia-se, gradualmente, da dimensão terrena da vida e ascende ao reino da Atlântida. Personagens de outros contos hoffmannianos, como o jovem artista Kreisler, o anacoreta Serapião e o famoso compositor Ritter Gluck, também perseguem a utopia da Atlântida, que é o final da jornada de todos eles. Será uma referência à criação estética, à alienação ou à loucura? Comparando os estágios da aventura de Anselmo com as experiências desses protagonistas de outros contos, tento circunscrever o possível sentido simbólico da Atlântida. Meu propósito é compreender o significado dessa procura na literatura de Hoffmann.
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Gorham, Jeffrey Scott. "Xamanismo e fala ritual yanomami." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/94806.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-graduação em Antropologia Social, Florianópolis, 2011<br>Made available in DSpace on 2012-10-25T16:29:20Z (GMT). No. of bitstreams: 0<br>Esta etnografia das performances yanomae, subgrupo yanomami oriental, está baseada numa análise da fala ritual e do xamanismo na comunidade de Novo Demini. De modo geral, oferece um esboço sobre a cultura oral e interpretação das performances yanomae vistas como eventos comunicativos, segundo Bauman, e seus meios de interação verbal circunscritos à noção de diálogo, de Bakhtin. Especificamente, procura compreender o papel que as performances têm na sociabilidade, principalmente aquelas observadas nos contextos regionais de aliança intercomunitária. Argumento que os aspectos estéticos da fala e o diálogo são os meios principais pelos quais seu poder retórico e eficácia ritual são construídos. Finalmente, desenvolvo um conceito analítico de "linha de frente", o qual ajuda a compreender os processos envolvidos na construção do universo espiritual-cosmológico. Linha de frente é um espaço de alinhamento ontológico que se elabora nas performances xamânicas.<br>This ethnography of performance is based upon an analise of Yanomae (Yanomami oriental sub-group) ritual speech and shamanism in the community of Novo Demini. It offers a general overview on their oral culture and an interpretation on speech performances as discussed in Bauman´s communicative events and their means of verbal interação based upon Bakhtin´s notion of dialogue. The analysis seeks to compreehend the role of performances in their sociailty, especially those observed in intercommunity regional alliance contexts. It argues that the aesthetic aspects and dialogue are the Yanomae principal means by which rhetorical force and ritual efficacy are constructed. Furthermore, I develop an analytical concept of "frontline" that helps compreehend the processes involved in the construction of their spiritual-cosmological universe along with ontological alignment that is elaborated during shamanic performances.
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James, Hami Kim. "The interior dimension of ritual." Thesis, Curtin University, 2013. http://hdl.handle.net/20.500.11937/263.
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The connection between ritual and the interior is interrogated through a theoretical framework integrating Van Gennep’s Rites of Passage Theory and Turner’s Theory of Liminality. A multi-faceted methodological framework is developed from the interrogation of the disciplinary edges of multiple methodologies, addressing the experiential, cultural and subjective dimensions of ritual. This new way of exploring the interior demonstrates how knowledge can be acquired from the body’s immersion in unfolding ritual situations, revealing elements of ritual and interior in relation to one another and the generation of new theories on the interior.
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Lee, Oon Teik. "Use of the ritual metaphor to describe the practice and acquisition of mathematical knowledge." Thesis, Curtin University, 2007. http://hdl.handle.net/20.500.11937/1138.
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This study establishes a framework for the practice and the acquisition of mathematical knowledge. The natures of mathematics and rituals/ritual-like activities are examined compared and contrasted. Using a four-fold typology of core features, surface features, content features and functions of mathematics it is established that the nature of mathematics, its practice and the acquisition is typologically similar to that of rituals/ ritual-like activities. The practice of mathematics and its acquisition can hence be metaphorically compared to that of rituals/ritual-like activities and be enriched by the latter. A case study was conducted using the ritual metaphor at two levels to introduce and teach a topic within the current year eleven West Australian Geometry and Trigonometry course. In the first level, instructional materials were written using a ritual-like mentor-exemplar, exposition, replicate and extrapolate model (through the use of specially organised examples and exercises) based on the approaches of several mathematics text book authors as they attempted to introduce a topic new to the West Australian mathematics curriculum.In the second level, the classroom instruction was organised using a ritual-like pattern with direct exemplar mentoring and exposition by the teacher followed by replication and extrapolation from the students. Embedded within this ritual-like process was the personal (and communal) engagement with each student vis-a-vis the establishment of the relationships between the referent concepts, procedures and skills. This resulted in the emergence of solution behaviours appropriate to specific tasks imitating and extrapolating the mentored solution behaviours of the teacher. In determining the extent to which the instruction, mentoring and acquisition was successful, each student's solution 'behaviour was compared "topographically" with the expected solution behaviour for the task at various critical points to determine the degree of congruence. Marks were allocated for congruence (or removed for incongruence), hence a percentage of congruence was established. The ritual-like model for the teaching and acquisition of mathematical knowledge required agreement with all stake-holders as to the purpose of the activity, expert knowledge on the part of the teacher, and within a classroom context requires students to possess similar levels of prerequisite mathematical knowledge.This agreement and the presence of an expert practitioner, provides the affirmation and security that is inherent in the practice of rituals. The study concluded that there is evidence to suggest that some aspects of mathematical ability are wired into the cognitive structures of human beings providing support to the hypothesis that some aspects of mathematics are discovered rather than created. The physical origin of mathematical abilities and activities was one of the factors used in this study to establish an isomorphism between the nature and practice of mathematics with that of rituals. This isomorphism provides the teaching and learning of mathematics with a more robust framework that is more attuned to the social nature of human beings. The ritual metaphor for the teaching and learning of mathematics can then be used as a framework to determine the relative adequacies of mathematics curricula, mathematics textbooks and teaching approaches.
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Ashton, Clayton Howard. "To rule by ritual : the theorization of ritual psychology in the bamboo texts of Guodian." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62688.
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This study examines the development of a theory of ritual psychology in Chinese political thought during the Warring States period (c. 450 - 221 BCE), as found in four Confucian bamboo manuscripts from the Guodian corpus which were discovered in 1993 in a tomb that had been sealed in c. 300 BCE. These four texts, called here the Ritual Authority manuscripts, provide new evidence of a political theory that applied ritual practices to the management of the state, with implications for our understanding of both the development of the Confucian tradition and of the formation of the early Chinese empire. The introduction surveys how the concept of ritual has been framed in studies of Chinese history, and argues that this new evidence of a conscious theorization about ritual psychology should compel us reexamine this topic. Chapter One makes use of the insights offered by the cross-disciplinary field of Ritual Studies to create a working definition of “ritual” as an academic term of analysis, and then examines a range of primary sources from the Warring States period in order to reconstruct the discursive field of meaning encompassed by the Chinese term li, or “ritual propriety,” which was the focus of this theorization. Chapter Two considers the implications of the previous chapter’s insights by examining how ritual practices rely on a sense of historical authority, which embroils these practices in a larger tension between tradition and innovation. Chapter Three examines the development of theories of political authority in the Warring States period, and shows how these presented a fundamental challenge to the Confucian emphasis on ritual practices. Chapter Four turns to the Ritual Authority manuscripts from Guodian and closely examines how they reveal an attempt to incorporate a theory of ritual psychology into a defence of traditional ritual practices. This study finally concludes by considering the larger implications of this intellectual innovation, and suggests several possible directions of future research based on this research.<br>Arts, Faculty of<br>Asian Studies, Department of<br>Graduate
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Liljas, Stålhandske Maria. "Ritual invention : a play perspective on existential ritual and mental health in late modern Sweden /." Uppsala : [Uppsala University Press] : Diakonivetenskapliga institutet [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-5749.
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Van, den Hoven Carina. "The coronation ritual of the falcon at Edfu : tradition and innovation in ancient Egyptian ritual composition." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP005.
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Cette thèse de doctorat a pour objectif d’étudier le rôle et la fonction de la tradition et des innovations dans la création de nouveaux textes rituels dans l’Égypte ptolémaïque. L’étude est concentrée sur une analyse approfondie de l’organisation structurelle et de la composition rituelle d’un des rituels les plus élaborés et les plus complexes que nous connaissons dans l’Égypte ptolémaïque: le rituel du couronnement du faucon sacré à Edfou, représenté sur le mur d’enceinte du temple. Les sources disponibles suggèrent que ce rituel est une nouvelle composition de l’époque ptolémaïque dans laquelle des traditions sont associées à des traits nouveaux, ce qui ouvre la possibilité d’une analyse sur le rôle et la fonction de la tradition dans ce rituel, sur l’étendue de l’originalité de la composition, et sur les processus de composition et d’édition qui ont abouti à la création de ce nouveau rituel. L’analyse de l’organisation structurelle du rituel a montré que l’ordre des scènes rituelles sur la paroi ne correspond pas nécessairement à celui dans lequel les actes rituels étaient exécutés dans la réalité et que rituel n’était pas nécessairement effectué là où il se trouvait représenté. Ces conclusions ont débouché sur une nouvelle reconstruction de la séquence rituelle du couronnement du faucon sur la base des inscriptions hiéroglyphiques. De plus, en s’appuyant sur une analyse approfondie des sources textuelles, iconographiques, lexicographiques et archéologiques, une nouvelle identification des lieux où se déroulait le rituel dans le domaine du temple d’Edfou a été proposée<br>This research project investigates the role and function of tradition in the composition of new ritual texts in Ptolemaic Egypt on the basis of an in-depth analysis of the structural organisation and ritual composition of one the most elaborate and complex temple rituals known from Ptolemaic Egypt: the coronation ritual of the sacred living falcon. The available source material suggests that this ritual was a new composition of the Ptolemaic period in which tradition was merged with contemporary ideas. An investigation of the interrelations of the ritual texts and iconographic themes of this ritual with other textual and iconographic materials enabled us to investigate the role and function of tradition in the ritual, to identify the editorial processes to which the new composition was subjected and to reach conclusions on the extent of originality and the conceptualisation of innovation in ancient Egyptian ritual composition. The analysis of the structural organisation of the ritual on the temple walls has shown that the order of the ritual scenes on the temple walls does not necessarily reflect the order in which the ritual took place in reality and that the ritual was not necessarily carried out in the specific location where it is depicted on the temple walls. These findings resulted in a new reconstruction of the ritual sequence of the coronation ritual of the falcon based on the hieroglyphic inscriptions. On the basis of textual, iconographic and lexicographic material combined with an analysis of the archaeological sources a new identification was proposed of the various locations in and around the Edfu temple domain where the ritual was carried out
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Carter, Sue Ellen. "Landscapes For Celebration; An Investigation and Design of Wedding Gardens." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32303.
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This thesis explores the design of landscapes for celebration. These celebrations include all types of events or rituals that mark special times in peopleâ s lives. The focus of this work is landscapes for weddings. The goal is to illuminate the importance of these spaces for celebration as well as reveal how landscape architectural design can have a profound influence on how these places are perceived by the user and their experience of their celebration. These events have characteristics that set them apart from everyday activities and these elements can be enhanced by design. There are shared qualities among landscapes for celebration that draw people and make the place meaningful, these are compiled into a sort of set of design principles for these spaces. The structure of the event, both physically and psychologically, can be enhanced by design to add more meaning to the experience of the participants. Through literature review on ritual, sacred spaces, and ritual spaces information is gathered to inform the design. Case studies of celebratory landscapes and powerful places are also performed to gather knowledge. Through this investigation a set of design principles is collected, and then applied to a wedding garden design. Thoughtful design, incorporating knowledge of ritual, ritual structure, and the event being designed for, will create places that support and enhance one in a lifetime events. Design of celebratory landscapes should strive to create spaces that are meaningful, rooted in the community, supportive of the structure of the event, and reflective of the participants.<br>Master of Landscape Architecture
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Zylstra, Nicole. "The Bacchae of Euripides, ritual theatre." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq20813.pdf.
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Papp, Victoria Nicole Kortes. "Ritual in T.S. Eliot's longer poems." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25695.pdf.
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Mothibedi, Moffat R. "The experience of ritual in architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39688.pdf.
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Kelly, Mary Theresa. "Frankenfood, risk and ritual in biotechnology." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0024/MQ47952.pdf.
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Bland, Lindsay Kay. "To What They Saw As Ritual." The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06192009-111330/.
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Sharkey, Gregory C. J. "Daily ritual in Newar Buddhist shrines." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240321.
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Schumacher, Ilsa Amelia. "Ritual devotion among Shi'i in Bahrain." Thesis, London School of Economics and Political Science (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263092.
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The thesis investigates Shi'ite ritual in Bahrain with particular attention to women's involvement. The analysis relies heavily on the interpretation of the symbolic structure of these rituals and the roles and meanings that are attached to similar or identical symbols in non-ritual contexts. It is this comparison, combined with an emphasis on indigenous points of view, which forms the basis of the thesis' argument, and the interpretations found therein. The thesis suggests that ritual is central to the lives of Bahraini Shi'i: it organizes particular social networks, contributes to local definitions of gender and age distinctions and continually presents a model which accounts for the origins of the Shi'ite universe. Each of these points is examined in detail. With respect to social reactions the thesis demonstrates the close interdependence between women's positions within the neighbourhood and their simultaneous involvement in demanding ritual responsibilities. It is the close association found between physical and spiritual maturity which makes the factors of gender and age critical to defining ritual involvement. Finally the idea that Shi'ite ritual contains a model of their origins leads to a discussion of the Imam Husain, the Prophet Mohammed's grandson, and his martyrdom. This discussion provides the basis for suggesting that the key to Shi'ite life and regeneration rests on the concepts of atonement and sacrifice. The thesis concludes by reemphasizing the value of description in anthroplogy, the use of indigenous models as a starting •point in analysis and the mixed advantages of symbolic interpretation. The concluding discussion also outlines a case for looking at the emotional character of ritual in a more direct and systematic fashion than that previously found in anthropological analysis.
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Chaulagain, Nawaraj. "Hindu Kingship: Ritual, Power and History." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11203.
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This dissertation examines two major kingship rituals-- the coronation and the autumnal navaratri--as discussed in Hindu religious literature and ritual texts, and as practised in Nepal. These rituals are based on sacred myths and primarily oriented to the production of religious and socio-political dimensions of sovereign power. The Vedic, tantric, and other devotional acts as found in these rituals empower the king and construct his personal and corporate identity. The rituals are consequently strongly political, as various divine, human and other agencies invest the king with multiple powers and authorize him to rule; these agencies also negotiate their own relations, domains of influence, and hierarchies. These rituals produce a sacred and divine king and kingship, as well as sacred space, by establishing the king's connection (bandhu) and identification with many sources of power. As myth and ritual are used in the service of power and authority, they jointly promote each other to create, perpetuate, and strengthen these attributes. Since the uses of myth and ritual are strategic and ideological, they can be used to legitimize the status of the king and enforce the use of power on others. As illustrated in the recent history of Nepal, the myth and ritual can also be sites for dialogue, negotiation, resistance, subversion, and replacement of the same power. Religion and politics are deeply intertwined in these ritual activities; in fact, only in the deeply religious and devotional settings can the rituals exert maximum socio-political powers.
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Dermody, Erin. "The ritual performance of dark tourism." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16176.
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Whether it be more recent public tragedies or more distant death related events, sites and gatherings associated with death and disaster present an opportunity to explore the social phenomenon described as "dark tourism". To study this social phenomenon, the current literature on dark tourism widely acknowledges that a multi-disciplinary approach is required and that much work remains to be done to fully appreciate the phenomenon. This thesis draws upon the sociology of death to consider the dark tourism experience as part of a society's death system, and it draws upon a dynamic theory of ritual interaction from the sociology of emotions to consider the dark tourism visitor experience as a ritual performance. The thesis proposes that the visitor experience at some dark tourism sites may be usefully analyzed within the frameworks of inquiry proposed by Kastenbaum's (2001) death system concept together with a dynamic theory of emotion and ritual interactions proposed by Durkheim (1995) and Collins (2004). Specifically, this thesis proposes that where visitors have emotional "experiences of involvement" with the death event which is represented at the site, they may focus their attention and emotion on site components to engage in ritual interactions, which produce a momentarily shared new (emotional) reality that, in turn, may generate feelings of "solidarity" and "positive emotional energy" as an outcome of the visitor experience. These new realities and outcomes may serve to mediate the death event for visitors and to strengthen the social order. At present, there is very little theoretical work, and much less empirical research, to support this approach within the existing dark tourism literature. This thesis attempts to address part of the gap in dark tourism knowledge and in the study of this phenomenon by the sociology of death. These theories are considered in the light of research conducted in a single qualitative case study at the 9/11 Memorial site in New York City. Interviews, observations and diarizing were carried out to identify the motivations, interpretations and experiences of 32 visitors, (including guides and volunteers) at the site. Most visitors to the 9/11 Memorial site had prior emotional connections or "experiences of involvement" of some type with the death event. Many visitors expressed that their motivation to visit the site was based on a sense of "obligation" or "duty" and reported interpretations of the visitor experience that are consistent with taking part in what Durkheim described as a piacular rite. Visitors focused their emotions and interacted with components of the site in such a way that four of the critical functions of the death system were identified in operation. Most visitors reported that through their visitor interactions they (a) found the site to be a (sacred) place of actual or symbolic disposition of the dead; (b) received social support or consolidation; (c) interpreted the site in a way that made sense of the death event; and (d) took away from the site some form of moral or social guidance. These interactions were observed to have created a form of collective effervescence that made visitors' feel that they were part of something larger, a feeling that represented a shared new (emotional) reality. In turn, visitors reported that the visitor experience at the site created increased feelings of solidarity and calm or confidence or energy - or what Collins describes as emotional energy - in their personal and collective lives. The thesis concludes that the role of dark tourism as a mediating institution between the living and the death event may sometimes extend beyond the mediation of death anxiety and the purchase of ontological security as proposed by Stone (2012). Through the ritual performance of dark tourism, a mediation of, by and through emotions takes place, the result of which is that the individual and collective self of visitors may be relieved from the negative emotions aroused by the death event and begin to feel a new sense of solidarity and emotional energy. Indeed, the death event itself may be transformed from something evil into something that is sacred; from something that brought death and chaos, into something that strengthens social order.
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Schaefers, Kathleen Marie. "Ritual elements : a cemetery in Montana." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/70256.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.<br>Includes bibliographical references (leaves 50-57).<br>"As pines keep the shape of the wind even when the wind has fled and is no longer there So walls guard the shape of man even when man has fled and is no longer there. " -- George Seferis. The walls we make are the culmination of choices. This thesis explores the intensification of an unbuilt landscape; underlying it is the notion that place making is both site and culturally specific, and reveals some deeper meaning about who and where we are, and what we value. I seek to celebrate the poetic, philosophical, and physical aspects of landscape and architecture through the design of three integrated places: a chapel, a crematorium, and a columbarium. Through this process I reflect upon the expression of ritual, loss, and remembrance.<br>by Kathleen Marie Schaefers.<br>M.Arch.
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Magalhães, Maria Fernanda Vilela de. "Corpo re-construção ação ritual performance." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285147.
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Orientador: Lygia Arcuri Eluf<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T00:24:34Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Corpo Re-Construção Ação Ritual Performance é um projeto de criação desenvolvido durante o Doutorado, que se constrói a partir de nove ações performáticas realizadas ao longo de 2003-2008 e que resultaram em um acervo de imagens, vídeos e áudios, editados para a realização de exposições, apresentações e publicações, além de comporem o site http://www.fernandamagalhaes.com.br e o livro Corpo Re- Construção Ação Ritual Performance. O trabalho final para o doutorado como tese é um livro-de-artista, impresso como objeto e também publicado virtualmente, como site. A tese é uma
tese-de-artista, desenho tecidual, texto-tecido-pele, superfície. Ali estão contidas construções, desenhos, pinturas, fotografias e textos que compõem esta criação-tese. As ações performáticas foram realizadas com grupos diversos e têm como resultado registros que constituem o trabalho. São impressões/inscrições dos corpos sobre lençóis brancos, fotografias, vídeos, paisagens sonoras, desenhos e gravuras. Na realização das exposições, parte deste material editado foi montado em instalações que compõem este corpo. Também foram realizadas apresentações multimídia. As exposições e as apresentações mostram fragmentos dos trabalhos referentes a cada ação realizada em seus eventos específicos. No livro-tese e no site estão presentes partes dos cadernos de anotações produzidos durante o processo de construção do trabalho, além dos registros das ações e do texto escrito no percurso para-sobre-no-com-entre o projeto-tese. As publicações são a obra-multiplicadora-informefragmento-rizoma-expansão-deslizamentoescoamento-transfiguração e pretendem construir uma rede de ações através da experiência de artista na construção de uma criação-tese.<br>Abstract: Body Re-Construction Action Ritual Performance is a creation project developed during Doctorate studies and is set up from nine performances accomplished across 2003-2008 and which resulted in a collection of images, videos and audios, edited for the realization of exhibitions, shows and publications, as well as for composing the website www.fernandamagalhaes.com.br and the book Body Re-Construction Action Ritual Performance. The thesis is an artist-book
printed as an object as well as published virtually in the form of a website. The thesis is an artist-thesis, tissue drawing, text-tissue-skin, surface. It comprises the constructions, drawings, paintings, photos and texts that compose this creation-thesis. The performances were realized with diverse groups and resulted in the records that compose the work. They are impressions/inscriptions of bodies on white sheets, photos, videos, sound sceneries, drawings and engravings. In the accomplishment of the exhibitions, part of this edited material was set up in installations that compose this body. Multimedia shows have also been realized. The exhibitions and presentations showed fragments of the works relative to each action accomplished in its specific events. The thesis-book and the website include parts of the notebooks produced during the construction process of the work, together with the records of the actions and the text written for-on-in-with-between the project-thesis. The publications are the work-multiplier-inform-fragment-rhizome-expansion-slip-outflow-transfiguration and intend to build a net of actions through the artist experience in the construction of a creation-thesis.<br>Doutorado<br>Doutor em Artes
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Abreu, Marilande Martins 1976. "Sacrifício ritual, laços sociais e sexualidade." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280803.
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Orientador: Oswaldo Giacoia Junior<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-22T23:29:58Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: O presente estudo se propõe a delinear uma análise da realidade social a partir do conceito de sacrifício ritual, um fato social total à medida que apreende instâncias da vida política, religiosa, econômica e cultural. Para isso, os métodos tomados da Antropologia das Formas Expressivas e alguns conceitos da Teoria Psicanalítica, permitem problematizar e acompanhar legendas de narrativas míticas e rituais da Grécia Antiga através do simbolismo ritual que permite apreender a justaposição entre homem, deus e o animal, esse jogo se institui em correspondência e dependência da simbolização do feminino. O simbolismo ritual desvenda alguns elos entre laços sociais interdições sexuais, agressividade e sexualidade, permite ainda, interpretar o sacrifício ritual como imagem especular da ordem social. Estes temas remetem ao incesto e ao parricídio, fenômenos sociais implicados no sacrifício ritual e no jogo de justaposição entre homem, deus e o animal. Portanto, a partir de Totem e Tabu, de Sigmund Freud; A Violência e o Sagrado, de René Girard; e Homo-Necans - ritos sacrificiais e mitos da Grécia Antiga, de Walter Burkert, pretende-se interpretar algumas legendas míticas e rituais do politeísmo grego para evidenciar analogias e semelhanças entre sistemas sacrificiais de práticas religiosas de modernos e totêmicos, ou ainda, de monoteístas e politeístas. Essas imagens míticas e rituais repetem cenas de ordem e desordem associados à ação sacrificial, aproximam castração e ordem simbólico-ritual fálica, mito do Complexo de Édipo e pai da horda primitiva, tabu totêmico e tabu obsessivo, matriarcado e patriarcado. Jesus Cristo, Dionísio, Apolo e Hefesto se situam no jogo de justaposição entre homem, deus e o animal, associam-se ao campo masculino e ao patriarcado; do mesmo modo, divindades femininas como Maria, Deméter, Hera, Atena e Afrodite constituem imagens superpostas da mulher como mãe, virgem e amante, figuras situadas no campo feminino. O simbolismo ritual permite, assim, interpretar o advento do matriarcado em relação de dependência e polarização com o patriarcado, ambos repetem compulsivamente o jogo de superposições entre homem, deus e o animal que institui simbolismo ritual e transmite tradição cultural<br>Resumé: Cette étude se propose d'esquisser une analyse de la réalité sociale à partir du concept de sacrifice rituel, un fait social total dans la mesure où il comprend les instances de la vie politique, religieuse, économique et culturelle. Pour cela, les méthodes empruntées à l'anthropologie des formes expressives, et quelques concepts de la théorie psychanalytique permettent de problématiser et de suivre les légendes mythiques et rituelles de la Grèce antique à travers le symbolisme rituel, qui permet de comprendre la juxtaposition entre homme, dieu, et animal, qui s'institue en correspondance et en dépendance de la symbolisation du féminin. Le symbolisme rituel révèle quelque chaînons entre liens sociaux, interdictions sexuelles, agressivité et sexualité, et permet aussi d'interpréter le sacrifice rituel comme image spéculaire de l'ordre social. Ces thèmes renvoient à l'inceste et au parricide, phénomènes sociaux impliqués dans le sacrifice rituel et dans le jeu de juxtaposition entre homme, dieu, et animal. Donc, à partir de Totem et Tabou, de Sigmund Freud, de La violence et le sacré, de René Girard, et de Homo necans - rites sacrificiels et mythes de la Grèce antique, de Walter Burkert, on a l'intention d'interpréter quelques légendes mythiques et rituelles du polythéisme grec, ceci afin de mettre en évidence les analogies et les ressemblances entre les systèmes sacrificiels des pratiques religieuses modernes et totémiques, ou encore, monothéistes et polythéistes. Ces images mythiques et rituelles répètent les scènes d?ordre et de désordre associées à l'acte sacrificiel, rapprochent castration et ordre symbolico-phallique, mythe du complexe d'oedipe et du père de la horde primitive, tabou totémique et tabou obsessionnel, matriarcat et patriarcat. Jésus Christ, Dionysos, Apollon et Héphaïstos, se situent dans le jeu de juxtaposition entre homme, dieu, et animal, et sont associés au champ masculin et au patriarcat, et de la même façon, des divinités féminines comme Marie, Déméter, Héra, Athéna, et Aphrodite constituent des images superposées de la femme avec la mère, la vierge et l'amante, figures situées dans le champ féminin. Le symbolisme rituel permet ainsi d?interpréter l?avènement du matriarcat en relation de dépendance et de polarisation avec le patriarcat, l'un comme l'autre répétant compulsivement le jeu de superposition entre homme, dieu et animal qui institue le symbolisme rituel et transmet la tradition culturelle<br>Abstract: This study proposes to outline an analysis of social reality from the concept of ritual sacrifice, a total social fact that measuresand apprehends of political life, religious, economic and cultural life. For this reason, the methods taken from Anthropology of expressive forms and some concepts in psychoanalytic theory, allow problematize and accompany captions of mythic narratives and rituals of Ancient Greece through the ritual symbolism, which enables to seize the juxtaposition between man, God and the animal, which is establishing in correspondence and dependence of symbolization of the female. The ritual symbolism uncovers some links between social ties sexual prohibitions, aggression and sexuality, also allows, interpret the sacrifice ritual as specular image of the social order. These issues relate to the incest and the "parricidio", social phenomena involved in ritual sacrifice and in the game of juxtaposition between man, God and the animal. Therefore, from Totem and Taboo, Sigmund Freud; The violence and the sacred, of René Girard; and Homo-Necans - sacrificial rites and myths of Ancient Greece, of Walter Bürkert works, we want to interpret some mythical legends and rituals of the Greek polytheism to highlight similarities and parallels between sacrificial systems of religious practices of modern and "totemicos", or even, monotheistic and polytheist. These mythic images and rituals are repeated scenes of order and disorder associated with the sacrificial action, approach castration and order symbolic-ones, myth of Edipus Complex and father of the primitive horde, "totenico"taboo and obsessive taboo, matriarchy and the patriarchy. Jesus Christ, Dionysus, Apollo and Hefesto are situated in the game of juxtaposition between man, God and the animal, are associated with the male field and to the patriarchy; similarly, female deities as Mary, Demeter, Hera, Athena and Aphrodite are overlapping images of woman as mother, virgin and lover, figures situated in the countryside female. The ritual symbolism used to interpret the advent of matriarachy in relation of dependence and polarization with the patriarchy, both repeat compulsively the game of superpositions between man, God and the animal establishing ritual symbolism and transmits cultural tradition<br>Doutorado<br>Ciencias Sociais<br>Doutora em Ciências Sociais
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Mulvany, Eleonora. "The Flower in Inca Ritual Cycles." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113576.
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In this paper, we present the results of an ethnohistoric study on the possible relationship between ritual, social organization, solar calendars and visual and oral metaphors. This interrelationship can be understood in terms of the use of flowers placed in the headdresses of young and adult men as offerings to deities and their distribution in a sacred landscape space entail to periodical rituals.<br>En este trabajo se presentan los resultados de un estudio etnohistórico sobre la posible relación entre el ritual, la organización social, el calendario solar y metáforas visuales y verbales. Esta interrelación se puede comprender mediante el empleo de flores en los tocados de hombres jóvenes y adultos, en las ofrendas a deidades y su distribución en el espacio del paisaje sagrado vinculado a rituales periódicos.
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Maxson, Brian. "Humanism and the Ritual of Command." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/6220.
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