L’empereur japonais Naruhito est le descendant de la plus vieille lignée monarchique au monde. Encore aujourd’hui, la monarchie constitutionnelle japonaise est célébrée de manière à ce qu’on puisse y observer des rituels traditionnels vieux de 1300 ans. À travers les âges, la monarchie nippone aura grandement évolué en fonction des courants de pensée qui auront intégré les coutumes japonaises, mais l’essentiel des rituels tels qu’ils étaient pratiqués originellement est toujours observable de nos jours. Les plus importants rituels mis en œuvre par l’institution impériale sont au nombre de trois : le Senso, le Sokui rei et le Daijō-sai. Lors de ces trois rituels, on organise respectivement la nomination de l’empereur, son intronisation et sa communion avec Amaterasu-Ô-mikami, l’instance divine de la plus haute importance selon le shintoïsme, une religion japonaise ancestrale. Pendant ces rituels, trois trésors sacrés sont primordiaux puisqu’ils sont notamment consubstantiels à la position de l’empereur. En effet, selon la mythologie japonaise, ces trois objets sacrés, une épée, un miroir et un joyau, auraient été remis par Amaterasu-Ô-mikami à son descendant en des temps immémoriaux, au moment où celui-ci recevait l’ordre de régner sur terre comme empereur. Au moment de l’ordonnance, le miroir sacré, en tant que corps théophanique, aurait remplacé Amaterasu-Ô-mikami, corps par lequel seul l’empereur pourrait communier avec la déesse. L’empereur devra léguer les trois Trésors à son descendant afin que celui-ci puisse à son tour accéder au mandat céleste détenu par le miroir. Ainsi, depuis l’écriture de la mythologie en 712, l’institution impériale japonaise, les trois Trésors sacrés et Amaterasu-Ô-mikami sont indissociables. Les trois Trésors sacrés de la monarchie japonaise et l’histoire qui s’y rattache sont utilisés dans ce travail afin d’analyser une théorisation développée par Brian Schiffer et Lars Fogelin en 2015. Selon ces auteurs, les objets peuvent être perçus comme détenteurs d’agentivité par certaines personnes, du moment qu’on puisse démontrer que les objets sont passés par des rites de passage au long de leur histoire de vie. / Japanese Emperor Naruhito is the descendant of the oldest monarchical lineage in the world. Even today, the Japanese constitutional monarchy is celebrated in such a way that traditional rituals dating back 1,300 years ago can be observed. Through the ages, the Japanese monarchy has greatly evolved through different schools of thought that have integrated Japanese customs, but, essentially, rituals as they were practiced originally are still practiced today. Among the rituals of the imperial institution, three are crucial: the Senso, the Sokui rei and the Daijō-sai. These three rituals deal respectively with the nomination of the emperor, his enthronement and his communion with Amaterasu-Ô-mikami, the divine authority of the highest importance according to Shintoism, the ancestral Japanese religion. During these rituals, three sacred treasures are primordial since they are consubstantial to the position of the emperor. Indeed, according to Japanese mythology, these three sacred objects, a sword, a mirror and a jewel were given by Amaterasu-Ô-mikami to his grandchild during immemorial times when he received the order to reign over Japan as the emperor. At the time of the ordinance, the sacred mirror would have been a substitute for Amaterasu-Ô-mikami as the theophanic body through which the emperor alone could commune with the goddess. In time, the emperor is required to bequeath the three Treasures to his descendant so that he can in turn access the celestial mandate detained by the sacred mirror. Thus, since the writing of mythology in 712, the Japanese imperial institution, the three Sacred Treasures and Amaterasu-Ô-mikami are interrelated. The Three Sacred Treasures of the Japanese monarchy and the related history are analyzed through a theory developed by Brian Schiffer and Lars Fogelin in 2015. According to the authors, objects can be perceived as holders of agency as long as it can be demonstrated that they have gone through rites of passage throughout their life history.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

The nonfiction collection of essays is about childhood and nostalgia, and how all the experiences as a kid make them into whom they will be.

[pt] A obra do artista Joseph Beuys parece marcada pela idéia de rito, mito e xamanismo; ao menos é o que demonstra a maior parte da bibliografia sobre o artista. Para compreendermos a obra de Beuys, partimos da análise de Cliford Geertz e Victor Turner. O primeiro nos proporciona a aproximação da performance artística com a idéia de rito como um momento de pausa que possibilita uma certa reelaboração do indivíduo, funcionando como um espelho social. Com o segundo, através de sua fase liminar, podemos entender como se rompem os limites do cotidiano, ampliando-os, enfatizando transformações subjetivas em si e no outro. Partindo dessas idéias procuramos observar o modo como o artista colocava em ação os seus pensamentos, utilizando-se para isso de princípios ou estruturas semelhantes aos que podemos notar nos ritos. No rito normalmente é possível perceber a busca por uma reconstrução social da realidade, objetivo este, apontado nas ações do artista, no sentido de romper com os limites da arte e de alcançar uma reestruturação social. / [en] The works of the artist Joseph Beuys seems marked for the idea of rite, myth and shamanism at least is what it demonstrates most of the bibliography on the artist. To understand the works of Beuys, we will break of analisy of Cliford Geertz and Victor Turner. The first one in provides the approach to them of the artistic performance with the rite idea as a pause moment that makes possible a certain rework of the individual, functioning as a social mirror. With the second, through its phase liminary, we can understand as to breach the limits of daily, extending it, emphasizing subjective transformations in itself and the other. Leaving of these ideas we look for to observe the way as the artist placed in action its thoughts, using himself for this of similar principles or structures to that we can notice in the rites. In the rite normally it is possible to perceive the search for a social reconstruction of the reality, objective this, pointed in the actions of the artist, the direction to breach with the limits of the art and to reach a social reorganization.

Selon le recensement de 2009, la population néo-calédonienne se compose de 245 558 personnes ; les moins de 30 ans en représentent approximativement la moitié. Les Mélanésiens, appelés Kanaks/Canaques, primo-habitants, forment alors 40 % environ de la population totale. De par l’héritage historique, cette population se trouve dans un entre-deux culturel, partagée entre l’attachement à la tradition des ancêtres et les tendances d’une occidentalisation liée à la colonisation. Selon les informations fournies par la police de Nouméa, depuis les années 2000, la Nouvelle-Calédonie connaît une augmentation très importante de la délinquance.Notre étude a pour but d’identifier les caractéristiques de la délinquance chez les adolescents néo-calédoniens, leur nature et leurs origines. Nous chercherons ainsi à mettre en évidence les facteurs qui ont prévalu à l’installation de cette situation. Dans cette recherche, nous nous interrogerons particulièrement à la substitution du rite de passage par l’acte délictueux comme moyen de reconnaissance sociale et nous analyserons les relations qui existent entre la délinquance et les facteurs culturels. Pour la présente étude, nous nous appuyons sur un échantillon de 331 adolescents issus de deux populations : des jeunes « conventionnels » et des jeunes « judiciarisés ». Tous ont été soumis à un même questionnaire relatif à leur identité ethnique, à leur degré d’attachement à leur groupe d’appartenance culturelle ainsi qu’à leurs pratiques de délinquance auto-révélée. Concernant la population « judiciarisée », le recueil de données s’appuie également sur des entretiens cliniques, ainsi que sur la passation de tests psychométriques. Les résultats portent respectivement sur les données quantitatives et les analyses qualitatives. / In the heart of the Pacific Ocean, the archipelago known as New Caledonia is experiencing a significant increase in crime since the 2000s, according to information provided by police in Nouméa, the capital city. Its population is relatively young. Those who are less than thirty years old represent approximately half the population. In this multicultural country, modernity and ancestral tradition coexist for some indigenous ethnic groups. Our study aims to identify the characteristics of adolescent delinquency in New Caledonia, addressing its nature and origins. Thus we seek to highlight the factors that have prevailed which created this circumstance. In particular, our research will examine the relationship between delinquency and cultural factors, and the existing links between the quest for ethnic identity and belonging to emerging gangs.For our study, we relied on a sample of 331 adolescents drawn from two groups: conventional youth, and young offenders. All were subjected to the same questionnaire regarding their ethnic identity, their degree of attachment to their gang, their cultural practices, as well as their professed delinquency. Regarding the offenders, our data collection also relied on clinical interviews, as well as the results of their psychometric tests. The findings will focus respectively on quantitative data and qualitative analyses.

Made available in DSpace on 2016-07-27T13:48:03Z (GMT). No. of bitstreams: 1 MIRIAN MATULIO DE SOUZA.pdf: 5412404 bytes, checksum: ed2bf6294fac1ecf6ef298631cfac07c (MD5) Previous issue date: 2011-03-15 / This dissertation examines and emphasizes the religiosity aspect and its relevance in the cultural history of guarana, in which the key point is explained and meaning in the myth of origin of sateré-maué. It was developed as the important data have been cataloged in order to provide sustainability to the foundation and purpose of this analysis. This dissertation is an attempt to explain from the point of view of anthropology, philosophical and theological issues surrounding his myth and the guarana. In the first chapter introduces the concept of culture and its relationship with the religious phenomenon. In the second chapter explains the religiosity of guaranaculture sateré-maué from the concept of myth and analysis of their oral tradition about the origin of guarana. The third chapter, highlights the city of Maués as geographical and cultural space in which the guarana is an element of identity of the people. / Este trabalho analisa e ressalta a religiosidade como aspecto relevante na historicidade cultural do guaraná, no qual, o ponto chave encontra explicação e sentido, no mito de origem dos sateré-mawé. E foi desenvolvido à medida que dados importantes foram catalogados no intuito de fornecer embasamento e sustentabilidade à proposta destas análises. Esta dissertação é uma tentativa de explicar, sob o ponto de vista antropológico, filosófico e teológico, as questões que envolvem o guaraná e seu mito. No primeiro capítulo apresenta-se o conceito de cultura e sua relação com o fenômeno religioso. No segundo capítulo expõe-se a religiosidade do guaraná na cultura sateré-mawé a partir do conceito de mito e da análise de sua tradição oral sobre a origem do guaraná. No terceiro capítulo destaca-se a cidade de Maués enquanto espaço geográfico e cultural no qual o guaraná é elemento de identidade daquele povo.

Made available in DSpace on 2016-04-29T13:31:19Z (GMT). No. of bitstreams: 1 Miriam Ximenes Pinho.pdf: 6783239 bytes, checksum: 005de88c724fc9bdfb776c626ad1c1f5 (MD5) Previous issue date: 2015-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / For centuries, the death was treated as a social and public event taking place accompanied by sacred rites. Right after the World War I, a precipitation of the dismantling of the traditional models of care for the dying and the bereaved just occurred. Death has become taboo and that same ban hit everything that it refers, including the mourning that has become an intimate and lonely experience. The desecration of death led to unritualized mourning, however, this did not imply neglect or abandonment of the Dead. Instead, we observe the emergence of new forms of relationship with the Dead in which the rites appear reconfigured, the manner of a bricolage. In order to study these new configurations we have chosen to investigate one of them that is called "in loving memory tattoos" produced due to a bereavement. This research suggests that in loving memory tattoos constitute an neurotic s individual (funeral) rite , that is, a private way of ritualizing mourning and paying funeral tribute in times of suppression of the death of social spaces and unritualized mourning. As we consider the making of a memorial tattoo a private rite, it was important to investigate the function of this rite that can both serve as a possible treatment of the real by the symbolic order in a kind of mourning written on the skin, as a rite that it aims to prolong the relationship with the departed one, producing an endless mourning in which the writing of the mourning never ends / Durante séculos, a morte foi tratada como um fato social e público que ocorria acompanhado por ritos sagrados. Logo após a Primeira Guerra, observou-se a precipitação do desmantelamento dos modelos tradicionais de cuidados aos agonizantes e amparo aos enlutados. A morte tornou-se tabu e essa mesma interdição atingiu tudo o que a ela se refere, incluindo o luto que se tornou uma experiência íntima e solitária. A dessacralização da morte levou à desritualização do luto, porém isso não implicou em abandono ou esquecimento dos mortos. Ao contrário, observamos a emergência de novas modalidades de relação com os mortos em que os ritos aparecem reconfigurados, ao modo de um bricolage. Com o intuito de estudar essas novas configurações, optamos por investigar uma delas, as chamadas tatuagens in memoriam produzidas em decorrência de um luto. Essa pesquisa sugere que as tatuagens in memoriam se constituem em um rito fúnebre individual do neurótico , isto é, um modo privado de ritualizar o luto e prestar tributo fúnebre em tempos de dessocialização da morte e desritualização do luto. Ao considerarmos a produção das tatuagens in memoriam um rito privado coube-nos investigar a função desse rito que pode tanto servir como tratamento possível do real pelo simbólico em forma de uma escrita do luto grafada no corpo, quanto um rito que visa prolongar a relação com o ser perdido, produzindo um luto interminável em que a escrita do luto não se conclui

Made available in DSpace on 2016-04-26T18:13:16Z (GMT). No. of bitstreams: 1 Raphael Czinczel de Vasconcellos Hasse.pdf: 1261594 bytes, checksum: ac9df9f9bc78159e1f6faf283b25925a (MD5) Previous issue date: 2013-08-09 / The main objective of this work is to reveal how brands give meaning to consumption by using mythological narratives in their communication strategy. When they multiply statements in communication, they insinuate thousands of potential universes and become the most impressive creation machine of collective human imaginary. At the same time, in the middle of a contemporary subjectivity crisis, it is also being discussed the human being singularity process. Therefore, this study has the communication targeted for consumption as object, and will analyse how expressions affect the desiring being as a receptor of produced subjectivity; it will identify how brands appropriate mythological aspects of narratives in the communication strategy; and finally, it will investigate the consumption as a ritual that links the reality with the virtual world proposed in advertising communication. Authors such as Guattari and Deleuze are being referenced in order to explain the singularity concept and the contemporary subjectivity crisis we are living in. After linking them with an explanation towards the concept of desire, it will be understood the structure of mythological narratives. By means of Campbell and Eliade it will be seen how symbolic expressions still have the power to bring meaning to day-to-day life. Ultimately, it will be explained how brands use mythological devices to influence people in their daily consumption decisions; how brands take their own products to territorialize their conceptual universe and how they create a ritual mechanism to link reality and potentiality affecting and being affected by human being / Esta dissertação tem como principal objetivo revelar como marcas dão significado ao consumo por meio da utilização de narrativas mitológicas em sua estratégia de comunicação do dia a dia. Ao multiplicarem seus enunciados insinuam milhares de universos potenciais de referenciação e se tornam a mais impressionante máquina de criação do imaginário coletivo de nosso tempo. Ao mesmo tempo, em meio a uma crise de subjetividade atual, discute-se o que caracteriza o não nivelamento do ser (singularidade). Por meio do estudo do objeto da publicidade voltada para o consumo, portanto, a dissertação irá analisar como matérias de expressão afetam o ser desejante como terminal receptor de subjetividade fabricada; identificará como marcas se apropriam de fragmentos de narrativas mitológicas em sua estratégia de comunicação; e por fim, investigará o consumo como o elo ritual entre o mundo real e conceitual proposto nos filmes publicitários. Para contextualizar a crise da subjetividade atual e entender os processos de singularização do ser trabalharemos com a leitura Foucaultiana de Deleuze e os conceitos de Guattari. Após relacioná-los com os movimentos do desejo, será feita uma pausa para entender a estrutura de narrativas mitológicas. Por meio de autores como Campbell e Eliade será visto como expressões simbólicas ainda atuam como forças de pensamento capazes de reconduzir o sentido nos dias atuais. Em última instância, será caracterizado como marcas se utilizam de dispositivos mitológicos para inclinar pessoas a tomar decisões de consumo no dia a dia; como buscam em seus próprios produtos uma maneira de territorializar seu universo de valor conceitual, e assim criar um elo ritual entre o real e o virtual afetando e sendo afetadas pelo ser

Cette thèse est le résultat de trois années d’études sur le site archéologique de Sangtarashan situé à l’ouest de l’Iran au cœur de la chaîne montagneuse du Zagros, dans la province du Luristan. Le site, découvert en 2002 et fouillé pendant six campagnes de 2005 à 2011 a révélé une situation très particulière aux archéologues. Au sein d’une structure architecturale circulaire, en pierre, chevauchée par plusieurs autres structures, plus de deux milles objets et notamment plusieurs centaines d’objets métalliques connus sous le nom de Bronzes du Luristan ont été mis au jour. Certains étaient en lot et d’autres étaient isolés parmi les blocs de pierres des constructions ou éparpillés sur toute la surface du site. L’enjeu de cette étude était en premier lieu de proposer une fonction et une datation pour ce site et de là, le contextualiser dans son milieu géographique et historique. L’étude architecturale et l’étude spatiale des objets nous ont conduit à suggérer que Sangtarashan ait été un lieu cultuel où le dépôt d’objets métalliques constituait une coutume réalisée par des fidèles, potentiellement des voyageurs ou des nomades. L’étude typo-chronologique de plus d’un millier d’objets, en grande partie métalliques, nous a permis de situer l’occupation du site à l’âge du Fer avec deux phases consécutives différentes : l’âge du Fer I-II pour la première phase et l’âge du Fer II-III (même IV ?) pour la seconde phase. Il semble que la coutume du don de la première phase prenant la forme de dépôts en lots d’armes et de vases se soit transformée, à la seconde phase, en un don d’objets isolés, de taille plus petite et de nature plus variée. L’hypothèse d’une fonction non cultuelle (domestique) pendant la seconde phase n’est pas totalement écartée au regard de la prolongation des structures architecturales vers l’ouest. De futures fouilles archéologiques pourront confirmer ou infirmer cette hypothèse. La richesse du mobilier de Sangtarashan fait de ce site une base de référence pour les prochaines études des Bronzes du Luristan. Elle nous a permis également de proposer des datations pour certains types d’objets jusqu’à présent uniquement attestés parmi les objets de collections. Le fin mot de l’histoire, Sangtarashan semble être, en parallèle à Sorkhdom-é Lori, le deuxième sanctuaire de l’âge du Fer de la région du Zagros central où les fidèles avaient une prédilection pour le don d’objets métalliques. Même si cette étude a permis d’éclaircir plusieurs points concernant la région du Luristan à l’âge du Fer et ses Bronzes énigmatiques, de nouvelles questions ont parallèlement été soulevées méritant d’être étudiées par de nouvelles recherches. / This dissertation is focused on the archaeological site of Sangtarashan located on the western Iran, in Luristan. Discovered in 2002 and excavated during six campaigns from 2005 to 2011, the site had revealed, more than two thousand objects particularly several hundreds of "Bronzes of Luristan", in a circular architectural structure, in stone, overlapped by several other structures. Some of them were deposit as packages and others were isolated between stone blocks of walls or scattered over the entire surface of the site. The aim of this study was to propose a function and a dating for the site and then, to contextualize it in its geographical and historical environment. The architectural study and the analysis of spatial organization of objects led us to suggest that Sangtarashan was a ritual place where the act of deposition of metal objects was a custom by prayers, potentially travelers or nomads. The typo-chronological study of the objects allowed us to date the occupation of the site to the Iron Age with two consecutive phases: the Iron age 1-Il for the first phase and the Iron age Il-III (even IV?) for the second phase. lt seems that the form of dedication change from the first phase to the second one. In the first phase objects are dedicated as deposits in packages of arms and vessels. While in the second phase, they take the form of deposit of isolated objects of smaller size and of a more varied nature. The richness of the Sangtarashan's finds makes this site as a reference base for the next studies on the Bronzes of Luristan. It also allowed us to propose some dating for several types of objects till todays only attested among the objects provide from the illegal diggings.

This study examined the construct validity of the RiTE as a multidimensional measure of spirituality in relation to the five-factor model of personality in a sample of 325 college students. Results of correlational and regression analyses provided support for the notion that the dimensions of ritualistic, theistic, and existential spirituality tapped by the RiTE, are empirically distinguishable. Overall, our findings provide further evidence for the construct validity of the RiTE and for the potential value of measuring spirituality as a multidimensional phenomenon in the study of religious processes.