N/A

This is a creative practice-based photographically researched project that is contextualised by a written exegesis. I am attempting to conceptualise the apparent visual experiences that occur during the dying process, death, and rebirth as believed within Tibetan Buddhism. The Bardo of life is also relevant as it pre-ordains the visual context of the experiences within the dying, death and rebirth Bardos.Through the medium of photography, my methodology and practice are reflective of two fundamental ideas. These are: Luminosity and Illusion. They are supported by my research into the phenomenon of the 'Near Death Experience' and the Jungian concept of the conscious and subconscious mind. These states of reality are explored in relation to the Tibetan Book of the Dead's concept of the Bardo. My focus is to photograph the four elements of Earth, Fire, Air and Water as mediums familiar to all human beings and relate these in context to the Tibetan Book of the Dead's description of entering the Bardo of death. Illusion and luminosity are discovered by 'seeing' these within the four elements, and are related in context to the Tibetan Buddhists' belief of an after-death reality. This transition from the dying process into the unknown Bardo of death is supported by the familiarity of these four elements in life, and the mind's notion of reality.

This is a creative practice-based photographically researched project that is contextualised by a written exegesis. I am attempting to conceptualise the apparent visual experiences that occur during the dying process, death, and rebirth as believed within Tibetan Buddhism. The Bardo of life is also relevant as it pre-ordains the visual context of the experiences within the dying, death and rebirth Bardos.Through the medium of photography, my methodology and practice are reflective of two fundamental ideas. These are: Luminosity and Illusion. They are supported by my research into the phenomenon of the 'Near Death Experience' and the Jungian concept of the conscious and subconscious mind. These states of reality are explored in relation to the Tibetan Book of the Dead's concept of the Bardo. My focus is to photograph the four elements of Earth, Fire, Air and Water as mediums familiar to all human beings and relate these in context to the Tibetan Book of the Dead's description of entering the Bardo of death. Illusion and luminosity are discovered by 'seeing' these within the four elements, and are related in context to the Tibetan Buddhists' belief of an after-death reality. This transition from the dying process into the unknown Bardo of death is supported by the familiarity of these four elements in life, and the mind's notion of reality.

Th. 3e cycle--Études anc.--Grenoble 3, 1977. / Le texte latin de chaque inscription est transcrit et trad. en français. Bibliogr. p. XVII-XVIII et 291-297.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Buddhist tantric practitioners embrace the liminal status of the human body to manifest divine identity. In piercing to the pith of human embodiment, the tantric practitioner reconfigures the shape and contours of his/her reality. This article investigates the evolution of one particular technique for piercing to the pith of the body on Tibetan soil, a ritual practice known as body mandala [lus dkyil Skt. deha-man. d. ala]. In particular, it uncovers a significant shift of emphasis in the application of the Guhyasamaja body mandala practice initiated by champions of the emerging Gandenpa [Dga' ldan pa] or Gelukpa [Dge lugs pa] tradition of Tibetan Buddhism, Tsongkhapa (1357-1419) and Mkhas grub rje (1385-1438). This article reveals some of the radical implications of ritual exegesis, ranging from the socioreligious aspects of securing prestige for a tradition to the ultimate soteriological goals of modifying the boundaries between life and death and ordinary and enlightened embodiment.

Pour l’étude de l’histoire architecturale du palais beylical du Bardo à Tunis, nous avons jugé utile de répartir notre recherche en trois grandes parties. La première partie, intitulée présentation historique, est réservée à l’étude des sources et des conditions générales de la création architecturale à Tunis pendant l’époque des réformes (1824-1881). La deuxième partie, intitulée palais du Bardo : étude monographique, est consacrée à l’étude architecturale des monuments qui subsistent encore dans le palais du Bardo ainsi qu’à l’étude des chantiers de construction et de restauration qui se sont déroulés dans le palais à l’époque des beys réformateurs (Husayn Pacha, Mustafâ Pacha, Ahmad Pacha, Muhammad Pacha et Muhammad al-Sâdik Pacha). La troisième partie, intitulée la construction beylicale à Tunis à l’époque des réformes, est réservée à l’étude des caractéristiques de l’art de construction à Tunis pendant l’époque des réformes, à travers les données présentées dans les deux premières parties. / To study the architectural history of the Beylical Bardo palace in Tunis , we have chosen to divide our research into three main parts, the first part entitled historical presentation , is reserved for the study of source and general conditions of the architectural creation in Tunis during the time of reforms (1824-1881). The second part entitled the Bardo palace; monographic study, is reserved for the architectural study of the monuments that still remain in the building sites and restoration that took place in the palace at the time of the reforming Beys ( Husayn Pacha , Mustafâ Pacha , Ahmad Pacha , Muhammad Pacha et Mohammad al-Sâdik Pacha )As for the third part , entitled the beylical building in Tunis at the time of reforms, is reserved for the study of the building art characteristics in Tunis during the era of reforms inferred (derived ) from the data that we have drawn from the two firs parts.

Off-label use of traditional Oropharyngeal Airway (OPA) as a bite-block, and the subsequential procedure of force exertion of the device by physician has caused many cases of patient’s teeth damage and monetary loss, as the patient’s incisors were damaged while clenching on the OPA during an adverse scenario called “Emergency Clenching”. To remedy this harmful situation, Bardo OPA was developed by Dr. Theodore Burdumy. The Bardo airway has unique design to transfer the clenching force from incisor to the molar. However, the Bardo OPA is one-sized, and cannot fit most of the patients like the commonly-used OPAs, such as the Berman and Gudel OPA, which have a spectrum of sizes to ensure fit. In this project, a Computer Assisted Design (CAD) simulation platform was developed to simulate the scenario where OPA is placed in a patient’s oral cavity. CAD – related technique and tools, such as 3D scanner (ScanStudio HD), RapidWorks, SolidWorks and Mimics were utilized to create the models used to construct the platform. The purpose of this platform is to generate data to support the development of additional sizes and other modification to improve the current design of the Bardo OPA. MRI sets of nine (9) patients were obtained and converted into STL mesh models. Berman and Guedel OPA were used as the standard for comparison against the Bardo OPA. It was found that the Bardo OPA was able to fit into all sample patients’ models, while these models were fitted with Berman and Guedel OPA of 70-90mm (Small to medium adult) sizes. It can only be concluded that the Bardo is compatible with these OPA sizes and there was not enough evidence to show the need for additional sizes. Nevertheless, some functional features of the Bardo OPA were found potentially harmful to the patients or ineffective. Three approaches were suggested to improve the design of the Bardo to achieve better safety and efficacy.

Syftet med denna uppsats är att jämföra hur Den Tibetanska Dödsboken beskriver döden och berättelser från personer som haft nära döden-upplevelser. Att undersöka vilka likheter och olikheter det finns mellan Den Tibetanska Dödsbokens olika stadier i döden och de olika momenten i moderna nära-dödenberättelser.