The thesis was originally meant to be an investigation into the necessity of architectural ornamentation. Throughout the exploration however, it became evident that architectural ornamentation was not all that was being studied. Instead, a broader term was needed in order to define the study. Instead of simply ornamenting architecture, the thesis is a study on augmenting architecture; more precisely, a study of the several elemental ways through which architectural experience can most effectively be augmented to foster aesthetic expression and heighten general architectural experience. The thesis deals with five of these fundamental elements; phenomenology, craft, contrast, complexity, and representation. The project that has been developed with these ideas in mind is an ancestral columbarium and the path that leads visitors to it. It is sited in a theoretical Virginian landscape that was designed simultaneously with the architecture, in order to present the architectural ideas with greater clarity and precision. The columbarium and path are a part of a larger family residence that includes an ancestral home, but for the sake of time the home was not designed. Instead, the relevant ideas are expressed through the path to the ancestral columbarium and the columbarium itself. / Master of Architecture

Souvent traitées dans le cadre général de la fête, les cérémonies religieuses font rarement l'objet d'études à part entière. Si on se place dans une perspective anthropologique, ces manifestations extérieures sont pourtant riches en informations en tant que construction socioculturelle significative. Expérience observable, une cérémonie se caractérise par divers éléments déterminants (des lieux de célébration, des acteurs, un moment, un but et un scénario composé de paroles et de gestes codifiés) et elle implique également une certaine solennité, une forme d'apparat et de dramatisation qui permettent l'exacerbation du message identitaire. Le champ de recherche retenu ici est celui des cérémonies du culte d'Isis dans les provinces occidentales entre le IIe s. av. J.-C. et le Ve s. apr. J.-C. Déesse d'origine étrangère dont le culte devient officiel à Rome au Ier s. apr. J.-C., Isis offre des pistes de recherche particulièrement intéressantes par les implications identitaires propres aux pratiques cultuelles qui lui sont attachées. A travers le prisme des célébrations religieuses, il s'agit ainsi de s'interroger sur l'intégration et la visibilité du culte d'Isis dans le paysage religieux des cités occidentales, sur les liturgies cérémonielles au sein du sanctuaire de la déesse ainsi que sur l'impact des célébrations isiaques sur l'individu. Cette étude passe par l'exploitation de toutes les sources disponibles et s'inscrit par ailleurs dans un effort d'interdisciplinarité en tentant notamment de faire appel aux autres sciences sociales à l'exemple de l'anthropologie religieuse qui ouvre de nouvelles perspectives éclairantes pour la science historique / Often treated in the general framework of the feast, the religious ceremonies are rarely the object of full studies. Nevertheless, from an anthropological perspective, religious ceremonies, as significant sociocultural constructions, are rich in information. As a religious experience, a ceremony is characterized by diverse determining elements (places of celebration, actors, moment, a purpose and a scenario consisted of words and codified gestures) and it also implies a certain solemnity, a shape of pomposity and dramatization which allow the exacerbation of the identity message. This work focuses on the ceremonies of the cult of Isis in the western provinces between the 2nd B.C. and the 5th A.D. Goddess of foreign whose cult becomes official in Rome in the Ist A.D., Isis offers interesting tracks of research thanks to the particular identity of the religious practices bound to her. Through the prism of the religious celebrations, we have to question about the foreign character of its ceremonies. The second axis of approach of this work focuses particularly on the ceremonial liturgies within the sanctuary of the goddess whereas the third turns towards domestic and indiviudal religious practices, and the impact of isiac celebrations on the individual. This study wishes to use al lthe available sources (literay, archaeological, epigraphic, iconographic, etc.)and makes an effort of interdisciplinary by trying in particular to appeal to the other social sciences, like religious anthropology, which opens new perspectives for the historic science.

A travers l’analyse des déplacements des souverains hellénistiques et des imperatores romains en Orient, ce travail entend éclairer le concept moderne de voyage officiel et démontrer la validité de cette catégorie pour caractériser les voyages de ces personnalités politiques antiques. Au-delà du critère du statut du voyageur, les sources mettent en lumière le rôle discriminant de l’infrastructure du voyage, ainsi que l’importance des procédures d’accueil public dans la reconnaissance collective de l’officiel. L’enquête conduit à souligner la dimension à la fois protocolaire et populaire de ce type de déplacement dont le caractère spectaculaire contribuait à assurer le retentissement exceptionnel pour en faire un [événement] local de grande ampleur. Manifestation de souveraineté, le voyage officiel s’inscrivait dans un processus de légitimation du pouvoir et constituait le cadre privilégié de la mise en scène de la personnalité politique : l’apparat et la théâtralisation du voyage autant que ses enjeux politiques majeurs peuvent être considérés comme des caractéristiques déterminantes du déplacement officiel. Cette réflexion pose également le problème de la pertinence de la dichotomie public/privé. Celle-ci n’est opératoire qu’à Rome où le concept de voyage fonctionnel est attesté, mais où l’on peut néanmoins observer une confusion entre la sphère de l’officium et celle de l’otium dans le cadre des déplacements des imperatores qui étaient l’occasion de démarches touristiques, culturelles ou religieuses révélatrices de la curiosité intellectuelle de ces personnages dont les séjours d’études puis les voyages officiels en Orient permettaient de satisfaire le philhellénisme. / Through the analysis of the travels of the hellenistic kings and the roman imperatores in the East, this work intends to throw light on the modern concept of official trip and to demonstrate the validity of this category to characterize the travels of these ancient political personalities. Beyond the criterion of the status of the traveller, sources bring to light the discriminating role of the infrastructure of the trip, as well as the importance of public reception in the collective recognition of the official. The inquiry leads to underline the formal and the popular dimension of this kind of trip whose spectacular character contributed to ensure his exceptional impact and turn it into a large-scale local event. As a demonstration of [sovereignty], the official trip was part of a process of legitimization of power and provided the privileged framework for the staging of the political personality : the pageantry and dramatization of the journey as much as [its] major political stakes can be considered as distinctive characteristics of the official trip. This study also raises the problem of the relevance of the public/private dichotomy. The latter is only effective in Rome where the concept of functional trip is attested, but where a confusion of the sphere of the officium and the otium can nevertheless be observed within the travels of the imperatores which were the opportunity of touristic, cultural and religious initiatives revealing the intellectual curiosity of these characters whose study tours and official trips in the East made it possible to satisfy their philhellenism.

The essay analyses the changes of the Opet festival procession between the regents Hatshepsut and Tutankhamun, as some changes of the procession occur during this period. The purpose of this study is to fill in some of the knowledge gaps that exist and to combine different areas that have been researched with areas ​​where little research has been done. The purpose is to provide an insight into how the environment and politics played a role in the religious contexts of the Opet festival. The approach uses the reliefs of the Opet festival found in Luxor Temple and in Karnak Temple to see how the festival changed. By examining how the festival procession evolved and analysing what the changes were due to, one can answer the main question: Why did the processions in the Opet festival change? The focus will be to analyse Hatshepsut (1479–1457 B.C.), Amenhotep III (1388–1351 B.C.) and Tutankhamun's (1341–1323 B.C.) political and religious position, and to investigate whether it affected the development of the procession of the Opet Festival and if so, how it affected the change. Furthermore, by analysing the landscape through the study of the movement of the Nile and the annual cycle of the river and using the concepts of "constructed landscapes" and "ideational landscapes" as a starting point for analysing the temples and processional ways. This study also provides something for future projects to build on, as there are currently not many studies on the processions of the Opet Festival, more research is needed in this area. Since this is an approach that has not been done before, by looking at the political and historical aspects as well as the environmental aspects and how they affect the processions of the Opet festival, will this fill some of the knowledge gaps currently present. / Uppsatsen analyserar förändringarna i Opet festivalens processioner mellan regenterna Hatshepsut och Tutankhamun, då många förändringar i processionen skedde under denna period. Syftet med denna studie är att fylla några av de kunskapsluckor som finns genom att kombinera olika områden som det har forskats mycket om för att analysera ett område som det inte har forskats lika mycket om. Syftet är att ge en inblick i hur miljön och politiken spela en roll i de religiösa sammanhangen som fanns i forntida Egypten. Tillvägagångsättet kommer vara att använda relieferna av Opet festivalen som finna i Luxortemplet och i Karnaktemplet för att se hur festivalen förändrades. Genom att undersöka och redovisa hur processionen under festivalen utvecklades och analysera vad de förändringarna berodde på, kan studien besvara huvudfrågan: Varför förändrades processionerna i Opet festivalen? Fokuset kommer vara att analysera Hatshepsut (1479–1457 f.v.t.), Amenhotep III (1388–1351 f.v.t.) och Tutankhamuns (1341–1323 f.v.t.) politiska och religiösa ståndpunkt, samt undersöka om det påverkade utvecklingen av Opet festivalens procession och i så fall hur det påverka förändringen. Samt analysera landskapet genom att studera Nilens rörelse och översvämning och även använda begreppen konstruerat -och idémässigt landskap som startpunkt för att analysera templen och processionsvägarna. Denna studie kan också ge något för framtida projekt att bygga på, då det i nuläget inte finns många undersökningar om Opet festivalens processioner, behövs det mer forskning inom detta område. Då det här är en infallsvinkel som inte gjorts tidigare, genom att kolla på de politiska och historiska aspekterna samt miljöaspekterna och hur de påverka processionerna av Opet festivalen, kommer detta fylla några av de kunskapsluckor som finns i nuläget.

A partir de uma analise da representação de procissões por artistas brasileiros em pinturas do século XX, a pesquisa analisa o desenvolvimento da organização de procissões por artistas em meio performático nos espaços públicos das cidades do Brasil e no mundo. Ao apresentar vários exemplos, o autor descreve as procissões organizadas por artistas como uma performance de resistência no Brasil em domínio público, antes, durante e após a ditadura militar. Ao traçar essa história por meio de exemplos cronologicamente expostos, e uma série de 25 entrevistas com artistas brasileiros e internacionais (transcritos no primeiro apêndice), a tese procurou demonstrar a grande variedade de temas e contextos que motivam artistas a organizar procissões e as formas que as performances podem tomar. O capítulo 3 analisa as possibilidades de participação do público nas procissões traçando comparações entre realidades brasileiras e internacionais com a recente teoria de estética relacional. O capítulo 4 introduz a variedade de documentação e elementos esculturais que surgem de eventos efêmeros e a sua apresentação em exposições. O capítulo 5 levanta questões a volta de tempo e agenciamento em projetos artísticos participativos, e assim torna-se evidente que as procissões e desfiles organizados por esses agentes culturais tentam manter seu potencial crítico, ao mesmo tempo que se tornaram um meio de apoio institucional. O segundo apêndice lista obras para uma possível exposição com vestígios, obras e documentos que resultam das procissões organizadas por artistas. / Based on an analysis of the representation of processions by Brazilian artists in 20th century paintings, the research analyzes the development of processions organized by artists as performance in the public spaces of cities in Brazil and abroad. In presenting several examples, the author describes the processions organized by artists as a performance of resistance in Brazil in the public domain before, during and after the military dictatorship. In tracing this history through examples chronologically since 1931 and a series of 25 interviews with Brazilian and international artists (transcribed in the first appendix), the thesis seeks to demonstrate the wide variety of themes and contexts that motivate artists to organize processions and the forms these can take. Chapter 3 analyzes the possibilities of public participation in the processions drawing comparisons between Brazilian and international realities with the recent theory of relational aesthetics. Chapter 4 introduces the variety of documentation and sculptural elements that emerge from ephemeral events and their presentation in exhibitions. Chapter 5 raises questions about time and agency in participatory art projects, making it clear that the processions and parades organized by these cultural agents attempt to maintain their critical potential, while they have also become a means of institutional support. The second appendix lists works for a possible exhibition

A partir de uma analise da representação de procissões por artistas brasileiros em pinturas do século XX, a pesquisa analisa o desenvolvimento da organização de procissões por artistas em meio performático nos espaços públicos das cidades do Brasil e no mundo. Ao apresentar vários exemplos, o autor descreve as procissões organizadas por artistas como uma performance de resistência no Brasil em domínio público, antes, durante e após a ditadura militar. Ao traçar essa história por meio de exemplos cronologicamente expostos, e uma série de 25 entrevistas com artistas brasileiros e internacionais (transcritos no primeiro apêndice), a tese procurou demonstrar a grande variedade de temas e contextos que motivam artistas a organizar procissões e as formas que as performances podem tomar. O capítulo 3 analisa as possibilidades de participação do público nas procissões traçando comparações entre realidades brasileiras e internacionais com a recente teoria de estética relacional. O capítulo 4 introduz a variedade de documentação e elementos esculturais que surgem de eventos efêmeros e a sua apresentação em exposições. O capítulo 5 levanta questões a volta de tempo e agenciamento em projetos artísticos participativos, e assim torna-se evidente que as procissões e desfiles organizados por esses agentes culturais tentam manter seu potencial crítico, ao mesmo tempo que se tornaram um meio de apoio institucional. O segundo apêndice lista obras para uma possível exposição com vestígios, obras e documentos que resultam das procissões organizadas por artistas. / Based on an analysis of the representation of processions by Brazilian artists in 20th century paintings, the research analyzes the development of processions organized by artists as performance in the public spaces of cities in Brazil and abroad. In presenting several examples, the author describes the processions organized by artists as a performance of resistance in Brazil in the public domain before, during and after the military dictatorship. In tracing this history through examples chronologically since 1931 and a series of 25 interviews with Brazilian and international artists (transcribed in the first appendix), the thesis seeks to demonstrate the wide variety of themes and contexts that motivate artists to organize processions and the forms these can take. Chapter 3 analyzes the possibilities of public participation in the processions drawing comparisons between Brazilian and international realities with the recent theory of relational aesthetics. Chapter 4 introduces the variety of documentation and sculptural elements that emerge from ephemeral events and their presentation in exhibitions. Chapter 5 raises questions about time and agency in participatory art projects, making it clear that the processions and parades organized by these cultural agents attempt to maintain their critical potential, while they have also become a means of institutional support. The second appendix lists works for a possible exhibition

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Made available in DSpace on 2016-07-27T13:47:54Z (GMT). No. of bitstreams: 1 Ana Pinheiro.pdf: 439290 bytes, checksum: 18a6495b703c7e2e818ba94df16529dc (MD5) Previous issue date: 2004-08-19 / This dissertation is a bibliographic and empirical study which intends to aunch in the academic milieu not only the gift-giving analysis but its role in production and reproduction of social ties as well as its place and importance in the different forms of societies. Based on Mauss theory, gift-giving is in all societies, be modern, be traditional. This theory comprises of a genuine social system, with its own specificities and differences. The present study contains a discussion based on those authors who were inspired by Maussian literature. Mauss argues that the gift-giving is a paradigm which is peculiar to social sciences and he suggests that a societys formed by a primary social rule, that is, the process of gift-exchange for giving, receiving and rewarding. All of them create the cement bonds of social solidarity which are more important than the output of goods. In the light of Mauss theory, this research aims to link his ideas and Procissão do Fogaréu da Cidade de Goiás Cresset Procession in Goiás Town -. It presupposes that the procession is seen as an event which dramatizes the major gift-giving act in the Christian imaginary, that is, Jesus Christ donation to save the world. The procession is a dramatic representation whose ritual reports the bible text, and at same time, the local tradition which is experienced and defined by the people who live in Goiás Town. / O presente trabalho é um estudo bibliográfico e empírico que busca colocar no meio acadêmico, a análise da dádiva e seu papel na produção e reprodução do laço social, bem como seu lugar e importância nas diversas formas de sociedade que coexistem nos dias de hoje. Segundo essa teoria, a dádiva está presente em todas as partes da sociedade, tanto nas modernas, como nas mais tradicionais. Desta forma, ela constitui um sistema social genuíno, com especificidades próprias e diferentes dos outros sistemas existentes na sociedade. Todo o trabalho demonstra uma maior afinidade por aqueles autores inspirados por leituras maussianas. Para Mauss, a dádiva é um paradigma próprio das ciências sociais e sugere que a sociedade se forma a partir de uma regra social primeira, a obrigação de dar, receber, retribuir e que a constituição do vínculo social é mais importante do que a produção de bens. A proposta da dissertação objetiva estabelecer uma conexão entre os estudos de Mauss e a Procissão do Fogaréu da Cidade De Goiás, partindo do pressuposto de que o evento teatraliza o maior ato de gratuidade do imaginário cristão: a entrega de Jesus Cristo para a salvação do mundo. A procissão é um ritual que, narrando um texto bíblico, superpõe, através de sua representação dramática, uma tradição vivida e definida localmente.

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This dissertation introduces the run of the Vlachovo Březí parish, which was participated not only by the parson and his parishioners, but also with other religious and secular authorities. It is based on accessible sources. The attention is devoted not only to each parson, but also their responsibility, from the care for his parishioners to the securing of the material state of church and parsonage. Introductory section summarizes the literature and sources on the topic. After this section are chapters devoted to the ecclesiastical administration after the Battle of White Mountain to the 19th century, the reorganization of the ecclesiastical administration after the Battle of White Mountain and spiritual development in the Prácheň region. The core of this thesis consists of five chapters, in which is the evolution of the parish by the first half of the 17th century to the second half of the 19th century given. First, the parish is described on its size and number of souls living in it. Next chapter is dedicated to the establishment and history of the parish, local priests and visitations. The following chapter is about duties of the priest and parishioners participate in the spiritual life of the parish, which are divided into daily duties (divine service), almost daily (Christian practice), sporadic (sacrament of Confirmation and procession) and ending with scholastic questions. The last two chapters deal with the management and administration of parish property, sacral objects in the parish and its equipment. The overall summary is given at the end.