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This thesis proposes that integrated rituals of netherworld descent and heavenly ascent are represented in the Hebrew Bible as having been performed by Davidic royals – royal women, as well as male monarchs. In some instances (e.g. Psalms 2; 18; 24; 89:2-38; and 110) these rituals are represented idealistically, with Yahweh confirming the king’s ritual status and potency, through re-presented speech acts. In other instances, however, while an idealistic picture of monarchy continues to be upheld, it is subverted from within in varying ways (e.g. 2 Kgs 9:30-37; 11; Ps. 89:39-52; Isa. 14.4b-20; Jer. 13:18-20; Ezekiel 19). The differing portrayals of monarchy reflect the differing ways with which biblical texts are negotiating and interacting with ambiguous discourses embodying memories of monarchy. On the one hand, after the fall of monarchic Judah, ‘foreign’ monarchy (and especially trading monarchies, such as those of Phoenicia) were fetishised within biblical authors’ discourses of political and economic imperialism, and so Davidic monarchy became a signifier of an enchanting and mystifying ‘indigenous’ past. On the other hand, discourses concerning the past frequently referenced exile, and the collapse of monarchy. Some biblical representations of ritual netherworld descent and heavenly ascent acknowledge this latter, uncomfortable kind of remembering – even as they reify and reinforce these enchanting memories which they subvert. The remembered, cosmically liminal first temple and the remembered royal body become loci for these paradoxical, contradictory, and competing memories. This much is evident in mystifying royal cosmic liminality and heavenly ascent, access to divine knowledge, and mimesis of Yahweh; in cathartic myths of the subjugation of the forces of chaos and disorder, both cosmic and military; and in the subversion of the enchanting remembered Davidic cultic praxis of descent and ascent, through these motifs’ re-presentations in montages alongside rituals which connote displacement, destruction, profanation, desecration, subjugation and being forgotten. In these instances, the vulnerabilities inherent in cultural idealising of the Davidic monarchy’s potent cosmic liminality are brought into sharp relief.

Dans le sud du Gabon et le Congo limitrophe, les Pygmées Babongo constituent un groupe disséminé dont l’homogénéité demeure à démontrer. Ils ont jusqu’à récemment fait l’objet de peu d’investigations scientifiques, vraisemblablement en raison de leur apparente moindre adéquation avec les stéréotypes associés aux Pygmées en Afrique centrale. Fondée sur une ethnographie focalisée sur les monts du Chaillu, cette thèse contribue à leur meilleure connaissance. Le partage, par ces Babongo, des institutions sociales et culturelles de leurs voisins non-pygmées Mitsogo et Masangu invite d’emblée à penser l’analyse en termes de relations interethniques. La thèse s’attache ainsi à caractériser la relation Pygmées/non-Pygmées, qui se distingue de la relation entre non-Pygmées par sa qualité foncièrement bivalente et asymétrique. Deux cadres d’analyse sont mobilisés à cette fin : le « pays mobongo » (sing. de babongo) et la musique principalement rituelle. L’expression analytique « pays mobongo » souligne en termes géographiques le rôle central des Babongo dans la reproduction d’une société pluriethnique malgré leur statut de cadets sociaux. La musique, dont l’expertise est créditée aux Babongo, est envisagée comme un mode de communication articulant un contenu et une relation. Différentes échelles d’observation sont mobilisées : le matériau sonore et ses règles ; la performance ; la performance dans sa récurrence. Ce jeu d’échelles permet de considérer tant la production que la perception de la musique. Il interroge également en termes communicationnels les régimes de plasticité du changement musical. La logique de la relation Pygmées/non-Pygmées émerge quant à elle du plan méta-communicationnel de la pratique musicale rituelle. L’analyse de cette dernière met en évidence les perspectives babongo et voisines sur la relation interethnique, ainsi qu’une analogie entre les relations Babongo/voisins et femmes/hommes. En outre, la bivalence caractéristique de la relation interethnique est suggérée comme relevant notamment de la co-adhésion des Babongo à deux systèmes normatifs. Il apparaît enfin que ce qui distingue les Babongo de leurs voisins les rapproche en définitive d’autres populations pygmées d’Afrique centrale. / In southern Gabon and neighboring Congo, Babongo Pygmies form a dispersed group whose homogeneity remains to be demonstrated. If they have received little scientific attention until recently, this is probably because the stereotypes associated with Pygmy groups elsewhere in Central Africa do not seem to apply easily to them. Based on an ethnography focused on the Chaillu mountains area, this thesis contributes to a better knowledge of this population. The fact that the Babongo (sing. mobongo) have the same social and cultural institutions as their Mitsogo and Masangu non-Pygmy neighbors makes it tempting to analyze their interrelationship in ethnic terms. The thesis aims to characterize the Pygmy/non-Pygmy relationship, which is distinct from that between non-Pygmy groups, by its fundamentally bivalent and asymmetric qualities. The argument makes use of two analytical frameworks: “mobongo land” on the one hand, and mainly ritual music on the other. The conceptual entity “mobongo land” emphasizes in geographic terms the central role the Babongo play in the reproduction of the multi-ethnic society that inhabits this area, in spite of their lower social status. The Babongo are considered skilled musicians, and music is treated here as a means of communication linking together a content and a relationship. Various levels of observation are made use of: the musical material and its rules of composition, its performance itself, and the recurrence of performative events. Considering these various levels allows for both the production as well as the perception of music to be taken into account. It also frames the plasticity of musical change in communicational terms. The underlying logic of the relationship between Pygmy and non-Pygmy communities emerges from the meta-communicational dimension of musical practice in ritual contexts. Analysis of this practice highlights the perspectives held by the Babongo and their non-Pygmy neighbors on their interethnic relationship, as well as the analogy that exists between the Babongo/neighbor relationship and that held to exist between women and men. Additionally, I suggest that the characteristic ambivalence of the interethnic relationship in mobongo land derives above all from the Babongo’s compliance with two normative systems. In the end, it appears that that which most distinguishes the Babongo from their neighbors ultimately moves them closer to other Pygmy groups in Central Africa.

Le travail présenté ici montre, à travers l’étude du festival du Hellfest, festival annuel de musique metal se déroulant à Clisson en Loire-Atlantique, que cette musique constitue une véritable culture. Pour comprendre la place actuelle qu’occupe le Hellfest pour la communauté metal, il est nécessaire d’en connaître l’évolution depuis sa création, d’interroger les relations qu’il favorise entre festivaliers, entre festivaliers et artistes et de questionner son rôle en tant que lieu permettant à une communauté sans ancrage géographique de se rassembler pendant un temps donné. Les sociabilités diverses qui se vivent au Hellfest ne peuvent se comprendre sans s’intéresser à l’économie particulière mise en place par les organisateurs, économie qui participe à la reconnaissance de l’événement et influe sur les sociabilités. Les organisateurs ont eu et ont le souci de prendre en compte les souhaits des festivaliers de tous les sous-genres de musique metal, les rendant acteurs et non simples consommateurs et ont su associer les acteurs économiques locaux. Le Hellfest permet dans la vie de chaque métalleux une pause dans un espace particulier, durant un temps délimité, offrant à chacun, la possibilité d’affirmer ou de réaffirmer son identité à travers différents rituels. Il est ainsi le pèlerinage de la communauté metal tout entière / The present work shows, through the study of the Hellfest Festival – an annual heavy metal music festival that takes place in Clisson, Loire-Atlantique, France – that this music is in itself a genuine culture. In order to understand how the Hellfest Festival features in the metal community, one needs to know how it has developed since it was created, to question how it supports relationships among the festival-goers, as well as between festival-goers and artists, and to examine the part it plays as a place where a community devoid of any geographical anchorage can meet during a specific period of time. To be understood, the various socializing behaviors displayed during the festival must be reviewed in association with the particular economics implemented by the organizers, which are a part of the acknowledgement of this event and have impacts on the socializing behaviors. The organizing team has had and still has a view to take into account the festival-goers’ wishes in terms of metal music sub-genders, making them actors and not only consumers, and has been able to include the local economic players. The Hellfest festival offers each and every metalhead a break within a specific space, during a defined period of time, and the opportunity to assert or reassert his or her identity through various rituals. It is a pilgrimage for the whole metal community

Ritual is a notion that the art world has increasingly reclaimed. From critical writing that zealously identifies rituals to artists who qualify their work as ritualistic, the notion circulates, poking at the boundaries of art practice. The pattern raises critical questions for art history: does it vanish the distinction between art and social practices, casting art's separation from ritual as a passing historical phase? What are the distinctions in the first place between representing and producing a ritual? These concerns come to the fore with moving images, given that ritual has long been at the heart of ethnographic film, while the very act of filming is becoming central to a growing number of social customs. Addressing these relationships, this thesis focuses on video work since the late 1990s. The thematic research moves through three case studies: series of works by Mike Kelley, Pierre Huyghe, Ryan Trecartin and Lizzie Fitch, while keeping a comparative view towards other observers and producers of ritual in premodern painting, ethnographic filmmaking, post-internet practices, mainstream cinema, and homemade videos. Among the most influential artists at the turn of this century, Kelley, Huyghe, Trecartin and Fitch share the singular practice of restaging, for and through film, the rituals that surround them, from high school hazing and carnivals to coronations, corporate team-building, Halloween, Valentine and May Days, suburban street fairs, birthdays, and the new observances of social media. Through close study of the artworks and of moving image tropes that shape social imaginaries, the thesis suggests that these artists produce new insights into contemporary human behaviour. While art and ritual tend to be tackled as coded objects to be deciphered, holding condensed information about the societies to which they point, anthropological theory that considers ritual for what it does (rather than what it symbolises) invites us to examine them instead as practices where portions of social reality are produced - formalised and reinvented.

This text is to the observation and analysis of the importance of the Romaria da Nossa Senhora Medianeira de Todas as Graças for the city of Santa Maria - RS, and how she became a saint of popular devotion. Through an ethnographic study conducted between the years 2009 and 2010, with different actors, such as: the local Catholic Church, local faithful people, pilgrims and tourists; seeking to interpret the different motivations for the participation in the Pilgrimage. And at last, a reflection is carried on how this religious event through its myth and ritual influences on the development of religious tourism in the city of Santa Maria-RS. / Esta dissertação se propõe à observação e à análise da importância da Romaria da Nossa Senhora Medianeira de Todas as Graças para a cidade de Santa Maria- RS, e de como ela tornou-se uma santa de devoção popular. Através de um trabalho etnográfico desenvolvido entre os anos de 2009 e 2010, com diferentes atores, tais como: Igreja Católica local, fiéis locais, peregrinos, romeiros e turistas, procuro interpretar as diferentes motivações para a participação na Romaria. E, por fim, encaminhar uma reflexão de como esse evento religioso, através de seu mito e de seu rito, influencia no desenvolvimento do turismo religioso na cidade de Santa Maria-RS.

This thesis is a meditation on liberatory futures for colonized pasts. It begins with a history of the imperial relationship between the US and the Philippines and how coloniality took root in the lives of Filipinos. The second chapter explores the critique of imperialism offered in post/colonial cultural productions by Manuel Ocampo and his location within the museum, as a constitutive site of modernity. The third chapter explores the project of de-coloniality and the role of ritual and imagination.

Although the 'affective turn' in social sciences lead to a new understanding of the effects of emotions on society, the role of emotions in media remains scarcely researched. Purpose of this study is to shed light on emotions in global television news and the ways in which gendered and racialized power relations may shape, and may be shaped by, emotional practices and discourses. Precisely because emotions play a significant function in discourses of political conflict, focus here is the coverage of political dissent, specifically the coverage of the 2017 Unite the Right rally in the two global television channels CNN International and Al-Jazeera English. The study thus builds on literature on emotions and political struggles, and literature on emotions in the media, to apply the questions posed therein to the medium global television. Analyzing broadcast items, this study employs a mixed method approach that combines a quantitative content analysis with a qualitative analysis of broadcast items grounded in Teun A. van Dijk’s tradition of critical discourse analysis, within an analytical framework that privileges emotions. The findings reveal an unequal distribution of voice in the coverage of both channels, which in connection with emotion practices and discourses, establishes a marginalization of voice along the lines of race, class, and gender. Accordingly, the study gives an account of the representation of voice, race, and emotions in the coverage of the Unite the Right rally, and establishes the importance of studying emotions in media in relation to these concepts.

Made available in DSpace on 2014-12-17T13:54:49Z (GMT). No. of bitstreams: 1 BrunoGMS_DISSERT.pdf: 4709456 bytes, checksum: 0aca341ad8c9631e88675a2e23ed051a (MD5) Previous issue date: 2012-06-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The object of this work is a fellowship of S?o Sebasti?o e Nossa Senhora do Ros?rio in the city of Jardim do Serid? (RN), that is, a black catholic fellowship on the sert?o potiguar. The devotion to Nossa Senhora do Ros?rio, in colonial Brazil, organizes itself through black catholic men as fellowships. They blossomed in Brazil until the abolition, getting support from the Catholic church, from owners of slaves and from the population in general − unlike others afro-Brazilian religious expression. Today, these fellowships remain active, against the sentimental pessimism of the folklore studies, and they also have a highlight position in the calendar of many cities in Brazil, and in particular in Serid?. The research s foothold is the apparent valorization of the fellowship by the local elite, attitude that hides asymmetric relationships between the group of negros do Ros?rio and the local authorities, having as its consequence that the members occupy a subaltern position inside their own fellowship. This subalternity take place, mainly, in the public area, where the negros do Ros?rio cannot represent themselves neither political nor discursively. To discuss this idea, it s done a brief historical of these catholic institutions as well as a description of the relationship between the negros do Ros?rio and the elites of the city. Then, the phenomenon is analyzed as folklore and/or religion , under the perspective of many agents that participate in this process. In other moment, it is going to be presented how the group formulates their own representation of the history, of the devotional forms and of their own political-religious experiences. In this sense, an ethnography of the subalternity is understood as an analysis of the process that leads the negros do Ros?rio to become a subaltern group. It s also outlined the perception that the group has of its own position, through an ethnography essay of the subaltern subject. The research, focused in the group of Ros?rio, was done between August 2010 and January 2012 and includes other agents (like treasurers, priests and intellectuals). Besides that, as a methodological complement, there are documental research, photography, as well as shoots of the party days and public presentation / O objeto deste trabalho ? a irmandade de S?o Sebasti?o e Nossa Senhora do Ros?rio da cidade de Jardim do Serid? (RN), irmandade negra no sert?o potiguar. A devo??o a Nossa Senhora do Ros?rio, no Brasil col?nia, organizou-se institucionalmente atrav?s de irmandades cat?licas de homens pretos. Estas floresceram no Brasil at? a aboli??o e receberam o apoio da Igreja, dos senhores e da popula??o em geral, ao contr?rio de grande parte das express?es religiosas afro-brasileiras. Hoje, contrariando o pessimismo sentimental dos folcloristas, elas ainda continuam ativas e ocupam um lugar de destaque no calend?rio festivo de v?rias cidades no Brasil, e em particular no Serid?. O ponto de partida da pesquisa ? a aparente valoriza??o da irmandade por parte da elite local, postura que esconde rela??es assim?tricas entre os negros do Ros?rio e as autoridades locais, tendo como consequ?ncia o fato de os integrantes da irmandade ocuparem uma posi??o subalterna dentro dela pr?pria. A referida subalternidade se d?, principalmente, na esfera p?blica, pois os negros do Ros?rio n?o se representam politicamente e nem discursivamente. Para discutir essa ideia, faz-se um breve hist?rico dessas institui??es cat?licas, bem como uma descri??o das rela??es entre os negros do Ros?rio e as elites da cidade. Em seguida, o fen?meno ? analisado enquanto folclore e/ou religi?o e sob a perspectiva dos v?rios agentes que interv?m no processo. Em outro momento, ser? apresentada a maneira como o grupo formula suas pr?prias representa??es da hist?ria, das formas devocionais e de suas viv?ncias pol?ticoreligiosas. Nesse sentido, ? tra?ada uma etnografia da subalternidade pensada como a an?lise do processo que leva os negros do Ros?rio a se tornarem um grupo subalterno. ? delineada, tamb?m, a percep??o que este grupo tem da sua posi??o, a partir de um ensaio de etnografia do sujeito subalterno. A pesquisa de campo, centrada no grupo do Ros?rio, foi realizada entre agosto de 2010 e janeiro de 2012 e incluiu outros agentes (como tesoureiros, padres e intelectuais). Al?m disso, como complementa??o metodol?gica, foram utilizadas pesquisa documental, fotografias, bem como filmagens das festas e apresenta??es p?blicas

This work is deal with symbols and ritulas in a scout troop and their´s importace in education of childs, teen-agers and adults in spare time. Introduction of theoretic part is about scout movement, beginning scouting, history, basic commision and ideas of movement. Also describes scout troop and his activity. Theoretic part contains charakteristic of symbols and rituals in human life, definitions of symbol and rituals and deal with importace of symbols and rituals for human life. Practical part contains characteristic of symbols and rituals in international scouting and in czech organization Junák {--} svaz skautů a skautek ČR. Conclusion of practical part describes concrete symbols and rituals in scout troop. Ideas of scouting, symbols and rituals are extented around all the world and they are important element of education in spare time.