Made available in DSpace on 2014-12-17T13:54:49Z (GMT). No. of bitstreams: 1 BrunoGMS_DISSERT.pdf: 4709456 bytes, checksum: 0aca341ad8c9631e88675a2e23ed051a (MD5) Previous issue date: 2012-06-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The object of this work is a fellowship of S?o Sebasti?o e Nossa Senhora do Ros?rio in the city of Jardim do Serid? (RN), that is, a black catholic fellowship on the sert?o potiguar. The devotion to Nossa Senhora do Ros?rio, in colonial Brazil, organizes itself through black catholic men as fellowships. They blossomed in Brazil until the abolition, getting support from the Catholic church, from owners of slaves and from the population in general − unlike others afro-Brazilian religious expression. Today, these fellowships remain active, against the sentimental pessimism of the folklore studies, and they also have a highlight position in the calendar of many cities in Brazil, and in particular in Serid?. The research s foothold is the apparent valorization of the fellowship by the local elite, attitude that hides asymmetric relationships between the group of negros do Ros?rio and the local authorities, having as its consequence that the members occupy a subaltern position inside their own fellowship. This subalternity take place, mainly, in the public area, where the negros do Ros?rio cannot represent themselves neither political nor discursively. To discuss this idea, it s done a brief historical of these catholic institutions as well as a description of the relationship between the negros do Ros?rio and the elites of the city. Then, the phenomenon is analyzed as folklore and/or religion , under the perspective of many agents that participate in this process. In other moment, it is going to be presented how the group formulates their own representation of the history, of the devotional forms and of their own political-religious experiences. In this sense, an ethnography of the subalternity is understood as an analysis of the process that leads the negros do Ros?rio to become a subaltern group. It s also outlined the perception that the group has of its own position, through an ethnography essay of the subaltern subject. The research, focused in the group of Ros?rio, was done between August 2010 and January 2012 and includes other agents (like treasurers, priests and intellectuals). Besides that, as a methodological complement, there are documental research, photography, as well as shoots of the party days and public presentation / O objeto deste trabalho ? a irmandade de S?o Sebasti?o e Nossa Senhora do Ros?rio da cidade de Jardim do Serid? (RN), irmandade negra no sert?o potiguar. A devo??o a Nossa Senhora do Ros?rio, no Brasil col?nia, organizou-se institucionalmente atrav?s de irmandades cat?licas de homens pretos. Estas floresceram no Brasil at? a aboli??o e receberam o apoio da Igreja, dos senhores e da popula??o em geral, ao contr?rio de grande parte das express?es religiosas afro-brasileiras. Hoje, contrariando o pessimismo sentimental dos folcloristas, elas ainda continuam ativas e ocupam um lugar de destaque no calend?rio festivo de v?rias cidades no Brasil, e em particular no Serid?. O ponto de partida da pesquisa ? a aparente valoriza??o da irmandade por parte da elite local, postura que esconde rela??es assim?tricas entre os negros do Ros?rio e as autoridades locais, tendo como consequ?ncia o fato de os integrantes da irmandade ocuparem uma posi??o subalterna dentro dela pr?pria. A referida subalternidade se d?, principalmente, na esfera p?blica, pois os negros do Ros?rio n?o se representam politicamente e nem discursivamente. Para discutir essa ideia, faz-se um breve hist?rico dessas institui??es cat?licas, bem como uma descri??o das rela??es entre os negros do Ros?rio e as elites da cidade. Em seguida, o fen?meno ? analisado enquanto folclore e/ou religi?o e sob a perspectiva dos v?rios agentes que interv?m no processo. Em outro momento, ser? apresentada a maneira como o grupo formula suas pr?prias representa??es da hist?ria, das formas devocionais e de suas viv?ncias pol?ticoreligiosas. Nesse sentido, ? tra?ada uma etnografia da subalternidade pensada como a an?lise do processo que leva os negros do Ros?rio a se tornarem um grupo subalterno. ? delineada, tamb?m, a percep??o que este grupo tem da sua posi??o, a partir de um ensaio de etnografia do sujeito subalterno. A pesquisa de campo, centrada no grupo do Ros?rio, foi realizada entre agosto de 2010 e janeiro de 2012 e incluiu outros agentes (como tesoureiros, padres e intelectuais). Al?m disso, como complementa??o metodol?gica, foram utilizadas pesquisa documental, fotografias, bem como filmagens das festas e apresenta??es p?blicas

This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her. The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.

This thesis examines archaeological eggshell finds from cremation graves in the Swedish province of Uppland as well as inhumation graves from the island of Gotland. All graves are dated to the Viking Age, however, the chronology varies by the region, with the period´s ending placed around year 1050 AD in Uppland and around year 1150 AD at the island of Gotland. An attempt is made to create a list of all known cases of egg depositions in graves during the period of interest, and to subsequently analyse them all in order to get a better understanding of this practice. The comparative analysis of the artefact assemblages within the graves and grave constructions is undertaken in order to identify possible regularities in how and when the egg was used within the ritual sequence. Although notable regional variations and differences in Viking Age burial customs are known to exist between the two investigated regions, and artefacts deposited within the graves are adapted to regional conditions, it is possible, amongst other things, to observe similarities in the timing of egg deposition. By understanding the funeral as a rite of passage that signified the transition between the states of life and death, and with the final goal of achieving the distinction between the world of the living and the realm of deceased ancestors, it is possible to better comprehend the funeral rituals and their archaeological remains – in this case avian eggshells. By applying van Gennep's rites of passage tripartite structure, involving separation, liminality, and incorporation, it is concluded that eggs, as we see them in the archaeological material presented in this study, are used in the last stage of this model. This is the part of the process where the main goal is reintegration of those who participated in ritual into a new social order. It is thus proposed here that eggs might be seen as hierophanies:  profane, everyday objects that have manifested into something sacred and who are clearly understood as such to those involved in burial but not necessary to outsiders: as symbols for fertility, regeneration, rebirth and transformation.

Cette recherche propose de construire la notion d’agression pour en faire un concept applicable à une poétique textuelle et scénique tout en tenant compte de sa dualité fondamentale. À la fois créée par l’auteur et reçue par le spectateur, elle peut être considérée comme une « action dramatisante » (Marie-Madeleine Mervant-Roux), c’est-à-dire comme un ensemble de procédés formels visant la production d’effets violents sur le spectateur. Elle a emprunté, au cours de l’histoire, différentes formes et significations que la méthodologie par « foyer de sens » (Frédéric Gros) permet de mettre en évidence. Trois variations de sens d’une même dimension du principe d’agression peuvent ainsi être identifiées : la première considère l’agression comme l’action d’introduire un désordre, un dérangement, renvoyant l’agression théâtrale à une stratégie ludique de mise en relation du spectateur avec le sacré. Elle est repérable dans le rejet platonicien de la poésie imitative de la cité, dans le Théâtre de la Cruauté d’Antonin Artaud, puis à l’ère postmoderne, dans certains spectacles usant de la performance, comme ceux de Rodrigo García. La deuxième envisage l’agression comme une action créant une instabilité éthique ou intime, assimilant l’agression théâtrale à une déstabilisation émotionnelle. Avec la Poétique d’Aristote, l’agression se pense comme un événement inattendu conditionné par un jeu de discordances et de surprises. Cette modalité est reconfigurée par Edward Bond dans les années 1960. La troisième considère l’agression comme l’action d’inciter quelqu’un à quelque chose par une attitude agressive ou une sorte de défi. L’agression théâtrale s’apparente dans ce cas à une stratégie politique dont Bertolt Brecht est l’un des grands représentants. Dialectiquement structurée, cette agression est singulièrement reconfigurée par Hanokh Levin dans les années 1970. Conditionnée par la surprise et l’inaccoutumance du spectateur, l’agression témoigne, quelle que soit sa forme, d’une abolition momentanée du cadre théâtral, d’une disparition du symbolique, dans une perspective sociale, éthique ou politique. / The purpose of my research is to construct the concept of aggression, making it applicable to textual and scenic poetics while accounting for its fundamental duality. This violence, both as created by the playwright and as received by the spectator, can be construed as a “dramatizing action” (Marie-Madeleine Mervant-Roux); in other words, as a set of formal processes aimed at producing violent effects upon the spectator. Over history, it has taken on a variety of forms and meanings that Frédéric Gros’s “foyer de sens” (“focus of meaning”) methodology makes apparent. We can thereby identify three variants in the meaning of the same dimension of the principle of aggression. The first considers aggression as the act of introducing a disorder or disruption, relating theatrical violence to a playful strategy of confronting the spectator with the sacred. It can be noted in the Plato’s rejection of poetry imitative of the city, in Antonin Artaud’s Theatre of Cruelty and, in the post-modern era, in certain productions that use performance, like those of Rodrigo García. The second variant imagines aggression as an action that creates an ethical or intimate instability. It assimilates theatrical aggression with emotional destabilization. With Aristotle’s Poetics, aggression is thought of as an unexpected event contingent upon a series of discordances and surprises. This modality was reconfigured by Edward Bond in the 1960s. The third variant sees aggression as the act of inciting someone to do something, either by assuming a threatening attitude or by challenging him in some way. In this case, theatrical aggression is akin to a political strategy, and is exemplified by the plays of Bertolt Brecht. Structured dialectically, this aggression was reconfigured in a unique way by Hanoch Levin in the 1970s. Regardless of form, aggression relies upon surprise. As a jolt to the spectator, it attests to a momentary abolition of the theatrical framework: a disappearance of the symbolic, in a social, ethical, or political perspective.

Navigating from one place to another is something we as humans do on an everyday basis, and modern technology has made it easier than ever by providing navigation tools in our mobile devices. In indoor spaces, augmented reality (AR) based navigation interfaces have shown a lot of potential, as it has been proven to increase efficiency and overall usability. However, there is a lack of research investigating how these types of interfaces should be designed to create a good user experience. This study aimed at providing more insight into this by exploring the usability of a mobile AR interface for indoor navigation through the Rapid Iterative Testing and Evaluation (RITE) method. In total, six participants tested the interface in three rounds of user testing and iteration, with two participants taking part in each round. The results showed that the usability increased with each iteration. Findings also reaffirmed the importance of minimizing the amount of information presented in the AR interface, by for example presenting information prior to the AR interface, as well as the value of adding support for occlusion. Moreover, confusion caused by how the virtual objects aligned with the real physical space showed the importance of testing on-site. / Att navigera från en plats till en annan är något vi människor gör varenda dag, och modern teknologi har gjort detta enklare än någonsin genom att erbjuda navigationsverktyg i våra mobila enheter. I inomhusmiljöer så har navigationsverktyg som använder förstärkt verklighet (AR) visat mycket potential, då det har visats ökat effektiviteten och den övergripliga användbarheten. Däremot finns det en brist på forskning som undersöker hur dessa typer av gränssnitt ska designas för att skapa en bra användarupplevelse. Denna studie syftade till att ge mer insikt i detta genom att utforska användbarheten av ett mobilt AR-gränssnitt för inomhusnavigering med hjälp av metoden Rapid Iterative Testing and Evaluation (RITE). en iterativ design och utvärderingsmetod. Totalt testade sex deltagare gränssnittet i tre omgångar av användartester, där två deltagare deltog i varje omgång. Resultaten visade att användbarheten ökade med varje iteration. Resultaten bekräftade även vikten av att minimera mängden information som presenteras i AR-gränssnittet, till exempel genom att presentera information innan AR-gränssnittet, samt värdet av att lägga till stöd för ocklusion. Vidare så visade även förvirringen kring hur de virtuella objekten relaterade till det riktiga fysiska utrymmet värdet av att testa på plats.

The presented dissertation focuses on the process of transition into adulthood through the eyes of young people and the eyes of their mothers. The research study is based on the theory of J.J. Arnett, who identified a new development period "emerging adulthood" [Arnett, 1998]. We use three different perspectives to look at the process of transition into the adulthood: Developmental psychological, sociological and cultural-anthropological. Description of each period associated with the transition to adulthood is extended by the context of a family in which a young person is raised, and by a culture in which the person grows. By introducting these three perspectives in the first part we are creating a theoretical framework for the empirical part of our work. In the empirical part the qualitative study is presented. As the research method semistructured in-depth interview with young Czechs and their mothers was used. Our goal was to understand the perception of the notion of adulthood by young people aged 18 to 30 years and the way they describe their own process of transition into the adulthood. We wanted to determine whether young Czechs show signs of "emerging adulthood." We were also interested in how the relationship between a mother and her offspring, the upbringing, and the cultural context influence...

[pt] O rito tem seu lugar preponderante na liturgia da Igreja. Ele pertence ao mundo das mediações ativas da atitude religiosa, que abarcam desde o gesto mais simples à mais complicada celebração. Os ritos são, portanto, todas as ações orientadas à expressão religiosa, e na sua gênese está o sagrado, o divino, aquilo que é apontado como mistério. A irrupção de Deus na história, através da encarnação e ação redentora de seu Filho, o Cristo Jesus, possibilitará ao rito litúrgico cristão um elemento diferenciador de toda outra forma ritual. Esse elemento faz sempre referência a uma realidade plena, isto é, a um evento que já se efetuou. O rito é estruturado, apropriadamente, como a imagem e semelhança daquele evento, de modo que o liga a ele, trazendo o sinal da realidade a que se refere. A partir da teologia litúrgica da Constituição sobre a Sagrada Liturgia Sacrosanctum Concilium, procuramos compreender como o rito litúrgico, na sua precípua função de anunciar e realizar, torna-se o lugar da epifania do Mistério Pascal de Cristo. Nele, o mistério de Cristo se manifesta de forma clara e luminosa, proporcionando à Igreja uma profunda experiência. / [en] The rite has its preponderant place in the liturgy of the Church. It belongs to the world of active mediations of religious attitude, ranging from the simplest gesture to the most elaborate celebration. Rites are therefore all actions oriented to religious expression, and in its genesis is the sacred, the divine, that which is pointed out as a mystery. The irruption of God in history through the incarnation and redemptive action of his Son, Jesus Christ, will enable the Christian liturgical rite to be a differentiating element of every other ritual form, that of always making reference to a full reality, that is in level of event which has already been effected, and he is aptly the image of that event, in the very likeness that binds it, brings the sign of the reality to which it refers. From the liturgical theology of the Constitution on the Sacred Liturgy Sacrosanctum Concilium, we try to understand how the liturgical rite, in its prime function of announcing and realizing, becomes the epiphany of the Paschal Mystery of Christ. In him, the mystery of Christ manifests itself in a clear and luminous way, giving the Church a profound experience.

Nicholas Roerich, the well-known Russian artist, writer and mystic from the early twentieth century is best known in the West for his theatrical design work, above all for the sets of the celebrated ballet The Rite of Springs. The goal of this thesis is to provide a fuller understanding of Roerich’s art and literary works within the historical context of his time. In particular, I have sought to illuminate Roerich’s focus on depiction of nature, especially mountains, in relation to his fascination with the mythical Shambhala. In the first chapter of this thesis I analyze Roerich’s early career, as well as his personal and professional relationship with the World of Art, the leading art group at the turn of the twentieth century in Russia. Roerich’s early interest in the history of ancient Russia, archeology and geology, which I discuss, was central to the meaning of his landscape depictions in both his stage designs and paintings. The second chapter of this work investigates how these interests evolved into the artist’s quest for Eastern wisdom and mystical revelations. Although Roerich is often treated as an oddity, his concerns with occult ideas were not unique in his time. The third chapter focuses on Roerich’s activities abroad and his international success as a promoter of ancient wisdom. I discuss the Russian émigré art scene in New York in the 1920s and Roerich’s place within it. I also offer an examination of the artist’s correspondence with his family and colleagues, which sheds light on Roerich’s beliefs in his mysterious “Teachers” and their role in leading him to the East. / text

La ville préhispanique de Cantona, située dans la vallée d’Oriental dans l’état de Puebla au Mexique, atteignit sa première apogée culturelle entre 150 av. J.C. et 600/650 A.D. Durant cette période, des complexes cérémoniaux comprenant des groupes de pyramides-temples et des terrains de jeu de balle furent construits. Ces installations servirent au déroulement de nombreux rites au cours desquels les victimes de sacrifices étaient décapitées, démembrées, décharnées, écorchées, bouillies, brûlées et, dans certains cas, consommées. D’autres traitements du corps humain comportent l’inhumation d’individus en position assise et repliés sur eux-mêmes. Pour mieux comprendre le traitement mortuaire rituel des corps humains à Cantona, les découvertes faites sur place sont comparées aux données datant de la même époque obtenues dans trois régions voisines : la vallée de Mexico, Puebla-Tlaxcala et le golfe du Mexique. A partir de ces renseignements, on peut en déduire que la majorité des découvertes faites à Cantona sont les restes des dépouilles et offrandes provenant de rites destinés à la communication avec les dieux et à l’obtention de la fertilité, tandis que les dépouilles des individus en position assise appartiennent à des prêtres ou à des personnages religieux. / The prehispanic city of Cantona, located in the Valley of Oriental in the state of Puebla, Mexico, reached its first cultural apogee between 150 B.C. - 600/650 A.D. During this time, ceremonial complexes such as Temple Pyramid Groups and ballcourts were constructed. These served as the location for a number of rituals involving the beheading, dismemberment, defleshing, flaying, boiling, burning, and in some cases, the consumption of sacrifice victims. Other human body treatment included the burial of individuals in flexed seated positions. To better understand the ritual mortuary treatment of human bodies at Cantona, the finds are compared with data from three neighboring areas: the Valley of Mexico, Puebla-Tlaxcala, and the Gulf of Mexico. From this information, it can be deduced that most of discoveries at Cantona are the remains of rites dedicated to deity communication and fertility while those of individuals in flexed, seated positions belong to religious actors. / La ciudad prehispánica de Cantona, ubicada en el valle de Oriental dentro del estado de Puebla, Mexico, tuvo su primer apogeo cultural entre 150 a.ne. y 600/650 d.n.e. Durante ese periodo, se edificaron gran número de complejos ceremoniales tal como Grupos de Templo Pirámide y canchas de juego de pelota. Estas construcciones sirvieron como sitios rituales en donde se llevaron a cabo gran número de ritos, los cuales, en parte, consistían en decapitar, desmembrar, descarnar, desollar, hervir, quemar, y, en algunos casos, comer a las víctimas humanas de los sacrificios. En otros casos, los cuerpos humanos fueron encontrados en posición flexionada y sentada. Para entender mejor el tratamiento ritual de cuerpos humanos en Cantona, estos descubrimientos fueron comparados con información obtenida de tres regiones cercanas: el Valle de México, Puebla-Tlaxcala y la Costa del Golfo. Esto permitió deducir que la mayoría de los hallazgos en Cantona representan los restos de ritos dedicados a la comunicación con divinidades y a la fertilidad, mientras que los individuos encontrados en posición flexionada y sentada corresponden a sacerdotes o actores rituales difuntos.

The thesis "Development of the Baptismal Rite and its Theological Emphases in the Czechoslovak Hussite Church" deals with an evolution of baptismal rite (including confirmation) in the Czechoslovak Hussite Church. This thesis presents also main characteristic of the evolution of the fundamental elements of the baptismal rite within the Western liturgical tradition and includes the fundamental theological issues related to the baptism and confirmation in the CHC. The first aim of this thesis is the characteristic of the baptismal rite in the CHC and its evolution from the year 1920 until today. The second aim is the presentation of the basic theological topics related to the baptism and confirmation in the CHC. These aims are achieved through an analysis and comparison of individual baptismal rites, dogmatic documents and academic publications. Powered by TCPDF (www.tcpdf.org)