Lors de la grande célébration de Jesús del Gran Poder qui mobilise chaque année en Bolivie toute la ville de La Paz, la morenada, danse centrale du rituel, met en scène des personnages aux visages noirs portant de lourds costumes, démesurés et opulents. Ces corps-objets ostentatoires sont mis en mouvement par les danseurs, créant une esthétique complexe de la richesse et de l’abondance. La morenada est exécutée par une population urbaine d’artisans et commerçants issus des flux de la migration indigène aymara, qui construisent laborieusement une réussite socio-économique leur permettant de s’imposer en ville. A travers une ethnographie des pratiques corporelles des danseurs de morenada pendant la préparation et la réalisation de la performance, ce travail montre comment la danse peut être un outil de compréhension des processus de reconfiguration des positions individuelles et des identités collectives. En effet, dans l’espace de la morenada, les représentations et pratiques économiques, corporelles et dévotionnelles interagissent pour se transformer mutuellement. Plus largement, ce travail interroge la manière dont dynamiques corporelles et sociales concourent à inventer un rapport singulier à la prospérité : la danse n’est pas seulement le registre expressif de la réussite urbaine, elle en est sa mesure et sa condition. / In Bolivia, the great celebration of Jesús del Gran Poder, mobilizes every year the entire city of La Paz. The morenada, main dance of this ritual, stages characters with black faces, wearing heavy, opulent and disproportionate costumes. These ostentatious body-objects are moved by the dancers, creating an intricate aesthetic of wealth and abundance. The morenada is performed by an urban population of artisans and traders of rural Aymara background. They painstakingly build the socio-economic success that allows them to establish themselves in town. Based upon an ethnography of the morenada dancers’ bodily practices, during the preparation and realization of their performance, this work intends to show that dance can be a powerfull tool for understanding how individual positions and collective identities are constantly reshaping. Indeed, in the space of morenada, economic, bodily and devotional beliefs and practices, interact to transform each other. At a broader scale, this work questions the way bodily and social dynamics contribute to invent a specific relationship to prosperity: dance is not only the expression of urban success, but its measure and condition.

The Fogdarp hoard from Scania in Sweden is an unusual deposit from the Late Bronze Age. Unlike similar hoards this was not found in a wetland, but was buried in the ground with a rock placed on top of it. Deposits in dry land have sometimes been considered to be a hiding place for a smith’s metalwork. But since the Fogdarp hoard contains ritual bronze objects, it has been called a ritual deposit. The aim of this paper is to investigate the Fogdarp hoard by using a landscape analysis. By doing so the study will contribute to the understanding of the hoards context, and why this hoard was buried and not deposited in a wetland. The landscape analysis shows that the hoard is buried closed to the water and in a ritual landscape on the edge of a valley. The discussion will also analyze the objects in this particular hoard: their symbolic value will be elaborated in the analysis. As a comparison, this paper includes other deposits from the Late Bronze Age. My interpretation of the objects in the Fogdarp hoard is that they are a part of the sun cult of the Nordic Bronze Age, where sun-goddess and the divine twins play an important role.

The public realm of the ancient, Western city evolved situationally - over time and in response to the ethos of its citizens. Some of the urban forms that were born within the context of the ancient city are still in use today. These now archetypal forms met the specific needs of the ancient city, and as they were repeated, patterns arose that came to define what a physical city was. The physical form of the city and the citizen body were intrinsically linked in the ancient world - and in ancient Greece were defined by the same word - polis. In Rome, the city and the collective citizenry come to be defined separately - as urbs and civitas, respectively. The Romans continue to use and elaborate upon the urban forms and patterns developed in Greece, in support of the Roman civitas. The development of the public realm and its most archetypal forms, from the stoa to the public plaza, of a selection of ancient cities will be examined in three parts; Greece, Rome, and Roman colonies. Within these three representative examples, a tripartite examination of the myths, rituals, and development of the public realm will give a complete picture of the city - its form and its ethos. First, the Greek city will be discussed using the architectural development of the Athenian agora within its historical and political context. With an understanding of the Greek public realm, specific architectural advancements, including the stoa form, of the Greeks can be better understood. Second, the Roman elaboration of the Greek forms will be traced in the growth of the Forum Boarium in Rome. While situationally-developed, the archetypal urban forms that grew in Greece and Rome came to define urban patterns that could be used in new settings, like those of colonial settlements, while retaining the ethos of the original. From its first colony of Ostia to its exemplary Gallic capital of Lyon, Rome established a codified set of urban patterns that both represented and explained Roman urban values to its expanding populace. Finally, the Roman contributions, particularly the colony and fora patterns that evolved in Gaul, will be examined in detail using the colonial capital of Lyon as the primary example. As new socio-political systems evolved - the polis in Athens and the Empire in Rome - correlating urban forms developed in support of them. In the ancient city, the city and the public realm were the containers for ritual action - and the architecture that developed reflected this basic purpose of the city.

本文关注近代以来发生在华北乡村社会中的社区集体仪式。这些集体仪式以村落（及村落联盟）的求雨和庙会为其主要形式。在这些社区集体仪式之中，有相当一部分由多个村落共同协作完成。共同参与这些仪式的村落在一定程度上构成了仪式合作的关系。在本项研究中，这种村落间的关系往来模式被称之为多村落的仪式联合。 / 本文选用冀中地区的乡村的社区集体仪式作为研究对象，将关注点放在多村落的仪式联合之上。在两个个案民族志描写的基础上，试图回答这样的问题：华北民众的宗教生活所依赖的地方社会网络是怎样运作的？第一个个案为现北京房山河套沟地区的黑龙关庙会，该地区有着多村落联合举办庙会及求雨的传统。围绕着这些社区集体仪式，当地村落间形成了诸如“六山会这样的地方组织。黑龙关庙会的民族志资料证实，当地多村落的仪式联合，其形成和维系在相当程度上是以村落间花会的互动为主要依托。笔者将花会表演的互动视作仪式性的礼物流动。通过诸如走会和献会的行为描写，河套沟地区村落间的关系网络得以在宗教生活层面展现。黑龙关庙会的个案试图证实：仪式性的互惠作用于多村落仪式联合的形成及维系过程；第二个个案是河北的安国药王庙会。以安国药王庙为中心，文章首先对安国药王庙会与地方社会进行了历时性的文献梳理；继而对当代的药王庙会进行共时性的田野考察，展现当代的安国药王庙会与临近的村落庙会同处于一个关系网络之中。这个关系网络表现在庙会间的往来关系之中，这又被称之为“讲礼。讲礼对于地方仪式联合的形成起到了重要作用。 / 以礼物馈赠的视角来看待乡村社会的宗教生活，这是本项研究的基本方法。花会的走会、献会或庙会间的讲礼实践，是建构和维系多村落仪式联合的重要途径，它们遵循着乡村社会的一套生活逻辑。这套逻辑在地方社会被表述为关系、面子、人情等地方术语。从这个角度说，多村落的仪式联合亦受到这套生活逻辑的制约和影响。 / This dissertation focuses on the local community rituals in rural North China since modern times taking the praying-for-rain rituals and temple festivals of the villages as examples. There were many forms of ritual cooperation among the villages in rural North China. In this research, we would examine a mode of ritual interaction among selected villages by examining two cases in Central Hebei, China. / The first case is the Heilongguan Temple festival in Hetaogou area of Fangshan district around Peking. In Hetaogou, a large amount of villages performed the praying-for-rain rituals and temple festivals together. In these community rituals, the local organizations called Liushan Association(六山会) had played a crucial role. The ethnographic data of Chapter Two aim to show that the construction of multi-village alliance builds on the interaction of Flower fairs (花会）from different villages. In the forms of visiting each other during a temple festival parade known as Zouhui (走会）and xianhui(献会），villages built up the network of their alliance. The exchange of performance of Flower fairs is regarded as a mode of ritual exchange. The second case concerns the Medicine King Temple Festival(药王庙会）in Anguo County which is the main topic of Chapter Three. Using the methodology of historical anthropology to analyze the Anguo local society helps us to place the Medicine King Temple Festival(药王庙会）in a network of temple festivals from different villages. In Anguo, this interaction is called ‘treating each other with courtesy’ or Jiangli(讲礼）. / Finally we would like to argue that visiting each other in a temple festival parade (Zouhui, Xianhui) and treating each other with courtesy Jiangli, were the main strategies of the villagers to construct their multi-village alliance. Their logics were not different from ‘returning the favor’ and ‘face saving’ which were common in rural society. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 徐天基. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 163-174). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Xu Tianji. / 摘要 --- p.3-4 / Chapter 第一章 --- 近代以来冀中乡村社会中的多村落仪式联合：研究计划及刍议 --- p.13 / Chapter 第二章： --- 仪式性互惠与多村落的仪式联合：黑龙关的例子 --- p.35 / Chapter 第三章 --- 礼物经济与多村落的仪式联合--安国县“讲礼的例子 --- p.64 / Chapter 第四章 --- 多村落的仪式联合：礼俗之中看地方宗教 --- p.103 / Chapter 附录一： --- 京西河套沟地区的花会 --- p.115 / Chapter 附录二： --- 安国民间曲艺概述 --- p.139 / Chapter 附录三： --- 民国时期安国县集市分布及周期 --- p.156 / Chapter 附录四： --- 民国二十年祁州药市十三帮组织 --- p.157 / Chapter 附录五： --- 图1 民国时期安国南关地方宗族分布图 --- p.161 / Chapter 附录六： --- 图2 药王邳彤传说结构分析图 --- p.162 / 参考书目 --- p.163-174

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. / 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.

Prenant principalement appui sur des matériaux de terrain et des documents historiques, la présente étude examine la tradition des maîtres rituels taoïstes. Celle-ci a été une des traditions religieuses les plus vivantes en Chine méridionale, depuis la dynastie des Song (960-1279). Il s’agit d’une tradition d’exorcisme qui a emprunté beaucoup d’éléments au tantrisme. Elle s’est bien intégrée au taoïsme tout en révélant des relations subtiles entre le taoïsme et la religion populaire. D’un point de vue ethnographique, les maîtres rituels constituent un groupe important de spécialistes de rituels à l’ouest du Fujian, au sud-est de la Chine. D’un point de vue historique, chez les maîtres rituels contemporains se trouvent des éléments qui remontent à l’antiquité. Ainsi, la céation et la maîtrise de soldats du monde invisible pour conjurer les êtres malfaisants en faveur du peuple constituent un trait caractéristique. La tradition des maîtres rituels a joué un rôle important non seulement dans la vie quotidienne du peuple, mais aussi dans les processus socio-culturels régionaux. Le présent travail étudie notamment un mythe de « batailles de méthodes » entre des maîtres rituels et des mauvais esprits qui a trouvé sa place dans un contexte de conflits ethniques à l’ouest du Fujian. Il examine aussi un culte des maîtres rituels qui a donné l’occasion aux différents groupes sociaux d’exprimer leurs compréhensions de leur légitimité, ainsi que des rituels d’ordination et des rituels servant à cacher les âmes humaines des mauvais esprits, rites de vie qui contribuent aussi à la construction de la communauté. / Relying mainly on field materials and historical documents, this study examines the tradition of Daoist ritual masters; one of the liveliest religious traditions in South China since the Song Dynasty (960-1279). It is a tradition of exorcism which borrowed many elements from Tantrism; but it is also well integrated into Daoism while revealing subtle relations between Daoism and popular religion. From an ethnographic perspective, ritual masters are an important group of ritual specialists in western Fujian in Southeast China. From a historical point of view, among contemporary ritual masters, we can find many elements that date back to antiquity. Thus the making and mastery of soldiers of the invisible world for exorcising evil beings to save the people is a characteristic feature. The tradition of ritual masters has played an important role not only in the daily life of the people, but also in regional socio-cultural processes. In this regard, the present work studies a myth of “magic warfare” between ritual masters and evil spirits that has found its place in a context of ethnic conflict in western Fujian. It also examines a cult of ritual masters which gave the opportunity for different groups to express their understandings regarding legitimacy, as well as ordination rituals and rituals to hide human souls from evil spirits, that is, life rites which contribute also to the construction of community life.

Cette thèse porte sur la chapelle cimétériale du monastère de Bačkovo (Bulgarie), étudiée dans le contexte des églises sépulcrales du monde byzantin médiéval. Parmi les rares monuments de ce type architectural, cette chapelle se singularise notamment par son décor peint datant de l’époque médiobyzantine. Conservant certains thèmes iconographiques à caractère exceptionnel, son importance résulte également de la cohérence parfaite entre le décor, la fonction de l’édifice et le rite célébré. À la lumière des données d’une sélection de typika byzantins, complétées par des sources liturgiques, nous nous attachons, d’une part, à clarifier le contexte de fondation de la chapelle cimétériale, et, d’autre part, à réévaluer sa place unique dans la vie monastique d’antan. Notre investigation vise aussi à réexaminer la classification architecturale à laquelle le monument fut longtemps rattaché, celle des « églises sépulcrales bulgares », avancée par André Grabar. De plus, nous proposons une analyse iconographique détaillée de l’intégralité de son décor peint. Une attention particulière est portée aux représentations à forte connotation eschatologique, envisagées par le biais des spécificités fonctionnelles de l’édifice, liées à la célébration d’offices funèbres et commémoratifs. En outre, nous développons une analyse comparative avec les programmes iconographiques des principaux monuments sépulcraux médio- et tardodyzantins. L’apport de cette thèse consiste ainsi en la recontextualisation de la chapelle cimétériale bačkovienne, sur les plans à la fois architectural, iconographique et liturgique. / The subject of this thesis is the cemetery chapel of the Bačkovo monastery considered in the context of the sepulchral buildings of the Byzantine medieval world. Among the rare monuments of this architectural type, it stands out by its decoration dating from the middle byzantine period. Conserving some exceptional iconographic topics, its importance ensues also from the perfect coherence between decoration, function and ritual. With reference to a selection of byzantine typika, completed by liturgical sources, I try to clarify the context of foundation of the Bačkovo cemetery chapel and to reassess its place in the monastic life of yesteryear. The purpose of this investigation is also to reconsider the architectural classification of this building which has been refered to as the “églises sépulcrales bulgares” for a long time as mentioned by André Grabar. Furthermore I offer a detailed iconographic study of its entire fresco programme focusing especially on the representations with strong eschatological connotation, examined in the light of the functional particularities of the edifice, related to the celebration of funeral and commemoration services. In addition I give a comparative analysis of the monument following the iconographic programmes of the most significant sepulchral monuments from the middle and late byzantine period. The contribution of this thesis thus consists in the recontextualization of the Bačkovo cemetery chapel in terms of architecture, iconography and liturgy.

The present study is, to my knowledge, the first investigating the newly renovated and rearranged permanent art and design exhibition at Nationalmuseum, Stockholm: The Timeline. The exhibition presents Western art from 1500 to 1914 and design and portraiture from 1500 until today in a chronological arrangement. In the first chapter of the analysis, the exhibition is compared to previous arrangements of the permanent art exhibition at Nationalmuseum, as well as to historical museological trends. In the second chapter, Carol Duncan’s perspective of the ritual structure is applied in order to explore how the specific design of the exhibition affects visitors and objects, and how mening and narrative is created. The study does not primarily focus on individual objects, but on the general design and structure of the exhibition space. The study concludes that historical references can be found in the current exhibition – mainly to a sensual, intimate, and aesthetic mode of display from the early twentieth century. Some principles which have been dominating in art museums since the mid-twentieth century are challenged, including the isolation of objects; use of vast, empty spaces; division between different object categories; and sparse, single-row hanging. The varied and dynamic hanging of the current exhibition, in contrast to a repetetive one, creates different patterns of movement and object-visitor interactions. Still, the ritual structure of the exhibition works to direct visitor attention and behaviour, conveying an art-historical narrative. Meanings concerning objects’ historical context are fascilitated through the interplay between visual arrangement and textual information.

Orientador: Dorotéa Machado Kerr / Banca: Maria Aparecida Bento / Banca: Valeriano dos Santos Costa / Resumo: Este estudo tem por finalidade descrever metodologicamente a prática mistagógica dos séculos IV e V d.C. e discutir a recente sistematização e aplicação do método mistagógico à formação dos ministérios litúrgico-musicais da Igreja Católica Romana. No ano de 1963, promulgava-se a Sacrosanctum Concilium (Constituição sobre a Sagrada Liturgia) do Concílio Ecumênico Vaticano II (1962-1965) que, sustentada pelo Movimento Litúrgico, representava o retorno às fontes bíblicas e patrísticas da fase de estruturação da liturgia por volta do século IV. Atualmente, a formação continua sendo um dos maiores desafios à consolidação do processo de renovação litúrgica desencadeado pela reforma do Vaticano II. A reforma teve implicações sobre a liturgia e também sobre o modelo eclesial a ser assumido pelas novas gerações. Quanto ao uso do método mistagógico, dois autores, Mazza (1996) e Buyst (2006), serão largamente focalizados devido à especificidade de sua aproximação ao objeto de estudo. O primeiro expõe a sistemática catequético-mistagógica dos séculos IV e V; e a segunda aplica o método mistagógico ao estudo da música ritual com escopo formativo mais evidenciado. O propósito da pesquisa foi sendo consolidado a partir da leitura, tradução e interpretação de variados autores para se avançar de rudimentos conceituais à apropriação teórica e metodológica do termo e prática da mistagogia. Deste modo, o percurso assumido procurou evidenciar o deslocamento do discurso normativo e prescritivo, próprio dos documentos eclesiais, ao discurso reflexivo e propositivo sobre o processo de renovação da música ritual no Brasil a partir de produções litúrgico-musicais pós-conciliares. Esta pesquisa, ao propor o método mistagógico no estudo da música ritual como estratégia que articula diferentes áreas do conhecimento, procura identificar ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The purpose of this study is describe methodologically the mystagogic practice of 4th and 5th centuries, and discuss new approaches and application on mystagogic method related to liturgical musical formation of the ministries of Roman Catholic Church. In 1963 was promulgated the Constitution on the Sacred Liturgy (Sacrosanctum Concilium) of Second Vatican Council (1962-1965) that held on Liturgical Movement represented the return to biblical and patristic sources of the 4th century. Nowadays, formation continues being one of the main challenges to consolidation of the liturgical renewal process started at Second Vatican reformation. This reformation had effect on the liturgy and ecclesial model. Two authors Mazza (1996) and Buyst (2006) were focused on due to particular approach to mystagogic method. The first demonstrates the catechetical and mystagogic systematic from 4th and 5th; the second applies mystagogic method to the study of ritual music with a clearly formative scope. The purpose of this research was developed through reading, translation and interpretation of various authors to reach the concept and to get a theoretical and methodological understanding of terminology and practice of mystagogy. Therefore, the way assumed had revealed a changing from normative and prescriptive enunciation to a reflexive and rational enunciation related to renewal process of ritual music in Brazil and post-Second Vatican Council liturgical musical productions. This research proposes mystagogic method in the study of ritual music as a strategy that conjugates different areas of knowledge. Finally, also identify how the formation was theorized and performed in the liturgical renewal process to reach the method. / Mestre

Made available in DSpace on 2016-03-15T19:47:43Z (GMT). No. of bitstreams: 1 Maria das Gracas Sa Roriz Fonteles.pdf: 26643 bytes, checksum: ac87c1555d926ef57008b6bff3bc0884 (MD5) Previous issue date: 2009-03-02 / Universidade Presbiteriana Mackenzie / The main purpose of the current study is the analysis of the intertextuality between the book Poema dos Poemas, of Cecília Meireles, with the Bible, more specifically with the Book of Psalms. The intertextuality is present in all the twenty one poems of the book. The citation, the intertextual mechanism of analyses used, sometimes reproduces or even inverts the meaning of the biblical words. The literary peace is divided in three parts of seven poems each one, the lyric subject walks from the profane to the sacred throw the ritual of passage. The first part starts with fascination, anxiety, great joy, hope, tenderness and sadness. The second part starts with a new wave of sadness, disillusion, farewell, supplication, tears, pardon and blesses. The lyric subject arrives in the third part with more desire, starts with loneliness, indispensable condition for the neophyte that pretends to do the passage, from there to the compliment. The pain is inserted as strong part of the ritual. The renouncement, the indifference of the things from earth, in which it is, inserted the donation; the previous announce of the descents, to play his inalienable role to arrive at humility, that function is a depuration of the neophyte. When he meets the wisdom, the dream of the lyric subject ends. / O principal objetivo do presente estudo é a análise da intertextualidade do livro Poema dos Poemas, de Cecília Meireles, com a Bíblia Sagrada, mais especificamente com o Livro dos Salmos. A intertextualidade com os Salmos se faz presente em todos os vinte e um poemas do livro. A citação, o mecanismo intertextual ao qual a análise se atém, por vezes reproduz ou mesmo inverte o sentido da palavra bíblica incorporada. Na obra, dividida em três partes de sete poemas cada uma, o sujeito lírico caminha do profano para o sagrado por meio de ritos de passagem. A primeira parte principia pela fascinação, ansiedade, grande alegria, esperança, dúvida, ternura e tristeza. A segunda parte começa com uma nova onda de tristeza, desenganos, despedida, súplica, lágrimas, perdão e bênçãos. O sujeito lírico adentra a terceira parte com mais fôlego, começa pela solidão, condição indispensável para o neófito que se propõe a fazer o ritual, daí parte para a saudade. A dor se insere como forte participante deste rito de passagem. A renúncia, o desprender-se das coisas terreais, na qual se insere o doar-se, prenuncia o descenso, desempenha seu papel inalienável para chegar à humildade, cuja função é a depuração do iniciado. Ao encontrar a sabedoria, o sonho do sujeito lírico se encerra.