This study investigates the reproductive and parental roles of polyandrous male pale chanting-goshawks, Melierax canorus, and speculatively reviews the fitness outcomes of different skew and relatedness scenarios. The study was conducted over five years in the Little Karoo, South Africa. Although, polyandrous males participated equally in building nests, provisioning prey and incubating, in the fertility window the dominant alpha males copulated 31–5 days before the females laid, whereas subordinate beta males only copulated 5–3 days before laying. If this copulation timing by alpha males was indicative of a high reproductive skew, alpha males breeding as full sibs could skew paternity in their favour (ratio 68:32) and produce 0.69 offspring equivalents. Under this scenario, they compensated beta males with indirect fitness benefits by allowing them to produce 0.54 offspring equivalents, equal to monogamous males. Alternatively, if beta males controlled reproduction while breeding with non-relatives under a high skew scenario, they would have to restrain themselves to avoid eviction and produce 0.28 offspring equivalents to allow the fitness of alpha males at least to equal that of monogamous males. I suggest that alpha males and their females altered their reproductive roles to accommodate beta males, thereby increasing their inclusive fitness, whereas beta males tolerated subordination to acquire reproductive skills that non-breeder males do not have access to.

This paper aims to investigate the basic problem of Chanting Method in the Pure Land Buddhism . To rebirth in Pure Land by practicing the method of Buddha-Chanting, it would face the question and solution of modernity. The statistics of Pure Land Buddhism acceptable to most people indicate that even there are many people practicing the method of Buddha-Chanting, but few people really rebirth in Amitabha¡¦s Pure Land. The author of this paper discusses the topic with regard to Pure Land sutras in the Da Zheng Zang and the literatures of Master Yin-Guang to view if the contemporary practicer misunderstanding the purpose of Buddha-Chanting for rebirth in Amitabha¡¦s Pure Land. And provides a more detailed interpretation of Amitabha Pure Land methodology.

This investigation into embodied female spirituality clearly required an approach which was able to holistically engage all human faculties - different aspects of mind, body, spirit, intuition and memory. Consequently it was essential to use my creative practice as an integrative aspect of the research. I have used my creative practice across health and healing, Sufi processes and light based media to investigate, develop and practice 'embodied female spirituality'. A shamanic-performance paradigm and feminism have been central, philosophically, to the study. In addition I have chosen to explicate the connections between these discourses of the body, the text and the imagery through my own story, my autobiography. The methodology involves two research strategies; the use of creative practice as research and the use of autobiography as a research tool. The creative practice can be seen as a continuum of modalities, extending from the private to the public. Three dimensions of the practice will be discussed. The following is a description of the dimension of a typical session in (1) a body-based natural therapy treatment I deliver (2) a group-body-based Sufi session I deliver and (3) a brief outline of the approach I have taken to the research within light based media and a list of the works.

我們的生活中免不了會有身邊親友去世的經驗，甚至每日的報章媒體也都隨處看得到有人因天災、意外、疾病等原因而死亡的消息，故說死亡的陰影是如影隨形跟著每一個人，既然每人或早或晚都得面對死亡這一關，那麼對這個人生的重大課題，值得認真去面對它、瞭解它。 而本研究採取深度訪談法，主要以正德社會福利慈善基金會的「西方蓮社」臺北分社助念志工為主，以助念經驗逾兩年以上者挑選五位作訪談之研究；另外訪問兩位承天禪寺蓮池共修會助念志工，至於其他四位受訪者各隸屬於法鼓山、諾那精舍、靈巖山念佛會、圓山念佛會，合計本文之訪談助念志工共有十一位。而本文所謂的助念，係指對臨終者的開導佛理與幫助亡者提起正念，專心念「阿彌陀佛」佛號，祈求集合眾人專心念佛的力量，幫助亡者蒙佛接引，往生西方極樂世界。 研究結果發現如下：一.助念瑞相，不可思議；二.寂滅為樂，不再輪迴；三.深信切願，念佛要深；四.風不止而樹茁壯，親不待而勤助念；五.肉體幻滅，神識仍在；六.莫存僥倖，平日勤修；七.助念志工，不與人爭；八.提起正念，安定亡靈。 關於助念志工的生命觀，為藉假修真、修行往生，生死何重、死為重矣，深信切願、必能往生。其關係圓融之研究，則分為志工團體合作默契、家人關係的圓融、鄰居關係的圓融、工作單位的關係圓融、人生觀之關係圓融等研究向度，總歸其看法為「人生如過客，有何好計較」、「修行要緊，不與人爭」、「別人都對，抱歉我錯」、「面對現實，明辨真假」、「富貴在天，不怕吃虧」。 本文並依據研究發現，對助念志工的建議為：至誠懇切、念佛要深；參透生死、自度度人；發心在剎那、恆持到永遠。對死者與家屬的建議為：生前要預立遺囑，交待後事。對社會大眾的建議為：每一個家庭最少有一兩位成員要懂得助念。對醫療體系的建議為：培訓更多志工、義工來從事臨終關懷的工作。對佛教道場的建議為：加強宣導助念的方法與功效，讓「助念」普及化。對政府機構的建議為：培訓更多宗教師等專業人士。對葬儀社的建議為：避免打斷助念流程，協助讓助念工作圓滿、助亡者往西。 關鍵詞： 助念、助念志工、生命觀、關係圓融 / We cannot avoid encountering and experiencing the death of loved ones around us in our lives. Even through media or newspaper, we read about people dying of sickness, accidents, and natural disasters, just to name a few. We can say that everyone is coupled with death. Since facing death is something one must deal with sooner or later, we can say it is one of the most important studies in our lives. It is worthy for us to think about it and understand it seriously. This study applies the in-depth interview of qualitative research. There are eleven volunteers of End-of-Life Chanting as the research population in this study, including interviewing the main study group, five volunteers from Cheng Te Western Lotus Society, Taipei Chapter, who have more than two years of End-of-Life Chanting experience, the other volunteers from different five groups. In this study, End-of-Life Chanting refers to the process of the Buddhist Chanting Assistance, including both the counseling and the last rite ceremonies, and by uniting the full will power of the End-of-Life Chanting group, chanting Amitabha’s name to help the deceased be escorted by the Buddha to reside in Western Pureland. This study concludes the following: 1. The corpse has a peaceful appearance, which is simply amazing 2. At peace with being dead, not returning back to the life of being human 3. Recite sutra sincerely and believe deeply 4. Worship the deceased parents by reciting sutra and End-of-Life Chanting 5. The spirit of the dead is still alive although the flesh no longer exists 6. Recite sutra diligently and regularly 7. Don’t argue or compete with others 8. Calm the soul of the dead The life philosophy of End-of-Life Chanting volunteers include weighing in the importance of life and death in order to know to take death seriously, reciting sutra sincerely and diligently, believing that it will bring life after death. The studies of the harmonious relationship includes researching the team spirit and team work among End-of-Life Chanting volunteers, relationships among family members, neighbors, and colleagues, and the attitudes toward life. In short, it concludes that, “life is short, why arguing with others?”“the cultivation of oneself is important, competing with others is not necessary”, “others are always right, I need to work on my mistakes”, “facing with the reality of facts, telling the right from wrong”, and “regards the wealth as a gift from God, and not being afraid to be taken advantage of”. . Based on the research findings, there are some suggestions: 1. To End-of-Life Chanting volunteers : recite sutra sincerely；believe that life is unpredictable and chanting is a good deed benefiting others and yourselves；do a good deed at one moment but maintain and support it till forever. 2. To the surviving family members: Have a will made before death in order to set up everything and let your wishes be known 3. To the society：Every family should at least have one or two members who know the work of End-of-Life Chanting ceremonies. 4. To the hospital and medical field: Educate and train more volunteers to engage in the End-of-Life Chanting ceremonies. 5. To the Buddhist temples：To publicize the method and effectiveness of the End-of-Life Chanting, make End-of-Life Chanting more popular and wide- spread . 6. To the government：Educate and train more religious professionals. 7. To the mortuary: Avoid breaking the process of End-of-Life Chanting，and assist the End-of-Life Chanting ceremonies to help the dead reach the Western Pureland. key words：a) End-of-Life Chanting，b) volunteers of End-of-Life Chanting， c) the life philosophy， d) the harmonious relationship

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-25T16:07:54Z No. of bitstreams: 1 arquivototal.pdf: 3917406 bytes, checksum: 84cf3bac7d4ce0c03e7c2bb543ec310e (MD5) / Made available in DSpace on 2016-07-25T16:07:54Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3917406 bytes, checksum: 84cf3bac7d4ce0c03e7c2bb543ec310e (MD5) Previous issue date: 2015-03-25 / This work results from a research about Aboio’s (cow herding) singing in the Paraiba’s high sertão (backwoods) region, especially in these cities: Sousa, Cajazeiras, Marizópolis, São João do Rio do Peixe among surrounding municipalities. The focus is on the adaptive processes that this kind of chanting undergoes in order to survive as a manifestation of the Vaqueiros’ (Cowboy) voice and culture. Interviews and ethnographic research has been done with Aboio’s singers of this region seeking for an understanding of musical and sociological changes that have occurred to cowboy culture and how they influence and construct reality for contemporary cowboy. It follows that the aboio, actually, is very different from that described by Mário de Andrade since he organized the folkloric research missions in 1938. The aboio has adapted to new contexts and to the changes brought by modernity and late modernity in order to ensure its survival in northeast backcountry culture. / Este trabalho é resultado de uma pesquisa sobre o canto de aboio na região do alto sertão paraibano, em especial, os municípios de Sousa, Cajazeiras, Marizópolis, São João do Rio do Peixe e municípios circunvizinhos. Foca-se nos processos adaptativos que o aboio passa para sobreviver enquanto manifestação da voz e da cultura do vaqueiro. Foram feitas entrevistas e pesquisa etnográfica com os cantadores de Aboio da região buscando uma compreensão das transformações musicais e sociológicas por que passa a cultura do vaqueiro e como as mesmas influenciam e constroem a realidade do vaqueiro contemporâneo. Concluiu-se que o aboio está muito diferente da prática descrita por Mário de Andrade desde que organizou as missões de pesquisas folclóricas em 1938, pois o aboio se adaptou aos novos contextos e às mudanças trazidas pela modernidade e modernidade tardia a fim de assegurar sua sobrevivência na cultura do sertanejo nordestino.

Syftet med denna studie är att förbättra min förmåga att sjunga utantill för att därigenom utveckla min konstnärliga uttrycksförmåga. För att göra detta utvecklades en egen metod för utantillinlärning av sångtext genom att två långa visor av Evert Taube studerades in: Möte i monsunen och Eldareval- sen. En litteratur- och intervjustudie användes som grund för val av inlärningsmetoder. Experimentet utfördes i två delar. I första delen av experimentet undersöktes fyra metoder för utantillinlärning av text; (1) Nedskrivning av texten för hand, (2) Skandering av texten (rytmisk läsning), (3) Gestaltning av texten med rörelser och slutligen (4) en kombination av de tre första. I andra delen av experimen- tet användes erfarenheterna av första delen för att förfina metoden. I experimentets båda delar gjor- des även enkla textanalyser som komplement till övriga metoder.  Experimentet lades upp så att jag under fem veckor övade ovan nämnda visor med ovan nämnda me- toder under två dagliga pass på 25 minuter. Erfarenheterna av detta dokumenterades med 22 logg- boksinlägg och 19 videoinspelningar.  Resultaten tydde på att den bästa metoden för mig var en kombination av de fyra metoderna där skandering av texten var den viktigaste i kombination med analys av texten. Beroende på textens in- nehåll kunde sedan nedskrivning av text och gestaltning med rörelser användas i olika grad. Resulta- ten verifierade också rådande forskning som säger att enbart studier av minnets struktur och upp- byggnad i sig själv är användbart för att förbättra förmågan till memorering av musik. / The aim of this study is to increase my capacity to sing by heart in order to increase my ability of ar- tistic expression. To do this, a method for text memorization was developed through the learning of two long songs by Evert Taube: Möte i monsunen and Eldarevalsen. Firstly, an interview- and litera- ture study was done. This was the foundation for the selection of methods that were used in the ex- periment. Four methods were applied in the first part of the experiment: (1) Handwriting of the text, (2) Rhythmical chanting of the text, (3) embodying of the text using movements and lastly (4) a com- bination of the previous three. In the second part of the experiment, the experience from the first part was applied in order to refine the method. In both parts of the experiment, simple text analyses were performed as a complement to the other methods.  The experiment was done during five weeks where I practiced the above-mentioned songs and meth- ods daily for two sessions of 25 minutes. The experiences from this were documented through jour- naling and video documentation.  The results indicated that the best method for me was a combination of all four methods where rhyth- mical chanting should be the main method in combination with a proper analysis of the text. Depend- ing on the content of the text the other two methods could be applied. The results also verified the current research where study of the memory on its own could increase the capacity of music memori- zation.

No description available.

This master's thesis named Seven Sacraments Reflection in Tobias Zavorka Lipensky's Liturgical Work, deals with the transcription and analysis of liturgical acts which reflect seven sacraments of the Catholic Church. The appropriate texts were taken from Zavorka's agenda The Rule of Church Service, the hymn-book The Songs of Divine Praise and the song-book Funeral Chanting. The master thesis begins with brief Zavorka's curriculum vitae of Zavorka, who was the neo-utraquistic priest and Dean of the region of Doubravnik, and a description of his works. The main focus of the thesis is to describe the specifics of the special or sacramental liturgical acts that demonstrate the character of Zavorka's theological and liturgical work.

No description available.

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS & MUSIC / DLITT ET PHIL (MUSICOLOGY)