Submitted by Hellen Luz (hellencrisluz@gmail.com) on 2017-07-13T17:26:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_IluminandoMortosEstudo.pdf: 3878862 bytes, checksum: 2389e95b66d86924bb9c196223792af9 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-07-17T13:03:02Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_IluminandoMortosEstudo.pdf: 3878862 bytes, checksum: 2389e95b66d86924bb9c196223792af9 (MD5) / Made available in DSpace on 2017-07-17T13:03:02Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_IluminandoMortosEstudo.pdf: 3878862 bytes, checksum: 2389e95b66d86924bb9c196223792af9 (MD5) Previous issue date: 2014-05-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Iluminação dos Mortos, realizado no município de Salinópolis (PA) – e em alguns municípios do nordeste do Pará –, consiste em um ritual de homenagens aos mortos, que ocorre anualmente por ocasião do Dia de Finados, no dia 02 de Novembro. Neste município, há uma maneira muito particular de prestar tributo aos mortos, na qual seus túmulos, no período da noite, são iluminados com o acendimento de velas para, em sequência, ocorrer um momento de confraternização entre os familiares dos falecidos. Dessa maneira, os principais aspectos que problematizo neste trabalho dizem respeito às questões simbólicas subjacentes a este ritual de homenagens aos mortos. Assim, a iluminação dos mortos funciona como um dispositivo que aciona sociabilidades em torno da morte, reintegrando, simbolicamente, os mortos à vida social e os vivos à vida espiritual. / The Lighting of the Dead, conducted in the city of Salinópolis (PA) - and in some municipalities of northeastern Pará -, consists of a ritual homage to the dead, which takes place annually on the occasion of All Souls' Day, on November 2. In this city, there is a very specific way to pay tribute to the dead in their graves which, during the night, are illuminated with the lighting of candles to, in sequence, a moment of fraternization between the relatives of the deceased occur. Thus, the main aspects that problematized in this paper relate to the underlying issues in this symbolic ritual homage to the dead. Thus, the lighting of the dead works as a device that triggers sociability around death, reintegrating symbolically the dead to the social life and the living to the spiritual life.

<p>The aim of the thesis is to identify and investigate central themes in two video artworks, Poliisi and Pink Ball, by Swedish artist Annika Larsson. Moreover it is an investigation of the configurations of violence, and an enquiring whether these works have a social-minded intention.</p><p>Elements in scenery, framing and narration are analysed with the term “crystalline regime” (régim cristallin), described by French philosopher Gilles Deleuze, which defines the artificial as opposed to the purely representational. Processes within the narrations of the two works are analysed as rituals, which leads to an investigation of an internal sign-system and to the question whether the rituals in these works have a function. Theory by French philosopher Georges Bataille is used to analyse the ritual with no external purpose, which aims at an intense experience of life. Bataille’s concept “intensity” is used to describe violent as much as erotic themes in the narration as well as in the way the characters are presented, regarding music, camera-angles, etc. Furthermore, the thesis refutes interpretations in which Annika Larssons works are viewed as comments on political matters, such as gender-issues.</p>

This dissertation is a critical study of the paradigm of Liturgical Theology. Focus in this systematic inquiry has been on the Russian school with the focal point in the works of Alexander Schmemann, who was active in the late 20th century. The main question of the thesis concerns the relation between theory and practice in Liturgical Theology.                       It is claimed that the relation between theory and practice corresponds to the relation between ritual action and communicative action. The former concerns the identity founded on the unavoidable alterity immanent in life, but also transcending life through a holistic encounter with life, which enables us to express a holistic attitude to life and the entire world. The latter concerns the equally unavoidable rationalization of life which gives rise to a continuous atomization of life through science and the process of acquiring facts and data.                       The thesis makes use of different theories for the reaching of an explanatory theory in connection to theory and practice. Foremost the Theory of Communicative Action in the works of Jürgen Habermas and the re-interpretation of disclosure by Nikolas Kompridis is used. It is claimed tthat ritual action is connected to a primary disclosure attached to otherness with the intention of revealing the identity of the Ecclesia. Without identity, we are left with a never-ending debate and a continuous atomization where every answer exponentially provokes more questions. Communicative action then is connected with a secondary co-disclosure with the intention for the reaching of mutual understanding, making subjects accountable and responsible. Without communicative action we are bound on a long walk into the never ending sea of being. The missionary imperative in the Ecclesia is dependent on the co-existence of ritual action and communicative action.

The aim of the thesis is to identify and investigate central themes in two video artworks, Poliisi and Pink Ball, by Swedish artist Annika Larsson. Moreover it is an investigation of the configurations of violence, and an enquiring whether these works have a social-minded intention. Elements in scenery, framing and narration are analysed with the term “crystalline regime” (régim cristallin), described by French philosopher Gilles Deleuze, which defines the artificial as opposed to the purely representational. Processes within the narrations of the two works are analysed as rituals, which leads to an investigation of an internal sign-system and to the question whether the rituals in these works have a function. Theory by French philosopher Georges Bataille is used to analyse the ritual with no external purpose, which aims at an intense experience of life. Bataille’s concept “intensity” is used to describe violent as much as erotic themes in the narration as well as in the way the characters are presented, regarding music, camera-angles, etc. Furthermore, the thesis refutes interpretations in which Annika Larssons works are viewed as comments on political matters, such as gender-issues.

R. Murray Schafer (b. 1933, Sarnia, Ontario, Canada) is a seminal voice in Canadian music, due not only to the often controversial, but widespread international reception of his extensive spectrum of works, but also, due to his distinct approach to composition. Schafer’s Patria cycle (1966- ) employs unorthodox performance locales and contexts, a confluence of art forms and sensory experiences, and demands active audience participation, defining Patria as one of the most ambitious stage works. In this dissertation I explore two essential frameworks that are seminal in the discussion of Patria; firstly Schafer’s compositional processes, broadly defined, that come into play in Patria, and secondly, the performative and theatrical aspects in Patria. Through four ethnographic case studies, I suggest that the use of alternative performance spaces, participatory performance, and ritual performance foster an artistic and social environment that has the potential, if participants choose to fully engage in the experience, to alter participants’ perception of the importance of the environment, community, spirituality, and artistic and sensorial experience in contemporary society. In Chapter 1 I provide a discussion of Schafer’s concepts of soundscape and the theatre of confluence and how they are applied in Patria, and outline my research methodology, including my fieldwork experiences from working onsite during Patria productions from 2003 through 2007. In Chapter 2 I examine and contextualize four aspects of performance that reoccur throughout Patria and are specifically detailed in my four case studies: alternative performance space, participatory experience, and ritual performance. My four case studies, Chapter 3 The Princes of the Stars, Chapter 4 Asterion, Chapter 5 The Enchanted Forest, and Chapter 6 And Wolf Shall Inherit the Moon, argue that my participatory approach to Patria comprehensively illustrates how site, work, environment, and community interact, forming a distinctive performance experience.

R. Murray Schafer (b. 1933, Sarnia, Ontario, Canada) is a seminal voice in Canadian music, due not only to the often controversial, but widespread international reception of his extensive spectrum of works, but also, due to his distinct approach to composition. Schafer’s Patria cycle (1966- ) employs unorthodox performance locales and contexts, a confluence of art forms and sensory experiences, and demands active audience participation, defining Patria as one of the most ambitious stage works. In this dissertation I explore two essential frameworks that are seminal in the discussion of Patria; firstly Schafer’s compositional processes, broadly defined, that come into play in Patria, and secondly, the performative and theatrical aspects in Patria. Through four ethnographic case studies, I suggest that the use of alternative performance spaces, participatory performance, and ritual performance foster an artistic and social environment that has the potential, if participants choose to fully engage in the experience, to alter participants’ perception of the importance of the environment, community, spirituality, and artistic and sensorial experience in contemporary society. In Chapter 1 I provide a discussion of Schafer’s concepts of soundscape and the theatre of confluence and how they are applied in Patria, and outline my research methodology, including my fieldwork experiences from working onsite during Patria productions from 2003 through 2007. In Chapter 2 I examine and contextualize four aspects of performance that reoccur throughout Patria and are specifically detailed in my four case studies: alternative performance space, participatory experience, and ritual performance. My four case studies, Chapter 3 The Princes of the Stars, Chapter 4 Asterion, Chapter 5 The Enchanted Forest, and Chapter 6 And Wolf Shall Inherit the Moon, argue that my participatory approach to Patria comprehensively illustrates how site, work, environment, and community interact, forming a distinctive performance experience.

In the four early modern revenge tragedies I study, Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Titus Andronicus, Thomas Middleton’s The Revenger’s Tragedy, and John Webster’s The Duchess of Malfi, the ubiquitous depictions of corporeal violence underscore the authors’ skepticism of the human tendency to infuse bodies – physical manifestations of both agency and vulnerability – with symbolism. The revengers in these plays try to avenge the death of a loved one whose disfigured body remains unburied and often continues to occupy a place on stage, but their efforts to infuse corpses with meaning instead reveal the revengers’ perverse obsession with mutilation as spectacle. In Chapter one, I show how in The Spanish Tragedy Thomas Kyd portrays the characters’ assertions of body-soul unity to be arbitrary attempts to justify self-serving motives. Although Hieronimo treats Horatio’s dead body as a signifier of his own emotions, he displays it, alongside the bodies of his enemies, as just another rotting corpse. In Chapter two, I explore how in Titus Andronicus, William Shakespeare questions the efficacy of rituals for maintaining social order by depicting how the play’s characters manipulate rituals intended to celebrate peace as opportunities to exact vengeance; Titus demands human sacrifice as not just an accompanying element, but a central motive of rituals ostensibly intended to signify commemoration. In Chapter three, I read The Revenger’s Tragedy as illustrating Thomas Middleton’s characterization of the depiction of corporeal mutilation as an overused, generic convention; the play’s revenger, Vindice, attributes multiple, constantly shifting, meanings to the rotting skull of his lover, which he uses as a murder weapon. In Chapter four I argue that in The Duchess of Malfi, John Webster destabilizes spectators’ interpretive capacities; within this play’s unconventional dramatic structure, the main characters use somatic imagery to associate bodily dismemberment with moral disintegration. Corpses, the tangible remains of once vigorous, able-bodied relatives, serve as central components of respectful commemoration or as mementos of vengeance, yet these dead, often gruesomely mutilated bodies also invite repulsion or perverse curiosity. Thus, rather than honoring the deceased, revengers objectify corpses as frightening spectacles or even use them as weapons.

Huang Yizhou is one of the famous Chineses classics in late Qing Dynasty, but the Previous studies has always been focused on his achievements of "San Li". In fact,Huang YiZhou also has great interest in thinking, from the book "jing xun bi yi" we can know his attempt is not only limited to textual ritual theory.Of course, ritual theory of Huang Yizhou's thought has a great impact, but in addition, Huang Yizhou's idea are there any other features? The purpose of this research is precisely this. The research methods in addition to this literature, but also hopes to include Huang Yizhou 's home school, make friends to search for clues.In a few word,this article is also about Huang Zhou's life, home school, make friends and explore books and other respects.We hope can understand more about Huang Yizhou 's thought 's special characteristic.

In this thesis, I intend to examine differences between religious communities and practices through a comparative study of funeral ceremonies performed at Hacibayram and Kocatepe Mosques in Ankara. The ethnographic data, which have been collected through eighty-seven funeral ceremony that I attended in these two mosques, shows that there are repetitive patterns among funeral ceremonies performed in the same mosque. When we compare the ceremonial patterns in Hacibayram Mosque and Kocatepe Mosque, it is observed that funeral ceremonies performed in these two mosques is differentiated in terms of material culture, gender and sentiments. There are different variables for these ritual differentiations, such as the nature and composition of a religious community frequenting a mosque, and the meanings and traditions ascribed to a mosque, which affect the way in which prayers are perceived and practiced. Besides, it is also realized that repetitive patterns among funeral ceremonies performed in the same mosque may even differentiate, because of social status and worldview of deceased and mourners.

The purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants. / text