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And We Are InsubstantialMcKnight, Samuel Lee 20 April 2015 (has links)
No description available.
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Transcendência e imanência na obra Dia do Mar de Sophia de Mello Breyner AndresenSilva, Bianca Nobrega da 12 February 2008 (has links)
Esta dissertação tem como objeto de estudo o livro Dia do Mar (1947) da escritora portuguesa Sophia de Mello Breyner Andresen. A leitura dos poemas mostra-nos a preocupação da autora com a relação estabelecida entre o homem e o mundo em que vive. Daí, destaca-se a relação do eulírico com a natureza, que compõe a poesia de Sophia Andresen de modo muito especial. A partir dessa evidência, passamos a pensar a questão do homem em relação ao meio natural sob duas óticas, a pagã e a cristã, e isso pelo fato de que Sophia consegue conjugar em sua obra, de maneira muito pessoal, os dois pensamentos em questão. Percebemos, então, que a natureza é, na obra da poeta, um meio para se atingir uma relação harmônica com o mundo, pois o espaço natural tem a função de unir a voz-poética à divindade. Este trabalho tem como objetivo analisar os poemas da autora em que se evidenciem a presença do sagrado pagão e do sagrado cristão. / This dissertation has as object of study the book Dia do Mar (Day of the Sea) (1947) of the portuguese writer Sophia de Mello Breyner Andresen. The reading of the poems shows us the author\'s concern with the relationship established between the man and the world in that he lives. Then, it stands out the relationship of the I-lyrical with the nature, that composes the poetry of Sophia Andresen in a very special way. From that evidence, we started thinking the man\'s subject in relation to the natural way under two optics, the pagan and the christian, and that for the fact that Sophia gets to conjugate in her work, in a very personal way, the two thoughts in subject. We noticed, then, that the nature is, in the poet\'s work, a form to reach a harmonic relationship with the world, because the natural space has the function of uniting the poetic voice to the divinity. This work has as objective analyzes the author\'s poems in those are evidenced the sacred pagan and the sacred christians presence.
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Transcendência e imanência na obra Dia do Mar de Sophia de Mello Breyner AndresenBianca Nobrega da Silva 12 February 2008 (has links)
Esta dissertação tem como objeto de estudo o livro Dia do Mar (1947) da escritora portuguesa Sophia de Mello Breyner Andresen. A leitura dos poemas mostra-nos a preocupação da autora com a relação estabelecida entre o homem e o mundo em que vive. Daí, destaca-se a relação do eulírico com a natureza, que compõe a poesia de Sophia Andresen de modo muito especial. A partir dessa evidência, passamos a pensar a questão do homem em relação ao meio natural sob duas óticas, a pagã e a cristã, e isso pelo fato de que Sophia consegue conjugar em sua obra, de maneira muito pessoal, os dois pensamentos em questão. Percebemos, então, que a natureza é, na obra da poeta, um meio para se atingir uma relação harmônica com o mundo, pois o espaço natural tem a função de unir a voz-poética à divindade. Este trabalho tem como objetivo analisar os poemas da autora em que se evidenciem a presença do sagrado pagão e do sagrado cristão. / This dissertation has as object of study the book Dia do Mar (Day of the Sea) (1947) of the portuguese writer Sophia de Mello Breyner Andresen. The reading of the poems shows us the author\'s concern with the relationship established between the man and the world in that he lives. Then, it stands out the relationship of the I-lyrical with the nature, that composes the poetry of Sophia Andresen in a very special way. From that evidence, we started thinking the man\'s subject in relation to the natural way under two optics, the pagan and the christian, and that for the fact that Sophia gets to conjugate in her work, in a very personal way, the two thoughts in subject. We noticed, then, that the nature is, in the poet\'s work, a form to reach a harmonic relationship with the world, because the natural space has the function of uniting the poetic voice to the divinity. This work has as objective analyzes the author\'s poems in those are evidenced the sacred pagan and the sacred christians presence.
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Protest and identity in the context of Sacred spaces: A historical appraisal of three selected sacred sites of the Eastern Free StateNgobese, Derrick Horecious Dalifa 18 May 2018 (has links)
PhD (African Studies) / Centre for African Studies / Sacred sites are the preferred space for ritual performances and identity construction
from which the issue of sensitive structures, distinctive features, individual
interpretations, and symbol and meaning emanates.
The history and importance of Motouleng, Mautse and Mantsopa caves (Eastern Free
State, SA) for different religious persuasions, indigenous knowledge and ancestral
veneration of Africans and traditional healers, were investigated apropos of the
following: namely, how sacred sites are exemplifications of African indigenous religion;
why they form locations of cultural and spiritual expression, and why they may be
regarded as pertinent nodes of identity construction in a vibrant, changing, South
African society.
This study explored the way in which interpersonal experiences of the cave dwellers
shape their sense of self, and the conflict they encounter in the context of interaction,
in which identities are constructed and deconstructed in various ways. African religion,
landscape and social identity theories are the basis of all theoretical claims utilised
here. An interpretative phenomenological analysis research method was explored, to
provide a detailed personal experience and examination of the participant’s life world
on various issues pertaining to contestation and identity construction at the sacred
space of the Eastern Free State.
The existence of these sites poses a number of challenges to cave dwellers, land
owners, heritage practitioners, and to continued preservation, management and
restoration of the said sites. Crucial to this debate is how these sites may be protected
both physically and legally. The study used qualitative findings to discover new ideas
on identity construction and adjunct belief systems. The study also used thematic
analysis to evaluate the research findings and make predictions on the effects on
protest and contestation by cave dwellers around sacred spaces. / NRF
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O SAGRADO FEMININO E A SERPENTE: PERFORMANCE MÍTICA NA SIMBOLOGIA DAS DANÇAS CIRCULARES SAGRADASBonetti, Maria Cristina de Freitas 14 August 2013 (has links)
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Previous issue date: 2013-08-14 / This thesis investigates the survival and the camouflage of the Myth of the Serpent and the
Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances
nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery
of creation and its various expressions in archaic cultures in the Western World. The main
objective of the research is to demonstrate the survival the symbolism of the Mother Goddess
and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle
Dances. It also takes into to identify the hidden message that externalizes through body
movements that generate archetypical expressions codified in the ritualistic dances and
performances, and explores in the same way, the domains of the Great Mother and the
Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms.
The main issue of this thesis is that whether the symbolism of the serpent can be considered
as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as
methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose
is to connect the Myth of the Serpent with the most relevant works regarding the Sacred
Feminine, history, anthropology and the ritualistic performances. The literature will be
reviewed in its thematic axles and in particular the authors and the known experts in the
Sciences of Religion. Amid the conceptual interpretations this research produces surveys of
recent works on the subject of study to discuss the meanings and the ramifications inspired by
ancient traditions and with deep power refresher mythical; and in this discussion, focuses on
the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic
myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously,
come upon the space created by the traditional parties, replace and vivify myths and
prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a
mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances. / Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande
Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na
contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o
imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O
principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do
Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares
Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os
movimentos corporais que geram expressões arquetípicas codificadas nas danças e
performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da
Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e
espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada
como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo
como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se
conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à
história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos
temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em
meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes
sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em
tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se
o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente
os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances
artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais,
reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se,
portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu
nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.
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CONTRA-DANÇA: RITUAL E FESTA DE UM POVO / Counter-dance: Ritual and Feast of a people.Bonetti, Maria Cristina de Freitas 23 June 2009 (has links)
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Previous issue date: 2009-06-23 / The subject of this dissertation is the counter-dance as cultural, religious and artistic
manifestation in the Divine s Feast, Pentecost, even in Pirenópolis as in Santa Cruz. The
categories used to interpretate this social fact will be the concepts of tradition, memory
and identity. The principal purpose is to study the counter-dance as fundamental
element of this ritual and how the comunity live the local memory, tradition, and identity
through its construction and continuous reconstruction in the history. It intends to look at
the Divine s Feast as the most expressive popular manifestation of Pirenópolis and
Santa Cruz. The dissertation intends to prove that the counter-dance is an important fact
to the construction of the local identity. The informations were collected through the
observation, opened interview, questionnaires, and abundant bibliografic documents.
Through the research it checked up that, in fact, the counter-dance in the Pentecost
Feast is one of the fundamental elements to compose the identity of Pirenópolis and
Santa Cruz, at the same time that is transmitted still nowadays from generation to
generation and compose the memory of the local citizens. / O objeto da presente dissertação é a contra-dança como manifestação cultural,
religiosa e artística no Ritual da Festa do Divino Pentecostes, tanto em Pirenópolis
como em Santa Cruz. As categorias utilizadas para interpretar este fato social serão os
conceitos de tradição, memória e identidade. O objetivo principal é estudar a contradança
como elemento fundamental deste ritual, e como a comunidade vivência a
memória, a tradição e a identidade local através de sua construção e reconstrução
contínua na história. Pretende-se também enfocar a Festa do Divino como a
manifestação popular mais expressiva de Pirenópolis e Santa Cruz. A dissertação
pretende provar que a contra-dança faz parte de um dos fatos mais relevantes para a
construção da identidade local. Os dados foram coletados através de observação de
campo, entrevistas abertas, questionários e farta documentação bibliográfica. Através
da pesquisa verificou-se, que de fato, a contra-dança na Festa de Pentecostes é um
dos elementos fundamentais que compõe a identidade pirenopolina e santacruzense,
ao mesmo tempo que é transmitida até hoje de pai para filho e compõe a memória dos
cidadãos destas localidades.
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Religion, sainteté et pouvoir en Provence angevine, première maison d'Anjou, modèle et miroir du monde angevin (1246-1382) / Religion, holiness and power in Angevin Provence, first House of Anjou (1246-1382)Attard, Jean-Pierre 18 June 2015 (has links)
En 1246, Charles d'Anjou, frère du roi de France Louis IX, par son mariage avec l'héritière de Provence, arrive à la tête du comté de Provence, encore terre d'empire. Il est mal accueilli par les Provençaux qui craignent de perdre leur relative indépendance au profit du royaume de France. Charles d'Anjou doit vaincre l'opposition armée des grandes cités de Provence et d'une partie de la noblesse. Après son succès, la paix s'instaure dans le comté. Les Angevins développent pour cela une idéologie reposant sur leur sentiment d'appartenance à une race sacrée remontant aux Carolingiens : ils sont à la tête d'un pays sacré. Ils s'appuient sur l’Église dont ils démontrent être de bon fils. Finalement, la paix s'établit de façon durable dans le comté. / By his marriage withe the heress of Provence, Charles d'Anjou, brother of Louis IX, arrives at the head of the County of Provence.It is unpopular withs his subjects. He must defeat an army revolt of the mains cities and part of the nobility. After his success, the Agevins use an ideological weapon: ths bealong to a sacred race and they govern a sacred land. They base this of the Church. They are good sons of Church. In the end, peace is esthablished permanently in the County of Provence.
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Ban Yatra : a bio-cultural survey of sacred forests in Kathmandu ValleyMansberger, Joe R January 1991 (has links)
Thesis (Ph. D.)--University of Hawaii at Manoa, 1991. / Includes bibliographical references (leaves 310-330) / Microfiche. / xiii, 330 leaves, bound ill., maps 29 cm
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Melodia et rhetorica: the devotional song repertory of Hildegard of BingenJeffreys, Catherine Mary Unknown Date (has links) (PDF)
A central focus of this thesis is the word-music relationship in the devotional-song-repertory of Hildegard of Bingen (1098-1179). Surrounding this focus is an examination of aspects of her life and work that relate to the production of her seventy-seven monophonic songs. This examination commences with a review of biographical sources, collation and discussion of parchment sources of her music, and identification of her music scribes. The theme of Hildegard’s music scribes is then developed, including their influence upon the liturgical genres in which her songs are cast and the melodic behaviour of her music. It is argued that, as a result of the rendering of her melodies on the medieval gamut, the surviving sources of her songs represent corruptions of orally produced chant. / The word-music relationship in Hildegard’s songs is then introduced. Her views on the role of music and her own role as monastic preacher form the basis of an examination of the relationship between rhetoric and her songs. This examination draws on contemporary modes of rhetorical criticism, and an approach which treats her songs as musically articulated rhetorical discourse is developed. A selection of her songs is then examined through this approach, and particular attention is given to songs which preserve unusual melodic behaviours. It is argued that her songs represent iubilatio responses to both the grammatical and rhetorical syntagms of her song texts, and melodic characteristics which suggest traces of her pre-redacted melodies are identified. / As a codicil to this study, a critique of ‘new’ and ‘unusual’ monastic practices in Germany by Anselm of Havelberg (c.1100-1158) forms a point of departure for discussion of a small number of surviving songs which surrounded the production of Hildegard’s music - the five monophonic songs comprising the Epithalamia to the Speculum virginum (c.1140), and a twelfth-century canticle setting emanating from the monastic home of her music scribes. This examination points towards a tradition of ‘new’ and ‘unusual’ musical practices in Southern Germany during the twelfth century and provides one possible context for Hildegard’s devotional-song repertory.
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Asyl : die religiöse und rechtliche Begründung der Flucht zu sakralen Orten in der griechisch-römischen Antike /Derlien, Jochen. January 2003 (has links) (PDF)
Univ., Diss.--Tübingen, 2000. / Literaturverz. S. 370 - 392.
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