The Burgundian and Habsburg Netherlands constitute an interesting case for studying the function and symbolism of matrimony. This period marked an active time of change in the Low Countries: there was ongoing antagonism between the dukes of Burgundy and their Dutch subjects; shifts in the mercantile industry caused economic flux; the Reformation sparked religious tension; and the rapid expansion of the art market created a Europe-wide demand for Netherlandish fine and decorative art. In the face of upheaval, the act of marriage and the ideology surrounding it remained relatively consistent. Betrothal and marriage ceremonies in the Low Countries were quite formal compared to those in southern Europe; the quintessential northern ceremony customarily involved a priest, witnesses, and symbolic hand gestures. The images discussed in this thesis overwhelmingly reflect the importance of ritualistic behaviour in the late medieval Netherlands; the majority of them depict proper in facie ecclesiae unions, meaning “in the face of the Church.” These images of ideal marriage rituals were most commonly commissioned by members of the court or Church, and were used primarily to display wealth and power, to enhance the pageantry of court life, to draw connections with the mythic or biblical past, to promote canon law, and to reinforce cultural values. The fifty-three images studied in this thesis not only relate to discourses on medieval marriage and art history; they also fit into the larger narratives surrounding civic authority, religious tension, economic change, and social mores. In this thesis, I use an interdisciplinary approach to reveal the main functions of matrimonial ceremonies in Early Netherlandish art, and to examine the gap between image and reality. This thesis contributes to a better understanding of ritual and visual expression in the Burgundian and Habsburg Netherlands.

Le processus d’apprentissage d’une langue étrangère ne consiste pas seulement à mémoriser des formes et des structures linguistiques mais aussi à développer une capacité à utiliser adéquatement des ressources langagières et à enchaîner de manière cohérente sur le discours d’autrui pour communiquer. Dans cette perspective, la présente étude s’intéresse à des échanges conversationnels en classe de FLE entre étudiants vietnamiens et en situation naturelle de communication entre ces derniers et locuteurs natifs. L’objectif visé est de comprendre et décrire les causes réelles qui aboutissent à des difficultés de communication auxquelles sont confrontés les étudiants. Par ailleurs, notre recherche vise également à examiner le rôle, les mécanismes des rituels de la communication et la prise de conscience des étudiants sur ces rituels lors de leur pratique de l’oral en milieu naturel et en classe de langue. A cet effet, les travaux qui s’inscrivent dans le cadre de l’approche interactionniste de l’acquisition des langues en contexte exolingue, de l’ethnographie de la communication et de l’analyse conversationnelle constituent une référence théorique de base. Nous avons analysé des questionnaires effectués auprès des étudiants et des enseignants, et des conversations entre étudiants et locuteurs natifs du français en centrant sur la dimension interactionnelle et sur l’emploi des stratégies de communication par ces derniers pour arriver à l’intercompréhension et à l’appropriation des éléments de la langue étrangère. Enfin, cette recherche inscrite dans une perspective didactique a pour fonction d’engendrer les conditions interactives et de préciser des moyens, les schémas interactionnels ou les nouvelles pratiques d’enseignement les plus favorables à l’apprentissage de l’oral en FLE des étudiants vietnamiens en classe de langue. / The process of learning a foreign language consists not only in memorizing forms and linguistic structures but also in developing an ability to adequately use linguistic resources and to consistently follow the speech of others to communicate. In this perspective, the present study focuses on conversational exchanges on the one hand in a class of French as a foreign language between Vietnamese students and on the other hand in the natural communicative situations between Vietnamese students and native speakers. The objective is to understand and to describe the real causes that lead the students to difficulties of communication. Moreover, my research also aims to examine the role, the mechanisms of the rituals of communication and the awareness of students of these rituals during their oral practice both in natural environment and in language classroom. To this effect, a theoretical basic of reference is provided by the interactionist approach of language acquisition in exolingual context, the ethnography of communication and the conversational analysis. We analyzed questionnaires conducted among the students and teachers, and conversations between students and native speakers of French focusing on the interactional dimension and the use of communication strategies to achieve mutual understanding and appropriation of elements of the foreign language. Finally, this research registered in a didactic perspective is designed to create interactive conditions and to specify means, interactional diagrams or new teaching practices the most favourable to the oral learning in French as a foreign language of Vietnamese students in the language classroom.

This thesis examines archaeological eggshell finds from cremation graves in the Swedish province of Uppland as well as inhumation graves from the island of Gotland. All graves are dated to the Viking Age, however, the chronology varies by the region, with the period´s ending placed around year 1050 AD in Uppland and around year 1150 AD at the island of Gotland. An attempt is made to create a list of all known cases of egg depositions in graves during the period of interest, and to subsequently analyse them all in order to get a better understanding of this practice. The comparative analysis of the artefact assemblages within the graves and grave constructions is undertaken in order to identify possible regularities in how and when the egg was used within the ritual sequence. Although notable regional variations and differences in Viking Age burial customs are known to exist between the two investigated regions, and artefacts deposited within the graves are adapted to regional conditions, it is possible, amongst other things, to observe similarities in the timing of egg deposition. By understanding the funeral as a rite of passage that signified the transition between the states of life and death, and with the final goal of achieving the distinction between the world of the living and the realm of deceased ancestors, it is possible to better comprehend the funeral rituals and their archaeological remains – in this case avian eggshells. By applying van Gennep's rites of passage tripartite structure, involving separation, liminality, and incorporation, it is concluded that eggs, as we see them in the archaeological material presented in this study, are used in the last stage of this model. This is the part of the process where the main goal is reintegration of those who participated in ritual into a new social order. It is thus proposed here that eggs might be seen as hierophanies:  profane, everyday objects that have manifested into something sacred and who are clearly understood as such to those involved in burial but not necessary to outsiders: as symbols for fertility, regeneration, rebirth and transformation.

Cette recherche propose de construire la notion d’agression pour en faire un concept applicable à une poétique textuelle et scénique tout en tenant compte de sa dualité fondamentale. À la fois créée par l’auteur et reçue par le spectateur, elle peut être considérée comme une « action dramatisante » (Marie-Madeleine Mervant-Roux), c’est-à-dire comme un ensemble de procédés formels visant la production d’effets violents sur le spectateur. Elle a emprunté, au cours de l’histoire, différentes formes et significations que la méthodologie par « foyer de sens » (Frédéric Gros) permet de mettre en évidence. Trois variations de sens d’une même dimension du principe d’agression peuvent ainsi être identifiées : la première considère l’agression comme l’action d’introduire un désordre, un dérangement, renvoyant l’agression théâtrale à une stratégie ludique de mise en relation du spectateur avec le sacré. Elle est repérable dans le rejet platonicien de la poésie imitative de la cité, dans le Théâtre de la Cruauté d’Antonin Artaud, puis à l’ère postmoderne, dans certains spectacles usant de la performance, comme ceux de Rodrigo García. La deuxième envisage l’agression comme une action créant une instabilité éthique ou intime, assimilant l’agression théâtrale à une déstabilisation émotionnelle. Avec la Poétique d’Aristote, l’agression se pense comme un événement inattendu conditionné par un jeu de discordances et de surprises. Cette modalité est reconfigurée par Edward Bond dans les années 1960. La troisième considère l’agression comme l’action d’inciter quelqu’un à quelque chose par une attitude agressive ou une sorte de défi. L’agression théâtrale s’apparente dans ce cas à une stratégie politique dont Bertolt Brecht est l’un des grands représentants. Dialectiquement structurée, cette agression est singulièrement reconfigurée par Hanokh Levin dans les années 1970. Conditionnée par la surprise et l’inaccoutumance du spectateur, l’agression témoigne, quelle que soit sa forme, d’une abolition momentanée du cadre théâtral, d’une disparition du symbolique, dans une perspective sociale, éthique ou politique. / The purpose of my research is to construct the concept of aggression, making it applicable to textual and scenic poetics while accounting for its fundamental duality. This violence, both as created by the playwright and as received by the spectator, can be construed as a “dramatizing action” (Marie-Madeleine Mervant-Roux); in other words, as a set of formal processes aimed at producing violent effects upon the spectator. Over history, it has taken on a variety of forms and meanings that Frédéric Gros’s “foyer de sens” (“focus of meaning”) methodology makes apparent. We can thereby identify three variants in the meaning of the same dimension of the principle of aggression. The first considers aggression as the act of introducing a disorder or disruption, relating theatrical violence to a playful strategy of confronting the spectator with the sacred. It can be noted in the Plato’s rejection of poetry imitative of the city, in Antonin Artaud’s Theatre of Cruelty and, in the post-modern era, in certain productions that use performance, like those of Rodrigo García. The second variant imagines aggression as an action that creates an ethical or intimate instability. It assimilates theatrical aggression with emotional destabilization. With Aristotle’s Poetics, aggression is thought of as an unexpected event contingent upon a series of discordances and surprises. This modality was reconfigured by Edward Bond in the 1960s. The third variant sees aggression as the act of inciting someone to do something, either by assuming a threatening attitude or by challenging him in some way. In this case, theatrical aggression is akin to a political strategy, and is exemplified by the plays of Bertolt Brecht. Structured dialectically, this aggression was reconfigured in a unique way by Hanoch Levin in the 1970s. Regardless of form, aggression relies upon surprise. As a jolt to the spectator, it attests to a momentary abolition of the theatrical framework: a disappearance of the symbolic, in a social, ethical, or political perspective.

Brahmā est introduit dans l’iconographie tamoule dès la fin du 6ème s. ou le tout début du 7ème s. par les Pallava, probablement originaires du sud de l’actuel Andhra-Pradesh : ils initient simultanément la sculpture sur pierre et le développement de la culture brahmanique dans l’extrême sud de l’Inde. La divinité apparait dans les fondations du Deccan à la même période : elle participe alors essentiellement de la triade qu’elle forme avec Viṣṇu et Śiva. La faveur que connait Brahmā par la suite, puisqu’il préside à la façade nord sur plusieurs temples shivaïtes de la fin de la période Pallava puis de la période Cola, est en revanche inédite dans d’autres traditions régionales : elle trouve sans aucun doute son origine dans la relation complexe de complémentarité et de rivalité qu’il noue avec Śiva - mais aussi Viṣṇu, même si elle est dans ce cas moins conflictuelle - dans l’idéologie royale développée par les rois Pallava, et plus particulièrement telle qu’elle est mise en scène dans l’iconographie narrative du temple Kailāsanātha à Kāñcipuram au début du 8ème s. Les interactions multiples entre les deux divinités s’articulent notamment autour de la confrontation ambiguë du brahmanisme orthodoxe avec une nouvelle forme d’expression du savoir śaiva d’une part, et, d’autre part, autour de la figure du roi, que peut représenter Śiva, et du brahmane, du purohita, incarné par Brahmā. Le contexte et la signification de ces représentations jusqu’au tournant du 10ème s. en regard de l’art contemporain du Deccan mettront en lumière les spécificités du sud tamoul mais aussi ce qui participe de concepts plus largement diffusés qu’il ne semblerait au premier abord. / Brahmā was introduced into Tamil iconography at the end of the 6th century or the very beginning of the 7th century by the Pallava, probably from the south of present-day Andhra-Pradesh: they simultaneously initiated stone carving and the development of Brahmanic culture in the far south of India. The divinity appears in the shrines of the Deccan at the same period: he then essentially participates in the triad he forms with Viṣṇu and Śiva. The favor that Brahmā knows thereafter, since he presides over the north facade on several Śaiva temples of the end of the Pallava period then of the Cola period, is by contrast unprecedented in other regional traditions: it undoubtedly finds its origin in the complex relationship of complementarity and rivalry that it establishes with Śiva - but also Viṣṇu, even if it is in this case less conflictual - in the royal ideology developed by the Pallava kings, and more particularly such as it is staged in the narrative iconography of the Kailāsanātha temple in Kāñcipuram at the beginning of the 8th century. The multiple interactions between the two divinities are articulated notably around the ambiguous confrontation of orthodox Brahmanism with a new form of expression of Śaiva knowledge on the one hand, and, on the other hand, around the figure of the king, which Śiva can represent, and of the Brahmin, the purohita, embodied by Brahmā. The context and meaning of these representations up to the turn of the 10th century in relation to the contemporary art of the Deccan will highlight the specificities of southern Tamil imagery but also its connexion to concepts more widely disseminated than it would seem at first sight.

BMA Innovation Consulting is committed to serving consumers products that can play a more meaningful role in household cleaning. So far, their innovation department has used psychology-based principles and approaches that have helped them understand consumers’ preferences, attitudes and claimed needs in household cleaning. That said, little information has been collected on the active role that products play or could play as participants in the everyday dynamics of US consumers. An anthropological approach to the study of U.S. kitchens, as an important center of family interaction in U.S. households, should yield important insights to the design and development of products that can more effectively and more actively participate in those dynamics. With this project I am fundamentally proposing a new approach to the identification of critical product design requirements. Figure on the right shows the key differences between the psychology-derived principles the organization is mostly using today vs. the anthropological lenses through which I will be conducting my research. Overall, I will be leveraging existing knowledge in the “individual desires” realm, connecting it to the collective situation & cultural context within which “cleaning action” emerges.

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The diploma thesis called "Domestication of Television News: Everyday Social Use of Television News in the Contemporary Family Environment" deals with the question of how and why are the evening news used in the family environment. It approaches this topic from the perspective of auditorial approach of cultural studies, takes for granted the existence of autonomous active audience. It informs about the key studies of social use of media, e.g. the typology of social use or role of gender in the attitude to media, and it deals with the question of relation of children and media. Further part of work is devoted to the news, its characteristics and the possible social use of this format by specific members of the family.These concepts are consequently used as tools for the research itself. The research of social use of the evenenig news is carried out with the help of qualitative grounded theory. In the empirical part the author arrives to the following conclusions: the main motivation for watching news is informative use, though at the same time it is used as a coulisse to other activities, most often bathing children and preparing or eating dinner. The most widespreaded type of watching news might be described as "monitoring", when television news viewing is secondary to some other primary activity....

Draft synagogue draws on traditional values from the past, but is set in the present time and modern elements to create the perfect environment for future work and development of the Jewish community. In the past, they reached the synagogue larger sizes and higher than the surrounding buildings. Attracted so immediate dominance. Today's urban planning and capacity synagogues us not allow this dominance. However synagogue be different because of the surrounding buildings. The proposed project will thus achieve a modern shape, splayed hands towards God. The synagogue is to be removed, so as sculptures have their pedestals, and the proposed synagogue is mounted on a pedestal. Is thus formed plastic loosely inserted into the surrounding nature.

Much study regarding the Belhar Confession has been conducted already such as: The Belhar Confession in its historical context Plaatjies-van Huffel (2014), Chronicle of Conference Barman/ Belhar Consultation 18 and 19 October 2004 Hansen (2005), A gift from heaven-the receptions in the Belhar Confession in the period 1982-2000 and its ecumenical significance today Naudè (2003) and On violence, the Belhar Confession and human dignity Koopman (2008) to mention but a few. From preliminary observations and some initial research, it seems that there is still a need to do an indepth study on the liturgical function of the Belhar Confession in Music. The working hypothesis of this study is if the Uniting Reformed Church in Southern Africa URCSA uses Belhar more in the liturgy, especially in singing it will have an impact on the congregations and members. In other words the working hypothesis is that there is a link between liturgy, here specifically hymn singing, and the formation of worshippers. If URCSA is expecting others to adopt this confession it is its responsibility to embrace it during worship in church and to the rest of the society outside church vicinities. The literature survey that will be carried out later in this study confirms this state of affairs and that there is thus indeed a huge research gap in this regard. The researcher did a literature study, conducted semi-structured group interviews, as well as the some empirical research in order to explore the basic research question. / Dissertation (MA Theol)--University of Pretoria, 2017. / Practical Theology / MA Theol / Unrestricted