No description available.

This thesis deals with different aspects of the processes of production of sociability among the Xikrin-Mebengokre of the Catete River, central Brazil. I focus on ceremonies and their performance, as ways of access to Mebengokre conceptions concerning the morality and aesthetics of social life. I analyse the semiotics of 'kin'-ship production, the performative aspects of emotion as a sociability tool, the use of song and dance for the co-ordination of collective technical tasks, and a Mebengokre 'theory of language' as social agency. In the conclusion I focus on the criticism of some of the key theoretical aspects of Ge ethnology, in the light of my previous analysis.

The text and accompanying video tape describe the "talking circle" ritual as it is being used spiritually by a Native American group in Southern Arizona. The text analyzes the evolution of the ritual and applies widely accepted models of group therapy to its uses in the following capacities: Spiritually, (and in) Substance Abuse, Education and the Psychological Treatment of Troubled Teen-agers. The video tape features interviews with local practitioners and is narrated by a traditional Chippewa Indian.

Almost all African societies have female initiation rites to mark the process of growing up. Initiation rites signal the transition from one stage in life to another. Between the two levels is “the camp,” the liminal phase, in which the initiate is secluded in order to be initiated into the mysteries of life. Through female initiation rites, positions of power and social relations within the society are demonstrated. The Bemba people of Zambia perform the Chisungu female initiation rites in which young women are initiated into adulthood through the ritual process. Chisungu female initiation rites remain an important source of traditional education on sex and the social and religious leadership roles of women in Zambia although they are now being modified and performed in a shortened form. This study builds on the scholarly work undertaken by African women theologians particularly in the last decade, to engage theologically with the subject of HIV and AIDS on the African continent. Their theoretical insights and analysis provide the critical lenses for this thesis. The objective of the thesis is to offer a gendered analysis of Chisungu initiation rites among the Bemba people, in order to retrieve the values of indigenous female initiation rites which can critique patriarchy in the context of HIV and AIDS. This objective is achieved in the following steps. Firstly the function, the form and the practices of indigenous female Chisungu initiation rites are explained. Secondly, the gendered cultural values of indigenous female Chisungu initiation rites are demonstrated while simultaneously providing details of the symbolic meaning of the rites and the interpretation of the initiation songs and the sacred emblems (imbusa). Thirdly, how gendered cultural values of indigenous Chisungu initiation rites can be retrieved for HIV prevention is illustrated. Finally the importance of inculturating the values of indigenous female Chisungu initiation rites in the UCZ with regards to empowering women in the context of HIV and AIDS is explored. / Thesis (M.Th.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

Cette étude vise à mettre en lumière les ressorts, pratiques et répertoires propres à l’usage des chants et de la musique au cours des convois et messes funèbres catholiques à Paris sous le régime concordataire (1802-1905). La solennisation cantorale et musicale de, ajoutée à et pendant la messe des morts (plain-chant, faux-bourdon, contre-point, musique figurée) est tout d’abord analysée au prisme de ses cadres d’organisation et de production : d’une part, les textes et rubriques relatifs aux rituels, cérémonies, prières et chants inscrits dans les livres de l’Église, suivant le rite romain ou le rite propre de Paris ; d’autre part, la législation, l’économie et l’administration de la messe funèbre tarifée suivant les barèmes officiels des pompes funèbres et le casuel paroissial, gradués par classes de convois. La fabrique de la pompe musicale extraordinaire est ensuite étudiée à travers l’analyse de quatre cas particuliers : la participation des militaires in et ex ecclesia, par le truchement des honneurs rendus par les troupes et de la mobilisation de musiques militaires ; les convois et célébrations funèbres à caractère officiel et national, de par leur financement, leur dimension symbolique et les lieux qu’elles investissent, voire les répertoires officiels qu’elles convoquent ou commandent ; les deuils de la communauté des gens de musique et de théâtre, impliquant non seulement une mobilisation spontanée et bénévole des musiciens, des choix singuliers quant aux œuvres exécutées, mais aussi un discours funèbre et honorifique produit par la musique même. / This thesis studies the motivations, practices and repertories of chant and music used in catholic funeral ceremonies at Paris under the Concordat (1802-1905). The singing and musical solemnization of, added to and during the Mass of the Dead (plain chant, false bourdon, counterpoint, music) is analyzed for its scopes of organization and production : on the one hand the texts and rubrics of the rituals, ceremonies, prayers and chants of the liturgical books (roman and parisian rites) ; on the other hand the legislation, economy and administration of the funeral mass the official fees regulation of “pompes funèbres” fees and parishes. Then the making of the extraordinary musical “pompe” is studied by means of four particular cases : the involvement of the soldiers in and ex ecclesia (military honours and music) ; official and national funeral ceremonies, with their financing, symbolic system, places and official musical repertories ; the mournings of the musical community, involving not only a voluntary summoning up of musicians, singular choices for the musical program, but also a funeral discourse through music.

本文的主旨在於探討儀式傳統向戲劇轉化的問題。本文以岑溪市南渡鎮地方儀式傳統為基礎，從社會綜合市鎮格局形成、儀式傳統中的基本儀式形態、作為戲劇化載體的儀式劇形態，以及儀式劇在整個儀式傳統中的定位與脈絡等方面，對「儀」與「戲」在特定社會轉變背景下的關係作出深入的探究。 / 本文分七章就上述論題展開論述。第一章為緒論部分，主要涉及研究緣起、地方儀式傳統與儀式劇研究回顧、問題意識形成以及研究資料方法等內容。 / 第二章集中論述自清乾隆年間起，南渡鎮因鹽課政策的改變逐漸形成了綜合性市鎮，為南渡儀式傳統的形成打下了物質基礎。 / 第三章主要論述南渡儀式傳統的基本形態，包括相關家族移民史、道法源及當地紅事、白事、神事的表演形態。南渡道館存有兩部主要儀式劇：《枉府西遊》與《八仙下凡》，均形成於清中晚期，且衍生於當地道館中的民間佛教信仰。 / 第四章論及南渡道館中的「喃嘸」傳統。南渡「喃嘸」傳統具有廣府與客家融合，茅山、玄科、儀式佛教合而為一的地方「喃嘸」特色。 / 第五章探究南渡「喃嘸」傳統的戲劇化現象。 / 第六章探討南渡「喃嘸」傳統中「儀」與「戲」的互動。 / 第七章為本文結論。 / This dissertation focuses on the question of the theatricalization of local ritual tradition. Our study concentrates on the local ritual tradition in a community town of Nandu, Cenxi. We study the process of theatricalization of local ritual tradition and the relationship between "ritual" and "drama". / This dissertation consists of seven chapters. Chapter one is an introduction which defines the research question and methodology. It also includes a literature review on local ritual tradition and ritual drama. / Chapter two discusses the historical process of urbanization of Nandu Town since Qianlong in relation to the change of tax policy on salt and the emerging need for entertainment of the newly formed town. / Chapter three investigates the forms of ritual in Nadu. There are two main ritual dramas: the Western Travel drama (枉府西遊) and the Eight-Immortals (八仙下凡), both of which formed in late Qing and developed from ritual Buddhism. / Chapter four studies the ritual tradition of Nandu. The ritual is fundmentally made up of three religious sects: Maoshan teachingm , Xuan teaching, as well as ritual Buddhism . / Chapter five focuses on the dramatization of the ritual tradition of Nandu. / Chapter six disscuses the interaction between ritual and drama in Nandu tradition. / Chapter seven is the conclusion of this dissertation. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 謝健. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 180-197). / Abstracts also in English. / Xie Jian.

The material manifestation of the Hittite libation ritual, the vessels made from different materials, are known to us through the contemporary written evidence, the representations in the visual arts, and the archaeologically attested examples. All three types of evidence reveal a variety of vessel forms used for the acts of libation. In this study, I focus on the objects themselves and provide an overview of their specific forms: the beak spouted vessels, the ovoid shaped relief vessels, the arm shaped vessels and BIBRU shaped in divine attributes. These vessels have been previously published in site reports, survey books, and museum catalogues, as individual examples or part of an assemblage, but not as a corpus nor as agents in the ritual. The hitherto unpublished examples are introduced to expand and revise the typological classifications. I propose to highlight the materials and the forms of these vessels as important for the Hittites not only to serve a decorative function but as encompassing a presence and agency to achieve the completion of the ritual: serving and pleasing the deities. Therefore, I describe, contextualize, and analyze the vessels in order to outline the relation between form and function, as well as categorizing them according their formal qualities into sub-types. As the containers, they embody the gift, the sacrificial liquid, offered to the deities, preceding the offering and even the act itself. I define their role as “the fourth element of sacrifice,” following the offerer, the receiver and the liquid offered. The vessels are reevaluated in this study as agents dictating the respective acts of libation, and defining the ritual.

Thesis (Ph.D. (Xitsonga)) --University of Limpopo, 2005 / Refer to the document / University of Limpopo

Thesis (M.ED.) --University of Limpopo, 2008 / The research covers the way the Vhavenḓa people bury their dead. Although the emphasis is on Tshivenḓa burials, the study has also examined the way burials are undertaken in other cultures such as Xhosa, Sotho, Indians, Xitsonga, Hindu, Greek and Muslim culture. The study shows that burials in Tshivenḓa are characterized by peculiar features. For instance the way the royal people are buried is different from the way the ordinary people are laid to rest. In addition, there are also special rituals that must be performed when children, women and men are buried. The study also includes to the fact that mordernity, has an impact on the manner in which the Vhavenḓa conduct their burials. In the past burials where cheap to conduct whereas these days they are relatively expensive. Lastly, the study has discovered that both old and modern forms of burials have advantages and disadvantages. It is, therefore, crucial for people to utilize the advantages of both the afore mentioned types of burial.

This thesis examines the personalisation of Pakeha (European) post-mortem practices in New Zealand. While much of the discourse surrounding funerary and disposal processes maintains that contemporary practices demonstrate a �denial� of death and funeral director esurience, funeral directors themselves have argued that the austere Anglophone approach to death has been superseded by personalised practices. This transformation has become particularly evident in the last two decades and emphasises a historic shift to funeral services that encompass the heterogeneity of late-modern individuals. The aim of this thesis, however, is not to recapitulate funeral director rhetoric or reiterate the criticisms levelled at the industry, but to critically examine the implications and manifestations of personalisation, and explore the funeral directors� role in the provision of contemporary funeral services. In addition to archival research, this ethnographic endeavour includes in-depth interviews with funeral directors (and related occupational groups) and an extended period of participant observation. The theoretical issues explored in this thesis are grounded in this ethnographic data. This study reveals that personalisation is integrally linked to constructions of grief, the pastoral role of funeral directors, and Foucault�s concept of bio-power. Funeral director participants asseverated that funeral practices had �evolved� to effect the �healthy� resolution of grief. Personalised funerals represented a re-alignment of �natural� human needs and cultural practices, and funeral director rhetoric amalgamated essentialist interpretations of grief with personalised memories and continuing bonds (Klass and Walter 2001). Funeral directors explicitly linked personalisation to secularisation, emphasising the perceived lack of �guidance� and �care� in contemporary society. Although �impersonal� religious funerals provided funeral specialists with an important point of departure, many funeral directors emphasised the pastoral dimension of contemporary funeral directing. This dimension constitutes a key component of the funeral directors� role and permeated all facets of funeral service - particularly the increasing range of after-care funeral options. Although the funeral director rhetoric emphasises the democratisation of funeral practices and the primacy of individuality, an examination of the discourse reveals that this personalisation also demonstrates the normalising technologies integral to Foucault�s concept of �pastoral power�. I argue that funeral directors play a significant role in articulating the boundaries of �appropriate� funeral behaviour by accentuating the importance of �authenticity�, �dignity� and �healthy grief�. These concepts underline the expertise of funeral directors, define the acceptable parameters of post-mortem practices, and reify the integral involvement of funeral directors in the construction process. The specific subjectivity promoted by funeral directors constitute individuals that are not only �honest� and �real�, but recognise the �need� for a funeral service, emotional expression, and memorialisation. These individuals similarly realise the importance of integrating the deceased into their own biographies, while acknowledging the significance of guidance and control. This subjectivity clearly legitimises the role of the contemporary New Zealand funeral director. This thesis illustrates, therefore, that funeral directors play a salient role in articulating bio-power within New Zealand society, and that this endeavour is integrally linked to the occupations� continuing pursuit of professional identity.