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No / Cannibals, burials, vampires, human sacrifice, bog people ¿ throughout history our ancestors have responded to death in numerous ways. The past has left us numerous relics of these encounters between the dead and those they leave behind: accounts of sacrifices in early histories, rituals that have stood the test of time, bodies discovered in caves and bogs, remains revealed by archaeological digs. Through these insights into the past, Tim Taylor pieces together evidence of how our ancestors created their universe and asks how we have dealt with the idea of the end and slowly come to create not only a sense of the afterlife but also the soul.

本文的主旨在於探討儀式傳統向戲劇轉化的問題。本文以岑溪市南渡鎮地方儀式傳統為基礎，從社會綜合市鎮格局形成、儀式傳統中的基本儀式形態、作為戲劇化載體的儀式劇形態，以及儀式劇在整個儀式傳統中的定位與脈絡等方面，對「儀」與「戲」在特定社會轉變背景下的關係作出深入的探究。 / 本文分七章就上述論題展開論述。第一章為緒論部分，主要涉及研究緣起、地方儀式傳統與儀式劇研究回顧、問題意識形成以及研究資料方法等內容。 / 第二章集中論述自清乾隆年間起，南渡鎮因鹽課政策的改變逐漸形成了綜合性市鎮，為南渡儀式傳統的形成打下了物質基礎。 / 第三章主要論述南渡儀式傳統的基本形態，包括相關家族移民史、道法源及當地紅事、白事、神事的表演形態。南渡道館存有兩部主要儀式劇：《枉府西遊》與《八仙下凡》，均形成於清中晚期，且衍生於當地道館中的民間佛教信仰。 / 第四章論及南渡道館中的「喃嘸」傳統。南渡「喃嘸」傳統具有廣府與客家融合，茅山、玄科、儀式佛教合而為一的地方「喃嘸」特色。 / 第五章探究南渡「喃嘸」傳統的戲劇化現象。 / 第六章探討南渡「喃嘸」傳統中「儀」與「戲」的互動。 / 第七章為本文結論。 / This dissertation focuses on the question of the theatricalization of local ritual tradition. Our study concentrates on the local ritual tradition in a community town of Nandu, Cenxi. We study the process of theatricalization of local ritual tradition and the relationship between "ritual" and "drama". / This dissertation consists of seven chapters. Chapter one is an introduction which defines the research question and methodology. It also includes a literature review on local ritual tradition and ritual drama. / Chapter two discusses the historical process of urbanization of Nandu Town since Qianlong in relation to the change of tax policy on salt and the emerging need for entertainment of the newly formed town. / Chapter three investigates the forms of ritual in Nadu. There are two main ritual dramas: the Western Travel drama (枉府西遊) and the Eight-Immortals (八仙下凡), both of which formed in late Qing and developed from ritual Buddhism. / Chapter four studies the ritual tradition of Nandu. The ritual is fundmentally made up of three religious sects: Maoshan teachingm , Xuan teaching, as well as ritual Buddhism . / Chapter five focuses on the dramatization of the ritual tradition of Nandu. / Chapter six disscuses the interaction between ritual and drama in Nandu tradition. / Chapter seven is the conclusion of this dissertation. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 謝健. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 180-197). / Abstracts also in English. / Xie Jian.

陳韋燕. / "2007年12月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 266-272). / "2007 nian 12 yue". / Abstracts in Chinese and English. / Chen Weiyan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 266-272). / Chapter 第一章： --- 緒論 --- p.1 / Chapter 第二章： --- 佛樂在中國的變遷 --- p.10 / Chapter 第一節： --- 佛教音樂 --- p.11 / Chapter 第二節： --- 佛教音樂在中國 --- p.12 / Chapter 第三節： --- 香港佛教 --- p.16 / Chapter 第三章： --- 瑜伽燄口佛事 --- p.20 / Chapter 第一節： --- 「燄口佛事」 --- p.20 / Chapter 第二節： --- 「廣東燄口」 --- p.24 / Chapter 第四章： --- 寶蓮禪寺廣東燄口佛事個案記錄 --- p.48 / Chapter 第一節： --- 寶蓮禪寺 --- p.48 / Chapter 第二節： --- 儀式的空間 --- p.54 / Chapter 第三節： --- 儀式參與者 --- p.57 / Chapter 第四節： --- 儀軌、音聲與動作 --- p.61 / Chapter 第五節： --- 儀式的全程 --- p.63 / Chapter 第六節： --- 儀式的紀錄 --- p.74 / Chapter 第五章： --- 寶蓮禪寺廣東燄口佛事個案音樂分析 --- p.191 / Chapter 第一節： --- 器樂方面 --- p.191 / Chapter 第二節： --- 聲樂方面 --- p.196 / Chapter 第三節： --- 唱曲運用特點 --- p.230 / Chapter 第四節： --- 法器及樂器的運用 --- p.237 / Chapter 第六章： --- 儀式音樂的神性與世俗 --- p.239 / Chapter 第一節： --- 儀式音樂的硏究 --- p.239 / Chapter 第二節： --- 燄口佛事中音樂的運用 --- p.241 / Chapter 第三節： --- 廣東燄口佛事音樂的地域性和跨地域性特點 --- p.244 / Chapter 第四節： --- 儀式音聲的神性與世俗：音樂的多層次核心與非核心關係 --- p.256 / Chapter 第七章： --- 總結 --- p.263 / 參考書目 --- p.266

This research A Descriptive Visual Analysis of the Survival of Tamil Arranged Marriage Rituals and the Impact of Commercialism is a critical analysis of ritual performances as a key component of Tamil wedding ceremonies. These rituals are performed before, during, and after the wedding and are interrogated throughout in this dissertation. This research explored and attempted to identify the significance of ritual performances in Tamil people’s marriages of southern India. Through the documentation and unpacking of traditional Hindu wedding celebrations, this study examined how these ancient rituals have been influenced by the modern world. It explored how cultural beliefs are negatively impacted through the commercialisation of wedding ceremonies and how they justify the maintenance of ritual practice. Symbolic activities and ritual performances are studied and discussed throughout this study by observing various Tamil wedding ceremonies and conclusions are drawn through conversations with couples and parents who have participated in such events. The dissertation further explores the ways in which these rituals are ultimately reflected and represented in artistic practice, inspired by the works of various artists who engage with their mediums in a ritualistic manner. / Art History, Visual Arts and Musicology / M.VA (Art, History, Visual Arts and Musicology)

This article examines the effects of participation in transitional justice rituals. Truth Commissions and trials have instrumental goals of distributive justice, and serve as rituals given their marked symbolic character, helping to achieve reconciliation and the reconstruction of social norms. Evidence suggests that participation in trials increases negative emotion and negative emotional climate. However participants in such rituals have evidenced increased empowerment, despite conditions of limited justice and reparation. Moreover, participation in Gacaca or popular trials in Rwanda, decreases shame in victims, and decreases negative stereotypes and increases individualization of out-groups. Finally, a collective analysis of 16 Latin America nations found that trials and a successful Truth Commission reinforces respect for human rights. / El análisis de las experiencias de la Comisión de la Verdad y la Reconciliación en Sudáfrica, los juicios populares o Gacaca en Ruanda y los rituales de los procesos de transición a la democracia concluye que la participación en comisiones y juicios implica un coste emocional para los participantes (aumenta la emocionalidad negativa y los síntomas) y aumenta el clima emocional negativo en la sociedad, pero también aumenta la sensación de control y eficacia de los participantes, disminuye algunas emociones negativas en los sobrevivientes como la vergüenza, y aumenta los estereotipos positivos y una visión más diferenciada del exogrupo. En países de América Latina donde se han desarrollado procesos y comisiones de verdad más eficaces, se constató una mejora del respeto a los derechos humanos.

Denna etnografiska studies syfte är att beskriva och förstå vad deltagandet i Hardstyle-fester i Sverige innebär och vilken betydelse deltagandet har för de som deltar. Studiens centrala fråga har sin utgångspunkt i vilken betydelse deltagarna tillskriver sitt deltagande i Hardstyle-fest/kulturen. Resultatet behandlar även ett stigma och det framkommer ett perspektiv som andra har på festkulturen, där deltagandet förringas och utpekas på olika sätt. Deltagandet i Hardstyle-kulturen har en slags livsomvälvande influens, där gemenskap och solidaritet vuxit sig stark ur gruppens mångfald. Hardstyle-deltagandet analyseras ur ett emotionssociologiskt perspektiv där begrepp som interaction rituals, emotional energy, gemeinschaft, gesellschaft och kultur är centrala inspiratörer. / The purpose of this ethnographic study is to describe and understand what participation in Hardstyle parties in Sweden means and what importance the participation has for those who participate. The central issue of the study is based on the importance of participants attributing their participation in the Hardstyle party/culture. The result also deals with a stigma perspective that outsiders have about the partaking in the party culture, where participation is deteriorated and identified in different ways. Participation in the Hardstyle culture has some kind of life-changing influenza, where community and solidarity grew strong from the group's diversity. The hardstyle participation is analyzed from an emotional sociological perspective where concepts such as interaction rituals, emotional energy, gemeinschaft, gesellschaft and culture are key inspirators.

Denna uppsats undersöker begravningsurnor som deponerats under romersk järnålder i grav A7000 i Broby bro, Täby Socken, Sverige. Materialet som undersöks är en del av forskningsprojektet; Broby bro – en plats där världen passerar. Teorierna kring begravningsritualer från denna tidsperiod har genom lipidanalyser samt elementanalyser förfinats. Av de fem kärl som undersöks har fyra, F16007, F16152, F16195 och F16263, definierats som begravningsurnor. F16137 är fortfarande oidentifierad. Fokus har lagts på att undersöka relationen mellan fynden och även att fastställa om F16195 och F16263 kommer från samma urna. Resultaten visar att F16195 är en gravgåva till F16263.

This thesis investigates the liturgical context of ecclesiastical discipline in early modern Scotland. The core question addresses the narrative being recounted within Protestant rituals of repentance, the liturgical expression of ecclesiastical discipline. Through an analysis of these rituals it is demonstrated that the primary narrative underpinning the performance of repentance is reconciliation with God and with neighbour. An examination of ceremonies officially authorised by the General Assembly, alongside descriptions of local practice, reveals how reconciliation was firmly embedded within the liturgical life of the Kirk. A secondary question addresses continuities and breaks with Scottish penitential practices prior to 1560. Although bringing a physical shift and ‘decluttering’ of performance space, many ritual continuities remained after 1560, especially in costumes, props, gestures and speech. This thesis is divided into four sections. Section One focuses upon ritual penitential practices employed by the pre-Reformation Kirk c.1500-1560. The ‘cluttered’ stage, or stages, upon which rituals of repentance were performed is also analysed. These twin themes, focusing upon pre- Reformation practice and performance spaces, provide the base-line for the assessment of ritual continuity. Section Two moves the performance to the Protestant theatre of reconciliation, 1560- 1610. After an initial exploration of the stages of discipline, rituals employed by the Kirk to effect neighbourly reconciliation are examined. They demonstrate how the expression of reconciliation and dispute settlement presents a potent visible representation of the harmonious community as the ‘true’ church. Moving from the harmonious community at the local level, Section Three investigates the liturgical performance of corporate repentance utilising the key text The Order of the General Fast. At both national and regional levels, corporate repentance became a visible expression of communal reconciliation to God and of the Protestant self-identification as the ‘new Israel’. The focus of the final section concerns excommunication, the ultimate tool of ecclesiastical discipline, and a further authorised liturgy, The Order of Excommunication and of Public Repentance, is examined. Far from permanent exclusion, the ritual of excommunication was intended to be radical soul-saving surgery, designed to reconcile an offender with both God and neighbour. In contrast with other recent studies which have analysed ecclesiastical discipline within a judicial context, the liturgical context of discipline as performed in rituals of repentance is placed centre-stage.