The ancient Egyptians were famous for their exotic and luxury perfumes in the ancient world, even having cities that specialised in perfume production in the Ptolemaic Period, when they exported these perfumes all over the Mediterranean. They produced these perfumes, and other scented preparations, from aromatic plants, fats and oils. The deities were fragrant beings, imbued with the divine essence, and perfume was considered by the Egyptians to be the sweat of the god Ra. Some deities were specially linked to perfume, one of the most important being Nefertem, god of perfume and of the primordial fragrant blue lotus flower. Incense was to the Egyptians the ‘eye of Horus’, burnt as an offering to the deities in temples. Aromatic plant material was stored in perfume/unguent ‘laboratories’, and perfumers’ workshops produced the precious perfumed oils and unguents, used in the funerary context, rituals, ceremonies, festivals and banquets. / History / M.A.

Thesis (MPhil)--Stellenbosch University, 2004. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: Morbidity and mortality are national problems that affect a vast number of children and young adults each year in Circumcision Schools. The number of children who either get sick or die of traditional circumcision school is probably high. "In one study of penile mutilation practice (in 1990) of the Xhosa tribe of Southern Africa, 9 % of mutilated boys died: 52 % lost all or most of their penile shaft skin: 14 % developed severe infectious lesions: 10% lost their glans penis; and 5 % lost their entire penis. This represents only those boys who made it to the hospital," (Denniston and Milos, 1997: v). The problem is still the same and this could mean that the true complication statistics is likely to be much higher if the entire South Africa is taken into consideration. Although traditional circumcision was well intended, the recent spate of death puts it under threat. Besides, there are many other controversial acts that are taking place within the school itself. There are many illegal schools instituted by inexperienced traditional surgeons. The plight is further worsened by the commercialisation of the traditional institution. It is painful to note that the camps which were normally held in winter for children to heal faster are now also held in summer. The outmoded system of administration in this institution and the health hazards experienced, confronts parents, children and the entire community with a dilemma - a dilemma that warrants ethical reflection. The dilemma poses a serious challenge to the cultures that practice the traditional ritual of circumcision. Many of the advisers of this thesis agree (the likes of Prof. C.S. van der Waal, Prof G. Tangwa, Chief T.l Ramovha, Traditional healer Mashudu Dima and Dr D. Sidler) that we don't have to do away with the school as such, but that there is a need to either change and improve certain things in this school. Social change and medical awareness seem very important in this regard. The hurdle created by this dilemma, though daunting, can be overcome. We need education, cooperation, dialogue, rationality and true reflection on our culture to work this problem out. Until our children are safe from the threat of morbidity and mortality, no one is safe. I therefore think that many human errors could paint an unfavourable picture on the traditional Circumcision School, whereby creating ethical dilemmas. The ethical dilemma could be a starting point for critical reflection on culture and tradition with the hope for change and future progress. It is such a challenge that Circumcision Schools should face and which they urgently need. / AFRIKAANSE OPSOMMING: Ernstige beserings en 'n hoë dodetal in besnyding-skool is 'n nasionale probleem wat elke jaar talle kinders en jong volwassenes affekteer. Die getal kinders waarvan die gesondheid aangetas word of wat selfs sterf in dié tradisionele besnyding-skole is waarskynlik haag. "In one study of penile mutilation practice (in J 990) of the Xhosa tribe of Southern Africa, 9% of mutilated boys died: 52% lost all or most of their penile shaft skin: J4% died developed serious infectious lesions: J0% lost their glans penis; and 5% lost their entire penis. This represents only the boys who made it to hospital" (Denniston and Milos, 1997:v). Dié probleem bestaan voort, en dit mag beteken dat die ware ongevalle syfer veel hoër mag wees, sou die hele Suid Afrika in berekening gebring word. Alhoewel besnyding tradisioneel welbedoeld is, word dié praktyk nou bedreig deur die onlangse vlaag van sterftes. Daarbenewens is daar vele ander kontroversïele praktyke wat in dié skole self bedryf word. 'n Groot aantal van die skole is onwettig en word deur onervare tradisionele sjirurge bedryf. Dié problem word verder vererger deur die kommersialisering van dié tradisionele institusie. Dit is ook kommerwekkend om daarop te let dat waar dit gebruiklik was om dié kampe in die winter te hou - vir die sneller herstel van die kinders - hulle nou ook in die somer beslag neem. Die verouderde sisteem waarmee dié institusie se administrasie bedryf word, sowel as die gesondheids-gevare wat daarmee gepaard gaan, stelouers, kinders en die gemeenskap as geheel voor 'n dilemma - 'n dilemma wat etiese nadenke verg. Dié dilemma bied 'n ernstige uitdaging tot die kulture wat steeds die instelling van besnyding huldig. Soveel as sekere van die bydraes binne die vervolgende verhandeling (bv. Dié van Proff. c.S. De Waal, G. Tangwa, Hoofman T.J. Ramovha, Tradisionele heler Mashudu Dima en Dr. D. Sidler) saamstem dat daar nie ingeheel van die skole afgesien hoef te word nie, is daar wel 'n nood om sekere aspekte daarvan te hersien en verbeter. Sosiale verandering en 'n mediese perspektief is van groot belang hiertoe. Die struikelblok wat deur hierdie dilemma veroorsaak word - hoewel intimiderend - kán weloorkom word. Daar is 'n nood vir opvoeding, samewerking, dialoog, redelikheid en 'n ware nadenke oor ons kultuur om hierdie probleem die hoof te bied. Tot tyd en wylons kinders veilig staan van die dubbele gevare van besering en dood, is niemand veilig nie. Ek dink dus dat, terwyl verskeie etiese dilemma's ongunstige beeld skep van menslike foute, hulle ook vra om insigte rondom die menslike kultuur, en om hoop vir toekomstige vooruitgang. Dit is wat tradisionele besnyding-skole benodig.

Thesis (MPhil (Sociology and Social Anthropology))--University of Stellenbosch, 2009. / The purpose of this thesis is to attempt to understand the concept of manhood in the context of Xhosa-speaking people; and to investigate why it is significant for them to use traditional circumcision in the male initiation ritual. In the context of the research problem, the aim is to understand: i) why traditional circumcision is important in executing this ritual, ii) people’s beliefs about the concept of manhood, iii) how the initiation ritual is practised in the present day, iv) the controversy and debate around the initiation ritual in the Eastern Cape, and v) the role of the government’s policies in regulating this rite. In terms of research design and methodology, I used qualitative research. The sampling method includes non-probability sampling – that is purposive or judgmental sampling. In the research process I utilized individual interviews, focus group interviews, participant observation, and any literature that was relevant to this study. The field research was conducted in Mchubakazi Township in Butterworth, Eastern Cape. As regards the research findings, the following data came out: firstly, manhood refers to belonging to a group of men who live in a certain village. These men are characterised by having undergone the initiation ritual, especially using traditional circumcision. A man who has undergone hospital circumcision is more likely to experience humiliation and disrespect from the orthodox Xhosa-speakers. Their argument in support of this statement is that he is only half a man. Secondly, traditional circumcision is perceived as being significant in this ritual; it is a necessary adventure a male must go through in order to become a man. It is basically an act of courage. It is not necessarily compulsory in the process of transforming a boy into a man, but it is important for his image in the eyes of the community. Thirdly, the initiation ritual of Xhosa-speakers consists of four phases, namely: the ‘entering phase’ (umgeno), the phase of being an initiate (ubukhwetha), the ‘coming out phase’ (umphumo) and the phase of being a graduate (ubukrwala).

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006. / This thesis investigates the concept of conversion which arose out of the process of making soap as medium for my body of sculptural works and signifying its material transformation with ‘cleaning’ and ‘conversion’ – terms encountered in research into chemical transformation (in alchemy) and further endorsed by my linking my sculptural forms, resembling fonts, to religious conversion. A line of theoretical research was thus traced into ritual as an embodied experience of recalling memory in the desire for redemption or healing. Contemporary South Africa art, it seemed, was also going through a conversion process. The movement, from the domination of apartheid to the profound change of the ‘new South Africa’, necessitated a sense of tolerance in response to the reawakening of the diversity of cultures, rituals and memories. Thus present debate surrounding the concerns of reconciliation and restitution requires a re-evaluation of the importance of memory – to forget, to renew or to uphold – in the desire for healing. This has re-awakened an appreciation of multi-cultural rituals and invoked new self-consciousness and a reformulation of identity. I was thus inspired to investigate transformation in terms of art theory, psychology and philosophy. By identifying Freud’s psychoanalytic concept of transference and of ‘working-through’ as a part of his ‘Theory of Conversion’, I arrived at this proposition: art initiates an awakening of self-consciousness. In arguing for the vitality of the mythopoetic imagination, as held within the unconscious, however, I claim that art, as an embodied process, draws from memory, and resonates within the context of a ritualised empathic interrelatedness of ourselves as humans in the environment. In attempting to understand the South African transformation, which resembles the spirit of Renaissance Humanism, I examined how historical shifts influence both inter-human and environment/human relationships. Operating largely in terms of the transference of power and belief, these moved, in an ever-recurring cycle, through sixteenth century Renaissance Humanism, which tolerated diverse religious convictions, to Cartesian reason and the quest for certainty, manifesting in religious and politically motivated wars. This revolution, I believe, has occurred again from the modern to the postmodern era. I believe, therefore, that art has a healing capacity. This flows from a metanoia – a turning around – effected in both artist and audience. Through this creative and aesthetic view of art, experienced in my practical making and substantiated in my theoretical research, art, I conclude, initiates inner conversion and thus healing.

Thesis (DPhil (Drama)--University of Stellenbosch, 2007. / This study aims to describe the puppet, mask and actor as icons or mediums in performance in Africa. The types of performances that will be discussed are religious performances, as well as liminal and hybrid performances. It is in the cases where the mask and puppet are used in religious performances, such as rituals, that the iconic characteristics or values are added to the mediumship of the object. In such cases, these objects do not represent concepts/thoughts/persons/spirits; they are these things in the space of the ritual. Matters pertaining to representation and acting are discussed, since iconic representation does not allow for acting from the performer. The actor can function with, or independently, as an icon, while all these performance elements can function as mediums in a performance using acting or role-play. These different concepts are then applied by discussing the term performance. The different elements of a performance and its characteristics – such as the use of time, space, objects, productivity and rule of a performance – are explained. The creation of a performance through the use of restored behaviour as well as the possible results of a performance in the sense of transportation and transformation as temporary or permanent changes in the performers or audience members is then addressed in the discussion. Different performance genres such as rituals and social drama will be used to describe the function of the mask, puppet and actor in liminal and liminoid performances, and to show how these different performance objects function as icons and/or mediums in these genres. Hybrid forms of performance that cannot be classified as purely liminal or liminoid performances are also studied, since these types of performances are often found in contemporary performances in Africa. The production Tall Horse is used to apply performance theory to see how the different performance objects function in changed context in a hybrid performance.

This inter-disciplinary thesis addresses the long term continuity and change found in representations of Scottish royal authority through state ceremonial bridging the gap between medieval and early modern across four centuries. Royal ceremony in Scotland has received very haphazard research to date, with few attempts to draw comparisons that explore how these crucial moments for the representation of royal authority developed over the course of a number of centuries. Three key royal ceremonies – inaugurations/coronations, funerals and weddings (with consort coronations) – form the core of this study of the Scottish monarchy from c.1214 to c.1603, and were chosen due to their integral position in the reign of each monarch. The issues of succession and security of hereditary monarchy dictate that the ceremonies of death and accession are inescapably intertwined, and funerals and coronations have been studied in unison together for other European comparators. However, the frequency of minor accessions, early and violent deaths, absentee kingship and political upheaval in Scotland across the time period determined from an early stage that weddings – often the first occasion for Scottish monarchs to project their personal adult authority and the point at which Scotland had the widest European audience for their display – were essential to forming a rounded view of developments. By offering a detailed analysis of these ceremonial developments across time, this study will provide the framework from which further research into royal ceremony and its place as essential platform for the dissemination of royal power can be undertaken. The thesis focuses upon key questions to illuminate the developments of these ceremonies as both reflectors of a distinct Scottish royal identity and representative of their integration within a broader European language of ceremony. How did these ceremonies reflect the ideals of Scottish kingship? How were they shaped to function within the parameters of Scottish governance and traditions? How was the Scottish crown influenced by other monarchies and the papacy? How did it hope to be perceived by the wider European community and how was royal power exercised over its subjects in this transitional period of Scottish history? The focus upon Scotland’s visual forays on the international stage and varied relations with European actors has required a continual comparison with other European countries across this time period, with particular attention being paid to England, France, Ireland and the Low Countries. Within the context of a highly public and interactive era of display and posturing by great leaders across Europe, crucial points this thesis engages with include: what made the Scottish ceremonies unique? And how can this further our understanding of that which lay beneath such representations of royal authority?

Thesis (DTh)--University of Stellenbosch, 1995. / ENGLISH ABSTRACT: A number of theories aimed at more effective ways of religious education have seen the light in recent years. They are all characterized by a holistic approach which emphasises the fact that we should try to utilise more than just the cognitive and verbal potential of man. This study does not merely accept this view but would also like to go further and look for practical means to implement these ideas. The central hypothesis of the study is that symbols and rituals are eminently suitable instruments if one opts for a holistic approach towards religious education. Various shifts which have recently occurred in modern society are highlighted in the study. These include a new outlook on life, new behavioural patterns, new ways of communication and new theories on communication. The complexity of our society is described because it has a major influence on the functioning of symbols and rituals. Secondly, symbols and rituals are defined and their functioning is described. Issues like the interplay between symbol and ritual and society, the way in which order and identity are given to society by symbols and rituals, the way in which symbols and rituals communicate without the use of a multitude of words, the pastoral function that symbols and rituals can fulfil and the gradual disappearance of symbols and rituals from our society are discussed. Attention is also paid to the concepts "liminality" and "commullitas", as described by the anthropologist Victor Turner. These two concepts are central to the understanding of the way in which rituals function. Thirdly, symbols and rituals are viewed from a Biblical and theological angle. The study shows that man was created as a symbol, but also underlines the importance of seeing man's body and soul as a unity. This has special implications for the manner in which we ritualize. It is also pointed out that symbols and rituals have played a major role in worship since the earliest times. The important role which kerugmatic and cultic acts, as well as the sacraments have played and can still play in the life of a believer is also described. Fourthly, the study concludes that symbols and rituals can indeed play a vital role in the process of religious education and the deepening and expansion of faith. The argument is supported in a deductive manner by the insights of people like H. Westerhoff, P. Babin, C.R. Foster, S. McLean and others. It is stressed that symbols and rituals should be used in a nuanced manner. Finally a number of proposals are made as to how these principles could be implemented in practice, together with some suggestions for further study. We believe that this should stimulate both the utilisation of symbols and rituals and further discussion and research in this regard. / AFRIKAANSE OPSOMMING: Daar het die afgelope aantal jare 'n hele aantal teoriee rakende die effektiewe oordrag van geloofsinhoude die lig gesien. Die teoriee word feitlik deurgaans gekenmerk deur 'n holistiese benadering wat beklemtoon dat meer as die kognitiewe en verbale potensiaal van die mens benut behoort te word. Hierdie studie sluit daarby aan, maar soek verder na praktiese instrumente vir geloofsvorming wat aan hierdie vereiste sal voldoen. Die sentrale hipotese van die studie is dat simbole en rituele by uitnemendheid geskik is om geloofsinhoude op 'n holistiese wyse oor te dra en so mee te werk aan 'n proses van geloofsvorming. Daar word in die studie gewys op skuiwe wat die afgelope aantal jare binne die moderne samelewing plaasgevind het en die mens se gedrag, lewens- en wereldbeskouing, asook kommunikasie en teoriee ten opsigte van kommunikasie daadwerklik beinvloed het. Die kompleksiteit van die samelewing word uitgelig omdat dit sowel positiewe as negatiewe implikasies vir die funksionering van simbole en rituele het. Tweedens word simbole en rituele gedefinieer en die funksionering daarvan beskryf Sake soos die wisselwerking tussen simbole en ritue1e en die gemeenskap, die wyse waarop simbole en rituele orde en identiteit aan die gemeenskap gee, die wyse waarop simbole en rituele sonder 'n omhaal van woorde kommunikeer, die pastorale funksies wat deur simbole en ritue1e vervul kan word en die wyse waarop simbole en rituele algaande uit die samelewing verdwyn het, word bespreek. Aandag word ook aan die begrippe "liminaliteit" en "communitas" gegee. Daar word veral aangesluit by die werk van die antropoloog Victor Turner. Hierdie twee begrippe word as wesenlik vir die verstaan van die funksionering van rituele beskou. Derdens word simbole en rituele deur 'n teologiese en Bybelse bril beskou. Ten aanvang word daarop gewys dat daar aan die mens die kwaliteit gegee is om as lewende simbool te funksioneer. Vervolgens word aangetoon hoe be1angrik dit is om die liggaamlikheid van die mens ernstig op te neem en daarna hoedat simbole en rituele vanaf die Bybelse tye 'n sentrale rol gespeel het in die aanbiddingswereld van gelowiges. Die besondere rol wat kerugmatiese en kultiese handelinge, asook die sakramente, in die geloofslewe van mense gespeel het en steeds speel, word bespreek. Vierdens word die gevolgtrekking gemaak dat simbole en rituele inderdaad 'n belangrike rol kan speel in die proses van geloofsvorming. Die argument word verder op deduktiewe wyse ondersteun deur insigte van persone soos J.H. Westerhoff, P. Babin, R. Osmer, C.R. Foster, S. McLean e.a. Daar word veral gewys op die belangrikheid van 'n genuanseerde gebruik van simbole en rituele. Ten slotte word enkele bedieningsvoorstelle en aanbevelings vir verdere navorsing gemaak wat as stimulering van die bedieningspraktyk behoort te dien.

Manželství z křesťanského pohledu Marriage from a Christian Perspective Šárka Ambrosio This work is based on the provisions of the biblical creation of man (as male and female) and the concept of marriage in the New and Old Testament. I reflected on the legal status of marriage in modern society and the provision of marriage according to the order of the Roman Catholic Church, the Czechoslovak Hussite Church society and the Christian community center as well as comparing their views on marriage and their wedding ceremonies. This literal work is divided into two parts. The first section is a biblical description of marriage from the old and new testament and its perspective regarding marriage from these three individual churches. The second section describes ten moral values of a healthy Christian marriage from my own personal observations and studies from the Bible. This chapter may be an inspiration to many people and to their marriages. The various questions about marriage are answered in the Bible. Every marriage has the chance to resolve its own issues for a healthy and satisfying relationship. The aim of this work was not only to describe marriage from the three different Churches, but also to show people that if two individuals share a common faith and have core values, the greater chance they...

American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, Cacega Ayuwipi, does exhibit the three elements inherent to all American Indian music and dance traditions. Cacega Ayuwipi is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-04-28T18:23:32Z (GMT). No. of bitstreams: 1 Renata Almeida de Souza Aranha e Silva.pdf: 5456330 bytes, checksum: 541c911831a7244b88ac53a77a980edf (MD5) Previous issue date: 2007-08-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The focus of this paper is to present an analysis of the speech given by a Master-of-Ceremonies, an activity carried out by professionals from various backgrounds, whose purpose is to conduct public, social or institutional events. Results of the analysis of selected data will be presented from two main points. On one side, the performance of the master-of-ceremonies in two Rector Investiture Ceremonies, that occured in two colleges located in São Paulo. These performances were captured through video-tapes of the ceremonies and also through scripts specially prepared for both occasions. On the other side - also a pivotal part in the analysis of the activity of the master-of-ceremonies - the rules that guide the performance of this professional, collected in specific manuals, and the laws that regulate the ceremonial in Brazil. Based on the concepts of concrete statement, verbal interaction and discursive genre, from the theory of M. Bakhtin and his circle, the data used for the analysis focuses on verbal communication associated to an extra verbal situation at the events, considering each ceremony to be a concrete statement. The event of PUC São Paulo's rector, in 2004, was conducted by a professor who's been with the College for 30 years and has established a relationship with the institution that enabled the confrontation of the individual style and the generic, without breaking up with the genre. Even without rules set down for his performance, a detailed script, PUC's master-of-ceremonies was directed by a professor that was positioned at a strategical place in the audience. At USP's event, a master-of-ceremonies was hired to conduct the event and didn't have the same room to create his lines, although the rigid script didn't annul the individual stylistic composition. In both situations we verify that the elements that distinguish the speech of the master-of-ceremonies constitute a discursive genre, and that the unpredictable is one of the elements that integrate this genre / O objetivo deste trabalho é apresentar uma análise do discurso do mestre-de-cerimônias, atividade exercida por profissionais de formações diversas, cuja finalidade é a condução de solenidades públicas, sociais e institucionais. Serão apresentados resultados da análise de um corpus selecionado a partir de dois eixos. De um lado, a atuação do mestre-de-cerimônias em duas solenidades de posse de reitor, ocorridas em duas universidades situadas na cidade de São Paulo. Essa atuação foi recuperada por meio dos vídeos das cerimônias e também dos roteiros e dos scripts especialmente preparados para essas duas situações. De outro, também como parte fundamental para a análise da atividade do mestre-de-cerimônias, as normas que regem a atuação desse profissional, encontradas em manuais específicos, e as leis que regulamentam o cerimonial no Brasil. A partir dos conceitos de enunciado concreto, interação verbal e gênero discursivo, da teoria de M. Bakhtin e seu círculo, o corpus usado para análise focaliza a comunicação verbal associada à situação extraverbal nas solenidades, considerando cada cerimônia um enunciado concreto. A solenidade da reitora da PUC São Paulo, em 2004, foi realizada por um professor que está há 30 anos na Universidade e estabeleceu uma relação com a instituição que possibilitou o confronto do estilo individual e do genérico, sem romper com o gênero. Mesmo sem um prescrito fixo para sua atuação, um script minucioso, o mestre-de-cerimônias da PUC foi guiado por uma professora que estava posicionada em local estratégico no auditório. Na cerimônia da USP, um mestre-de-cerimônias foi contratado para conduzir a solenidade e não teve o mesmo espaço para criar as suas falas, porém, o script rígido não impossibilitou a composição estilística individual. Nas duas situações, constata-se que os elementos que caracterizam a fala do mestre-de-cerimônias constituem um gênero discursivo e que o imprevisto é um dos elementos que integra esse gênero