This study focuses on the burial practices in the Bronze Age Xiaohe-Gumugou cemeteries, north-west China, in order to understand how people constructed their social identities and delivered the social cognitions through generations. The Xiaohe-Gumugou cemeteries, as the main sites of the Xiaohe cultural horizon, have central roles for the understanding of the formation of the Bronze Age cultural groups and the cultural interactions between the west and the east in the Tarim Basin. However, current research is lacking in-depth examinations of the material culture of the cemeteries, and the contexts of the surrounding archaeological cultures in a timespan from Bronze Age to Iron Age. Through detailed comparisons of the construction of coffins and monuments, the dress of the dead, and the burial goods assemblages, this study provides an overview of the social structural development, from the Gumugou group’s heterogenous condition to the Xiaohe group’s homogeneous and mature state. Also, through relating to the results of biological and osteological analyses, and applying geographical analyses to the material, this study suggests that the early settlers in the Tarim Basin, the Xiaohe-Gumugou people have created their own social identities. Although the Xiaohe-Gumugou people might have migrated from southern Siberia or Central Asia, the archaeological material shows indications of their own typical features. When newcomers joined the society, the local burial customs were accepted and applied in a new cultural setting. / Denna studie fokuserar på gravskick på gravfälten Xiaohe och Gumugou i nordvästra Kina, för att förstå hur människor konstruerade social identitet och överförde kulturella föreställningar mellan generationer. Xiaohe-Gumugou-gravfälten, som de viktigaste platserna i Xiaohe-kulturhorisonten, är centrala för förståelsen av bildandet av bronsålderns kulturgrupper och de kulturella växelverkningarna mellan väst och öst i Tarimbäckenet. Tidigare forskning saknar fördjupade undersökningar av gravfältens materiella kultur samt den historiska kontexten med de omgivande arkeologiska kulturerna under tidsperioden från bronsålder till järnålder. Genom detaljerade jämförelser av konstruktionen av kistor och monument samt de dödas klädsel och gravgåvor, ger denna studie en översikt över utvecklingen av sociala strukturer, från Gumugou-gruppens heterogena situation till Xiaohe-gruppens homogena och mogna tillstånd. Genom att relatera till resultaten från biologiska och osteologiska analyser och tillämpa geografiska analyser på materialet, tyder den här studien på att de tidiga bosättarna i Tarimbäckenet, Xiaohe-Gumugou-folket, har utvecklat egna sociala identiteter. Trots att Xiaohe-Gumugou-folket kan ha migrerat från södra Sibirien eller Centralasien visar det arkeologiska materialet indikationer på egna typiska egenskaper. När nykomlingar anslöt till samhället accepterades de lokala begravningssederna och tillämpades i ett nytt kulturellt sammanhang.

L’apparition du véhicule s’inscrit dans l’espace géographique du Proche-Orient ancien qui joue un rôle de premier plan dans la domestication, le dressage et le contrôle des grands mammifères. Dès les origines, à la fin du IVème millénaire, une iconographie se développe en lien étroit avec l’idéologie royale qui s’exprime sous la forme de rites collectifs. La fonction sociale du véhicule est donc privilégiée au dépend d’un rôle dans le transport dont l’importance reste incertaine. Une composante religieuse paraît souvent présente en arrière plan avec, en particulier, la présence de modèles réduits en terre cuite au rôle probablement votif. La production de ces représentations se poursuit au moins jusqu’au premier millénaire avant J.C. avec des thèmes constants : chasse, domination, ennemi piétiné. Un apogée, dans la variété des scènes et des supports, se situe aux DA IIIb. La production globale reste assez irrégulière et semble associée à des sites spécifiques, souvent dans des périodes d’apogée politique. / The appearance of the vehicule in the Ancient Near East occurs in a space who is a leader for the taming, the training and the control of the big mammals. From the origins, at the end of the 4th millennium, an iconography develops linked with royal ideology (with social rituals). The social function is more important than the transport function. There is always a link with religion. Probably terracotta models have a votive function. There are numerous vehicles in the iconography at least until the first millennium BC. The themes are : hunting, domination, trampled enemy. There is a peak of quality in the ED IIIb. Globally the production is irregular: in some powerful estates.

Made available in DSpace on 2016-04-28T19:58:48Z (GMT). No. of bitstreams: 1 Majori Fonseca Claro.pdf: 4862486 bytes, checksum: 7dee93fd53acd11b130f2885d4d7586e (MD5) Previous issue date: 2012-10-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main goal of this research is to accomplish a comparative analysis between the character Baba-lagá, who appears in fairytales of the Slav folklore, and Cuca, a folkloric character from Luso-Brazilian culture, also present in lullabies, literary fragments, religious festivals and in Monteiro Lobato s book, O Sací. Leaving the premises of the Russian formalist Vladimir Propp, we analyze morphologically the creation of the characters in his narrative, as well as tracing their ritualistic origins. Based on the psychological concepts of Carl Gustav Jung, and his followers, we are looking for a symbolic understanding of these two sorceresses. The hypothesis proposed of similarity is that they are rooted on the same archetypal and hystorical ground, in the way that both are representatives of maternal images in its terrible form, and that has its origins in rituals of the sacred and profane. For the differences found we discussed the hypothesis of an inexhaustible manifestation of the archetype as an image and of cultural diversity. Throughout the research we can confirm these hypotheses by analyzing Monteiro Lobato s book and by reflecting on the characteristic features of the literary genres in which these sorceresses fall, concluding that if fairytales and lullabies were to resonate with their narrators voices, through shared experiences from around the world, in the field of modern literary art this reflection would pass into the metalinguistic and the text would gain, from the form, the capacity to consciously contribute to the reformulation of the world it mirrors / O objetivo desta pesquisa é realizar uma análise comparativa entre a personagem Baba- Iagá, presente nos contos de magia do folclore eslavo, e a Cuca, figura do folclore lusobrasileiro, presente também nas cantigas de ninar, fragmentos literários, procissões religiosas e no livro O Saci, de Monteiro Lobato. Partindo das premissas do formalista russo Vladimir Propp, analisamos morfologicamente a atuação das personagens nas narrativas, bem como empreendemos um rastreamento de suas origens ritualísticas. Baseados nos conceitos psicológicos de Carl Gustav Jung e seus seguidores, buscamos a compreensão simbólica dessas duas feiticeiras. A hipótese proposta para as similaridades é que elas se enraízam num mesmo solo arquetípico e histórico, na medida em que ambas são representantes de imagos maternas em sua face terrível , e que têm suas origens nos rituais sagrados e profanos. Para as diferenças encontradas, lançamos a hipótese da inesgotabilidade da manifestação do arquétipo como imagem e da diversidade cultural. No decorrer da pesquisa, pudemos comprovar essas hipóteses e, por meio da análise do livro de Monteiro Lobato, refletir sobre os traços característicos dos gêneros literários nos quais essas feiticeiras se inserem, concluindo que, se nos contos de magia e das cantigas de ninar ressoam vozes narradoras que compartilham experiências sobre o mundo, na arte literária moderna esta reflexão passa a ser também metalinguística e o texto literário ganha, desta forma, a capacidade de contribuir conscientemente para a reformulação do mundo que espelha

蔡懿嫻. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 246-256). / 附中英文摘要. / Cai Yixian. / Lun wen (zhe xue shuo shi) -- Xianggang zhong wen da xue, 1999. / Can kao wen xian (leaves 246-256). / Fu Zhong Ying wen zhai yao. / 緒論 --- p.1 / Chapter (一) --- 硏究源起 --- p.1 / Chapter (二) --- 中國佛教音樂的硏究現況 --- p.1 / Chapter (三) --- 本選題的意義及硏究目的 --- p.5 / Chapter (四) --- 本論文採用之硏究方法 --- p.6 / Chapter 第一章 --- 佛教及其音樂在中國之發展槪況 --- p.8 / Chapter 第一節 --- 佛教之傳入 --- p.8 / Chapter 第二節 --- 佛教音樂在中國的發展槪況 --- p.10 / Chapter (一) --- 漢代至東晉的初弘階段 --- p.10 / Chapter (二) --- 南北朝的建立階段 --- p.12 / Chapter (三) --- 唐代的繁盛及定型化階段 --- p.13 / Chapter (四) --- 宋元至近代的衰微階段 --- p.15 / Chapter 第二章 --- 佛教在香港的發展槪況 --- p.18 / Chapter 第一節 --- 香港的三大古刹與佛教在香港的歷史槪況 --- p.18 / Chapter 第二節 --- 1900年至1940年佛教在香港的發展槪況 --- p.20 / Chapter 第三節 --- 戰後佛教在香港的發展 --- p.22 / Chapter 第三章 --- 香港的佛教儀式及法事音樂 --- p.24 / Chapter 第一節 --- 香港的佛教儀式 --- p.24 / Chapter (一) --- 《朝暮課誦》及《二時臨齋儀》 --- p.24 / Chapter (二) --- 佛教定期舉行的法事 --- p.25 / Chapter (三) --- 佛教不定期舉行的重要法事 --- p.26 / Chapter 第二節 --- 香港佛教法事音樂 --- p.28 / Chapter 第三節 --- 香港佛教法事音樂的傳授 --- p.29 / Chapter 第四章 --- 《焰口》佛事及其音樂 --- p.34 / Chapter 第一節 --- 《焰口》佛事簡介 --- p.34 / Chapter (一) --- 《焰口》佛事之起源 --- p.34 / Chapter (二) --- 《焰口》佛事之經文版本 --- p.34 / Chapter (三) --- 《焰口》佛事之舉行時間及地點 --- p.36 / Chapter (四) --- 《焰口》佛事之目的 --- p.36 / Chapter 第二節 --- 佛教天童精舍之法會 --- p.37 / Chapter (一) --- 佛教天童精舍之簡介 --- p.37 / Chapter (二) --- 天童精舍之《焰口》佛事 --- p.39 / Chapter (三) --- 《焰口》佛事之參與人員 --- p.41 / Chapter (四) --- 實地考查佛教天童精舍之《焰口》佛事 --- p.41 / Chapter (五) --- 《焰口》佛事之程序 --- p.42 / Chapter (六) --- 《焰口》佛事之音樂記譜 --- p.73 / Chapter 第五章 --- 《焰口》佛事音樂之形態分析 --- p.185 / Chapter 第一節 --- 《焰口》佛事的唱誦形式及經文分類 --- p.185 / Chapter (一) --- 《焰口》佛事的唱誦形式 --- p.185 / Chapter (二) --- 《焰口》佛事的經文分類 --- p.187 / Chapter 第二節 --- 《焰口》佛事梵唄的調式與音階 --- p.193 / Chapter (一) --- 調式 --- p.193 / Chapter (二) --- 調性的轉移 --- p.193 / Chapter (三) --- 音階與音域 --- p.194 / Chapter 第三節 --- 梵唄速度特點 --- p.198 / Chapter (一) --- 散一緊一快一慢 --- p.198 / Chapter (二) --- 散板 --- p.199 / Chapter (三) --- 固定節拍 --- p.199 / Chapter 第四節 --- 旋律的發展手法 --- p.199 / Chapter (一) --- 典型旋律型的運用 --- p.199 / Chapter (二) --- 典型旋律型的變化 --- p.203 / Chapter 第五節 --- 梵唄的結構型態 --- p.205 / Chapter (一) --- 單句反覆變奏體 --- p.205 / Chapter (二) --- 上下句反覆變奏體 --- p.205 / Chapter 第六節 --- 曲調運用手法 --- p.211 / Chapter (一) --- 一曲一詞 --- p.211 / Chapter (二) --- 一曲多用 --- p.211 / Chapter (三) --- 一詞多調 --- p.216 / Chapter (四) --- 套曲 --- p.227 / Chapter 第七節 --- 《焰口》佛事打擊法器的運用 --- p.229 / Chapter (一) --- 《焰口》佛事的打擊法器 --- p.229 / Chapter (二) --- 《焰口》佛事打擊法器的伴奏方式 --- p.232 / Chapter 第八節 --- 儀式音樂在佛教儀式中的意義 --- p.234 / Chapter 第九節 --- 《焰口》佛事與外圍文化的關係 --- p.235 / 總結 --- p.243 / 參考書目 --- p.246

Afin d’expliciter les modes d’influence intervenant dans les Dialogues de Platon, nous étudions de quelle manière se déploie la magie notamment de Socrate, qui est présenté comme un sorcier par plusieurs interlocuteurs. Une étude générale préliminaire sur la magie portant sur l’anthropologie, les rituels, pathologiques (troubles obsessionnels-compulsifs) ou culturels, et enfin la pensée magique nous fournit un cadre pour envisager comment se manifeste l’influence chez Platon. Différents facteurs influent sur les modes de pensée des individus souvent à leur insu : personnalité, habitudes, société, éthique, ignorance, etc.. La magie oratoire est pratiquée, depuis Gorgias, par divers experts du discours comme les orateurs ou les sophistes, ce qui révèle l’ambiguïté de la magie de Socrate, alors qu’il prétend éliminer le faux et les illusions. Dans le Phèdre, différents types de possession se produisent, certaines incontrôlées, d’autres contrôlées, impliquant un processus d’initiation. La magie de Socrate trouve encore à s’illustrer avec plusieurs cas d’envoûtement marquants, mais aussi un usage d’incantations notamment pour traiter la crainte de la mort. Dans le domaine politique, le législateur recourt aussi aux incantations pour plus d’efficacité, vu qu’elles agissent sur la forme des comportements, contribuent à souder les citoyens et participent au contrôle social. Une législation sur les crimes de magie est aussi édictée. / To explain the modes of influence operating in Plato’s Dialogues, we study how Socrates and others use their magic as several interlocutors have called Socrates a sorcerer. A framework is given to our research with a preliminary general study about magic covering anthropology, rituals – pathological (obsessive-compulsive disorders) or cultural – and magical thought. In Plato’s works, the way people think is influenced by many factors often unknowingly: personality, habits, society, ethics, ignorance, etc. Since it had been analyzed by Gorgias, speech experts, such as orators or sophists, have been using oratorical magic in their performances. And then the ambiguity of Socrates’ magic blatantly appears whereas he claims to refute falsehood and eliminate illusions. Different types of possession occur in Phaedrus, some uncontrolled, other controlled, entailing an initiation. Socrates carries out his magic in several striking cases of bewitchment and he also uses incantations in particular to sooth the fear of death. In the political field, the lawgiver finds an interest in using incantations for more effectiveness in his task since they can shape the forms of behaviors, create strong bond between citizens and contribute to social control. A law about crimes of magic is also designed.

Made available in DSpace on 2016-04-25T19:20:35Z (GMT). No. of bitstreams: 1 Osvaldo Olavo Ortiz Solera.pdf: 2099887 bytes, checksum: 99d9914cff8ceaa0e0639af641fb4adc (MD5) Previous issue date: 2015-03-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Umbanda is known for being a genuinely Brazilian religion, but its origin is still controversial and subject to discussion. The richness and diversity of ritualization and understanding of the Sacred has arised the curiosity of scholars and academics. In such a milieu, the scratched signs on the magic of Esoteric Umbanda constitute yet an understudied topic. Thus, this research is based on the scratched signs that are nominated by their followers as Pemba Signal. The comparative study of scratched signs resulted a correlation with the three forming matrices of the Brazilian people: the Indo-European, the Indian and the African. In this study, we noticed that the scratched signs have elements that establish a hierarchy and determine and identify the spiritual entity that is evoked to work in public attendances of Umbanda Esoteric. By using these signals, the followers of Esoteric Umbanda revive them and therefore give continuity to the myths that contain such signs, sometimes Indian, sometimes African, sometimes Indo-European. In tracing such signals, followers / initiated establish the sacred space where such signs and entities will act as well as the collective heritage evoked that make up the structure of theirs consciousness. It may be noted that the Brazilian man is unique because he carries inside himself and in his religiosity the ancestral element of the matrices which constitute his conscience / A umbanda é conhecida por ser uma religião genuinamente brasileira e sua origem ainda é controversa e sujeita a muitas discussões. A riqueza e a diversidade de ritualização e do entendimento do Sagrado despertam a curiosidade de estudiosos e acadêmicos, e os sinais riscados na magia da Umbanda Esotérica configuram tema ainda pouco estudado. Sendo assim, esta pesquisa baseia-se nos sinais riscados e que são denominados por seus adeptos de Sinal de Pemba. O estudo comparativo dos sinais riscados demonstrou uma correlação com as três matrizes formadoras do povo brasileiro: o europeu, o indígena e o africano. Neste estudo, notou-se que os sinais riscados apresentam elementos que estabelecem uma hierarquia, bem como determinam e identificam qual entidade espiritual é evocada para trabalhar nos atendimentos públicos da Umbanda Esotérica. Ao utilizar esses sinais, os adeptos da Umbanda Esotérica reavivam-nos e, por consequência, dão continuidade aos mitos que os abrangem, ora indígena, ora africano, ora europeu. Ao traçar tais sinais, os adeptos/iniciados estabelecem o espaço sagrado em que atuarão, bem como a herança coletiva evocada dessas etnias, que fazem parte da estrutura de sua consciência. Pode-se notar com tudo isso que o homem brasileiro é único, pois carrega sobre si e na sua religiosidade a carga ancestral dessas matrizes formadoras de sua consciência

Made available in DSpace on 2016-04-25T19:20:43Z (GMT). No. of bitstreams: 1 CRE - ADILSON ROGERIO DO AMARAL.pdf: 4523986 bytes, checksum: 08c8e242f551e4c2c5feecd3ab154d76 (MD5) Previous issue date: 2006-10-06 / The present project aims establishing the reasons why the Spirit Tent Father John has been settled in Americana São Paulo for more than sixty years. It is known in the city as São Domingos Spirit Site, because it is in São Domingos district. We will deal with the tradition and innovation concepts dialectically. As far as it is concerned it is the oldest temple practicing Umbanda in the city and juridically constituted. On the other hand, it is a model to the most temples constituted afterwards becoming this way, a reference point in the African religion historical path in the city. Through this project we intend to show the adaptations occurred in the rituals, specifically in the initial processes, coming from the syncretism with the Catholic religion and its influences in the São Domingos Spirit Site, since its foundation until present days. The qualitative approach is present in this analysis made of interviews which contain the temples members oral testimonies, with the use of a tape recorder, documental survey made in public and private libraries, observation in loco, especially the rituals description and the use of iconography; in this case the use of photos as a data source. This way, from the data obtained in the Spirit Site it was possible to come to the following conclusions: The details of some rituals running the risk of disappearance due to a syncretic natural process, the importance of having the possession of the land, taking into account that this is one of the essential items for the perpetuation of the Spirit Site, the constant game between tradition and innovation and the Exu valorization, as a spiritual entity, creating links of friendship between divinity and believers / O presente trabalho visa levantar os motivos da permanência, por mais de sessenta anos, da Tenda Espírita Pai João, conhecida, na cidade de Americana-SP, como Terreiro do São Domingos, por situar-se no Bairro São Domingos, na mesma cidade, para tanto trabalharemos dialeticamente com os conceitos de tradição e de inovação. Trata-se do mais antigo templo praticante de Umbanda da cidade, constituído juridicamente. Por outro lado, o mesmo serve de modelo à maioria dos templos constituídos posteriormente, tornando-se, assim, um marco na trajetória histórica da religião de origem africana na cidade. Pretendemos apresentar, com este trabalho, as adaptações ocorridas nos rituais, em especifico, nos processos iniciáticos, oriundas do sincretismo com a religião católica e suas influências no Terreiro do São Domingos, desde sua fundação até os dias de hoje. A abordagem qualitativa se faz presente nesta trajetória, composta por entrevistas que compreendem depoimentos orais dos membros do templo, a partir do uso do gravador; levantamento documental em acervos públicos e privados; trabalho de observação de campo, principalmente a descrição dos rituais; e utilização de fontes iconográficas, neste caso, a utilização de fotografias como fontes de dados. Desta forma, a partir dos dados obtidos no campo foi possível chegar à seguintes conclusões: o detalhamento de alguns rituais ameaçados de desaparecer, devido a um processo naturalmente sincrético, a importância de se ter a posse da terra, sendo este uma das peças fundamentais para a perpetuação do terreiro, o constante jogo entre tradição e inovação e a valorização do Exu, enquanto entidade espiritual, criando vínculos de amizade entre divindade e adeptos

Made available in DSpace on 2016-04-25T19:20:48Z (GMT). No. of bitstreams: 1 Carlos Augusto Trinca Morini.pdf: 829096 bytes, checksum: 52f68d07a17d90eafa7e0ecba41d9f2e (MD5) Previous issue date: 2007-10-25 / The somatic-sensorial stimulus, like music, dance, candles, scent and clothe´s colors have been wide used in many religion´s rituals along the history, helping people thereselves to connect with the Sacred. The goal of our study is analyse why these elements seem to be so efficient to induction altered states of conscience. Our study will be delimited and direct to the Umbanda rituals, choosen by planty of sensorial elements presents in it´s practices and also by the presence of the mediunic trance, mandatory in all the spiritual jobs. The methodology used is the bibliographic revision, complited by field research, made througt questions application togheter Umbandistc meduins, submmiting after the data to a quantitative analysis / Os estímulos somato-sensoriais, como a música, a dança, as velas, os aromas e as cores das roupas, têm sido largamente utilizados em rituais de muitas das principais religiões ao longo da história, para auxiliar os participantes a se conectarem com o Sagrado. O objetivo do presente estudo é analisar porque tais elementos parecem ser tão eficientes na indução de estados alterados de consciência e está circunscrito e focado nos rituais da Umbanda, escolhida pela abundância de elementos sensoriais presentes em suas práticas e também pela presença obrigatória do transe mediúnico em todos os trabalhos. A metodologia utilizada é a revisão bibliográfica, complementada por pesquisa de campo realizada mediante a aplicação de questionários junto a médiuns umbandistas, submetendo depois os dados a uma análise quantitativa

Made available in DSpace on 2016-04-25T20:21:42Z (GMT). No. of bitstreams: 1 CSO - Ana Flavia N Nascimento.pdf: 5408779 bytes, checksum: 34573493d0d4b2f61af407b0f6ed5c31 (MD5) Previous issue date: 2006-10-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This essay presents an attempt to a further understanding of a social phenomenon known as psychedelic trance global movement which has been gaining more and more incomers in the whole country through ritualistic festivities focused on an electronic music style psychedelic trance which stimulates dancing and the altered states of consciousness. This theorical discussion implicates in penetrating the gaps within empirical scientific knowledge and expresses itself through complex articulation, the manifestations of psychedelic trance festivals, which create and recreate an altered universe that involves art and psychedelic esthetics, within nature, as the backdrop for ecstatic collective experiences. The research had guidelines such as: Is there an order in such a virtually caotic atmosphere being constructed? What does this movement reflect upon current time? Which are the symbols and myths involved in this movement? Which are the beliefs and the values that guide psychedelic imagery? What needs are implicit in this new festive manifestation? What does this complex ritual express in the planetary era? The camp research was performed in a series of psychedelic trance festivals that took place in Brazil, between year 2003 and 2006. I took part as an observer in eight festivals, in which I gathered interviews and collected material. The research also encompassed the electronic net Internet the main means of communication used by the participants of such festivities / Esta dissertação apresenta a tentativa de compreender um fenômeno social conhecido como movimento global do transe psicodélico, que vem ganhando cada vez mais adeptos em todo o país por meio de festividades ritualísticas centradas em um estilo musical eletrônico psychedelic trance que estimula a dança e os estados alterados de consciência. A discussão teórica implica penetrar nas brechas do cânone científico e expressar, por meio da articulação complexa, a manifestação dos festivais de transe psicodélico, os quais criam e recriam um universo lúdico que envolve arte e estética psicodélica em meio à natureza, como cenários para experiências extáticas coletivas. A pesquisa teve como guia algumas questões, tais como: Será que nesse ambiente de desordem existe uma nova ordem sendo construída? O que esse movimento reflete nos tempos atuais? Quais são os símbolos e mitos relacionados ao movimento? Quais são as crenças e os valores que norteiam o imaginário do grupo? Que necessidades estão implícitas nessa nova manifestação festiva? O que expressa esse complexo ritual na era planetária? Foram pesquisados os festivais de transe psicodélico que aconteceram no Brasil entre 2003 e 2006. Participei, como observadora, de oito festivais, nos quais realizei entrevistas e colhi material. A pesquisa também abrangeu a rede eletrônica Internet , principal meio de comunicação utilizado pelos participantes desses festivais

Made available in DSpace on 2016-04-25T20:21:56Z (GMT). No. of bitstreams: 1 Jair Berce.pdf: 3217384 bytes, checksum: 5c3df276a2e4aacd1a6990c175a64497 (MD5) Previous issue date: 2007-10-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / What does Santo Daime mean to believers who look for this specific religious line in São Paulo? What senses can Santo Daime ofter to this chaos in wich lots of people apparently live in and it is defined by social scientists as after modernity, paradigm crisis and so on? What are the paths led by Santo Daime in São Paulo ? In order to throw a light on these questions and to point a way out of this theorical maze I decided to do this work. Its goal is to comprehend the role of Santo Daime on filling the blanks left by the thing I name the sattering of the soul , for the absence of definition it stands for after-modernity . I attempt to analyze the way cosmology and the Daime rituals try to put the pieces together and if this process achieve it s goal. The analysis is grounded on the belief that it happens through a symbolic process most times uncounsciously wich builds identity based on some elements of the ritual and of cosmology. This is what stabilish harmony among the religious comunity and makes and ethos and a word view. At the same time it offers freewill, the is to say, freedom. I tried to find the answers by a ethnographical research following Geertz methodology and theorical steps at Community Daimista Flor de Luz, Céu de Midam. I tried to understand the way this religious community develops a cosmological line which is apparenty way too different from the ones we find in other religious community: The Star Command Cosmological Line. This cosmological line is the object of my study in this work. The goal focuses on showing the peculiarity of Church Flor de Luz before other Santo Daime religious communities in Brazil. I also tried to answer this question: will the doctrine ever reach the point of bringing sense to these people from São Paulo who come to this very religiosity in after-modernity era ? Stated another way, will Santo Daime ever be able to lead to a good term this ambition of transforming this routine of illusion by waking what is transcendental in mankind? Thus, I intend to show how the everyday-life make a normal relation with the Daime believers religious rountine just like the way it is possible in other religious communities. The anthropological question of turning the exotic into familiar an showing the exotic in the familiar. The main password to get into this cultural universe is the comprehension of the ritual use of this knowledge herb . Therefore Daime is the key to roam to look for all these worlds. It is the vessel that puts you in touch with this cosmological universe / Quais os significados atribuídos ao Santo Daime pelos fiéis que buscam esta linha religiosa específica em São Paulo? E quais os sentidos oferecidos pelo Santo Daime, neste aparente caos que muitos vivenciam, e que alguns cientistas sociais denominam como pós-modernidade, crise de paradigmas, e tantos outros nomes? Quais os caminhos do Santo Daime em São Paulo ? Para esclarecer estes questionamentos e propor uma saída possível para este labirinto teórico é que me motivei a realizar este trabalho, que tem como objetivo compreender como o Santo Daime cumpre o papel de trazer sentido ao vão deixado pelo que chamo de fragmentação da alma , que se traduz na ausência de sentidos da chamada pós-modernidade . Procuro analisar de que forma a cosmologia e os rituais daimistas tentam juntar os cacos , e se este processo consegue alcançar seu objetivo. Começo esta análise , partindo do pressuposto que isso se dá por meio de processos simbólicos - e muitas vezes de forma inconsciente os quais vão formando identidade a partir de determinados elementos do ritual e da cosmologia, dando assim coesão à comunidade religiosa, estruturando um ethos e uma visão de mundo , ao mesmo tempo que oferecem ao indivíduo daimista flexibilidade de escolha, vale dizer, liberdade . Procurei construir tais respostas a partir da pesquisa etnográfica participante seguindo os passos teóricos e metodológicos de Geertz na Comunidade Daimista Flor de Luz Céu de Midam. Busquei entender como a comunidade estudada abre espaço para o desenvolvimento de uma linha cosmológica aparentemente muito diferente das existentes em outras Igrejas: A Linha Cosmológica do Comando Estelar. Esta Linha Cosmológica será estudada nesse trabalho, com o objetivo de mostrar a especificidade da Igreja Flor de Luz frente as demais igrejas do Santo Daime no Brasil. Procuramos responder também a seguinte questão : será que a Doutrina alcançará esse propósito de gerar sentido para estes indivíduos de São Paulo que se integram a esta religiosidade em particular - ante a pós-modernidade? Em outras palavras, o Santo Daime conseguirá direcionar a bom termo esta ambição de transformar o cotidiano de ilusões dos fiéis através do despertar do que há de transcendental no homem ? Dessa forma, pretendo mostrar também, como a vida cotidiana, o dia-a-dia, a vida em suas articulações profissionais se correlaciona de forma normal com a rotina religiosa dos daimistas, como é possível em qualquer outra religião considerada normal pela sociedade. Aquela clássica questão antropológica de tornar familiar o que é exótico e de mostrar o exótico no familiar. A principal senha para se adentrar nestes universos culturais será compreender o uso ritual em São Paulo desta planta para conhecimento . Portanto, o daime é a chave para viajar mirar por esses mundos todos. Ele é a nave que te põe em contato com todos esses universos cosmológicos