Read some more and check the prototypes at http://www.stiber.se/commonfate.html. / War Memorials are often forgotten statues, right in the center of town, but still out of our sight. They do not tell you enough to understand them, neither are you interested in putting effort into getting to know and learn from them. This paper investigates how the web could be used to create a war memorial that is more alive, captivating and empathy awakening. There has been some virtual war memorials getting constructed since the web started to bloom, but we could not find a single one that had actually fully explored the potential of the web, and what it might have to offer for the creation of war memorials. Researching the web as a media, experience design, and information visualization, we find possibilities to mourn, commemorate and heal on virtual ground. Inspiring reflection and contemplation are another two purposes of The Common Fate Memorial. War memorial studies give us the background information needed, and ceremony mechanics are studied for further inspiration. Our findings are implemented in flash prototypes, which are user tested and evaluated.

Packaging is a topic under debate and scrutiny intoday’s society, due to its obvious environmentaldetriment – but also the business opportunities – tied tominimizing or even eliminating packaging.therefore, in this thesis, the aim is to introduce Chinesetea culture to the Swedish through packaging design,By tea culture studies and surveys of the Swedishmarket, with less is more, and minimalism designtheory to design elegant and Sustainable package. Withthis design, convey the Chinese tea ceremony cultureand Zen philosophy.Through the study of Chinese tea culture, then analysiscurrent tea packaging on Chinese and Swedish markets,from the structure, color, material...every aspects ofpackaging design to show the Chinese tea culture in theSwedish market.4According to our respondents and theory, packaging isa big component in a brand's marketing strategy and tocommunicate the brand’s message and values.Marketing information can be designed into visualelements that are used on the package to communicatea message which could speak out the consumers'emotions. But packaging is a topic under debate andscrutiny in today’s society, due to its obviousenvironmental detriment – but also the businessopportunities.So, how to balance the commercial and environmentalthose two aspects and how to express sustainabledesign in my project, is the major issues I have to figureout.Key words: Chinese tea culture, less is more,sustainable packaging design, graphic design, Zen andtea ceremony, tea business marketing

Swedish hereditary kingship was not without its problems. In March 1792, Gustav III was assassinated leaving an immature heir to the throne. The direct succession of Gustav IV Adolf was impossible as he had not yet reached the age of majority. This example epitomises this study’s focal point –the hereditary kingship’s challenges. This is a study of the hereditary kingship’s formation and practices. It sheds light on how the hereditary kingship dealt with challenges through constitutional law and how the transfer of power was portrayed ceremonially. Closely connected with the transfer of power, are the underlying concepts of kingship. Normally the succession occurs through one king’s funeral and the following king’s coronation, however it could also take place through abdication or coup d’état. The study consists of two analytical parts. The first part aims to elucidate the formation and practices of the hereditary kingship with an exposé beginning in 1544: the establishment of the hereditary kingship. The second part focuses on the immaturity of Gustav IV Adolf up until he reached the age of majority in 1796. The findings show that the formation of the hereditary kingship and its practices display certain themes when power is transferred and when challenges are overcome. These includethe notion of unity, to be chosen, legality, to fulfil one’s role as ruler, and continuity. The results also show that hereditary kingship adapts to meet its challenges and that these themes are omnipresent and part of a constantly ongoing process when power is transferred. In Gustav IV Adolf’s case, the constitutional law dictated how the regiment was to be organised. In addition, his guardian Charles was granted Royal Authority and acted as Regent. The saying which composes the title of this study illustrates the natural transfer of power; albeit that this transpired gradually. The conclusion is a deepened understanding of the words: The king is dead, long live the king.

One of the most important yet most undermined aspects of the Reformed Churches in the resort of Synod Midlands is its liturgy. Little study has been done on liturgy and few Church Councils make liturgy their concern. Consequently most of the Reformed Churches in Midlands are faced with the problem of syncretism, secularism and modernistic trends in the liturgy. All human beings are religious people. All humans beings are believers yet it depends whom and how people worship and in whom or what they believe. People have different cultures and in some instances, as is the case with the African religion, culture and religion are not easily separated. Liturgy has an indispensable task in transforming culture. This study aims at scrutinising the manner of worship in Reformed Churches in Synod Midlands. It is divided into three sections. The first section focuses on basic-theoretical principles, the second on meta-theoretical guidelines and empirical findings and the third on a critical-hermeneutical interaction between the basis-theoretical principles and the meta-theoretical guidelines. This study indicates that the Reformed Churches in Synod Midlands need a relevant liturgy that is suitable for the African members but also a liturgy that is not easily influenced by culture and by the world. Liturgy has to shape culture and culture has to be accommodated in the shape that liturgy takes. This does not occur at the same level. The gospel preaches to culture and leads it to repentance. The sermon, however, is presented within a certain culture, context and language. This is where culture fits in and contributes to the shaping of the liturgy. A relevant liturgy for the Reformed Churches in Synod Midlands would be a dynamic liturgy that displays an interactive communicative character. There has to be a dialogue between God and His children. The liturgist should not be an individual standing between God and humans, blocking the dialogue-related character of the liturgy. All members have to be participative and should follow the liturgy. This study therefore calls upon a free liturgy because African people are spontaneous. However this liturgy should also be characterized by the necessary order. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2005.

One of the most important yet most undermined aspects of the Reformed Churches in the resort of Synod Midlands is its liturgy. Little study has been done on liturgy and few Church Councils make liturgy their concern. Consequently most of the Reformed Churches in Midlands are faced with the problem of syncretism, secularism and modernistic trends in the liturgy. All human beings are religious people. All humans beings are believers yet it depends whom and how people worship and in whom or what they believe. People have different cultures and in some instances, as is the case with the African religion, culture and religion are not easily separated. Liturgy has an indispensable task in transforming culture. This study aims at scrutinising the manner of worship in Reformed Churches in Synod Midlands. It is divided into three sections. The first section focuses on basic-theoretical principles, the second on meta-theoretical guidelines and empirical findings and the third on a critical-hermeneutical interaction between the basis-theoretical principles and the meta-theoretical guidelines. This study indicates that the Reformed Churches in Synod Midlands need a relevant liturgy that is suitable for the African members but also a liturgy that is not easily influenced by culture and by the world. Liturgy has to shape culture and culture has to be accommodated in the shape that liturgy takes. This does not occur at the same level. The gospel preaches to culture and leads it to repentance. The sermon, however, is presented within a certain culture, context and language. This is where culture fits in and contributes to the shaping of the liturgy. A relevant liturgy for the Reformed Churches in Synod Midlands would be a dynamic liturgy that displays an interactive communicative character. There has to be a dialogue between God and His children. The liturgist should not be an individual standing between God and humans, blocking the dialogue-related character of the liturgy. All members have to be participative and should follow the liturgy. This study therefore calls upon a free liturgy because African people are spontaneous. However this liturgy should also be characterized by the necessary order. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2005.

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.

This essay discusses the perceived case of post-traumatic stress disorder in Leslie Marmon Silko's character Tayo from the novel Ceremony, using personal accounts of actual PTSD-suffering war veterans as a point of reference. The goal is to fathom the influence that culture may have in the development and healing of PTSD, and to identify possible trans-cultural aspects. The main focus of the analysis is therefore on personal background, interpersonal relationships, post-war experiences, and experienced symptoms.

Engaging in Cree ceremonies, in one manner, is a legal act. It is also a gendered act as well. Thus, ceremony is one avenue to seek both legal and gendered transformations. The transformational processes this thesis contemplates are the protocols (or rules of procedure) involved in Cree sweat lodge (matotisân) and pipe (ospwakân) ceremonies. Some of these protocols are gendered in nature, in that they set out different actions based upon sex or gender. Looking at gender is a necessary part of our continuing work with Indigenous legal orders. Further, engaging in ceremony as legal practice offers one avenue in addressing the potentials for inequality that gendered protocols bring about. While this research does not seek a definitive resolution to some critical discourses about gendered protocols, it focuses on their legal nature to explore processes of change that reaffirm the sanctity of Cree ceremonial spaces while opening up these spaces for radical dissent. This research asks: (1) What are the processes for changing the gendered nature of protocols in Cree ceremonies, and as result changing Cree law? (2) What are the barriers within Cree social practices that prevent ceremonial change? (3) What are the potential dangers Cree spiritual and legal practices changing? In order to maintain the integrity of the knowledge systems resident in Cree ceremonies, to uphold our obligations to the relations involved in the ceremonies, and to avoid potentials for violence in our deconstructions or transformation, an ethos of deep relationality should inform our processes of change. This means seeking out methods of change that are already resident within ceremonial structures, and ensuring reciprocity when we actively seek transformations by upholding obligations resident in nehiyaw piimatisiwin (Cree way of life/being). / Graduate

This study seeks to investigate form and content of African music as exemplified by Bukusu circumcision music. Technological products, growth of urban centres, emergence of industries and the widespread of deadly diseases such as HIV/AIDS have led to remarkable adjustments in the social behaviour and other ways of life in African communities. These adjustments have strained the socio-cultural patterns of African traditional ceremonies leading to a shift in the form, content, significance and performance of music in such ceremonies. The dilemma and problem in the Bukusu community is centred on how to strike a balance between the traditional and modern perspectives in the form, content, organization and performance of Bukusu circumcision music. This dilemma has given rise to three protagonists: the traditionalists, semi-traditionalists and modernists. While traditionalists advocate for the traditional organization and performance of Bukusu circumcision music, the semi-traditionalists mix the modern and traditional aspects. On the other hand, the modernists have altogether done away with the traditional music. This study identifies, investigates and explains the various structures, forms, meanings and functions of traditional Bukusu circumcision music against the backdrop of modernity. Here, by modernity we mean capitalistic and monetary oriented economies together with religious ideologies foreign to the African belief systems. Such ideologies are, for example, embodied in Christianity and Islam. It is recommended that important virtues embodied in the Bukusu circumcision ritual be incorporated and perpetuated within the modern social trends. This would sustain the social controls that such virtues effect and, by extension, stand for in most African communities. Primary and secondary sources of data were consulted. Collection of primary data involved carrying out both participant and non-participant observations in Bungoma District in Western Province of Kenya, where most Bukusus reside. Interviews and focus group discussions were also employed in primary data collection. Purposive and snowball sampling techniques were used to identify respondents who included circumcisers, initiates, song leaders, singers and instrumentalists among others. Secondary sources included information from written materials like books, journals, reports, articles, seminar papers and periodicals. Findings of this research are a record of Bukusu circumcision music, which is ever evolving to conform to the changing socio-cultural and economic situation of the society. They are an invaluable assessment tool in the evaluation of the past, present and future perspectives of the music. Above all, the findings are a repository for reference by future generations in scholarship and ethnomusicological research. / Thesis (DMus (Music))--University of Pretoria, 2007. / Music / unrestricted

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.