Made available in DSpace on 2016-07-27T13:46:27Z (GMT). No. of bitstreams: 1 MARIA CRISTINA DE FREITAS BONETTI - PARTE 1.pdf: 4528097 bytes, checksum: b102021c0421e0f11965fe8fadf10afb (MD5) Previous issue date: 2013-08-14 / This thesis investigates the survival and the camouflage of the Myth of the Serpent and the Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery of creation and its various expressions in archaic cultures in the Western World. The main objective of the research is to demonstrate the survival the symbolism of the Mother Goddess and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle Dances. It also takes into to identify the hidden message that externalizes through body movements that generate archetypical expressions codified in the ritualistic dances and performances, and explores in the same way, the domains of the Great Mother and the Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms. The main issue of this thesis is that whether the symbolism of the serpent can be considered as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose is to connect the Myth of the Serpent with the most relevant works regarding the Sacred Feminine, history, anthropology and the ritualistic performances. The literature will be reviewed in its thematic axles and in particular the authors and the known experts in the Sciences of Religion. Amid the conceptual interpretations this research produces surveys of recent works on the subject of study to discuss the meanings and the ramifications inspired by ancient traditions and with deep power refresher mythical; and in this discussion, focuses on the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously, come upon the space created by the traditional parties, replace and vivify myths and prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances. / Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os movimentos corporais que geram expressões arquetípicas codificadas nas danças e performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais, reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se, portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.

In the matrix of land uses beyond protected areas, people protect nature in a myriad of ways, and have, in some cases, for millennia. With the growth of global databases of Indigenous and Community Conserved Areas and Territories (ICCAs) and registries of sacred natural sites, opportunities are emerging for conservationists to engage custodians of sacred forests beyond protected areas. As conservation expands beyond protected areas, successful engagement emerges from unities in the perspectives of conservationists and custodians of sacred forests. This thesis aims to identify unities for conservationists' engagement with custodians of sacred forests on a landscape scale. The thesis geolocates sacred forests and assesses the implications for conservation in four diverse landscapes in the Gambia, Ethiopia, Malaysia and Japan. The scale of inquiry varies across the papers, from the sub-district level to a national scale. This research indicates that while sacred forests may be overlooked by conservationists due to their small size and autonomous management, when they are considered in concert on a landscape scale, opportunities for conservation engagement become apparent. This thesis demonstrates that sacred forests can be prevalent in diverse landscapes, persist over time, and provide ecosystem services due to their spatial distribution.

The dissertation concerns the use of modern music during liturgy. The first chapter is devoted to a music mentioned in the Bible. Church documents about the music in liturgy are investigated in the second and third chapter. Fourth chapter describes musical instruments and their use. Fifth chapter brings knowledge about modern scared music in Czech countries from beginning till today. Sixth chapter describes particular genres of modern sacred music. The specification of genres begins with spirituals and gospel music. These songs are traditional sacred music from Africa and America. The chapter continues with church jazz and rock. These genres originate from traditional sacred music. The next is church folk and songs from Taizé. Sixth chapter ends with music with electronic instruments. Seventh chapter describes hymn-books from totalitarianism till the present. The dissertation closes with eighth chapter with the tittle Prognosis in the future which is about modern sacred music in future.

Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

The Wolf Willow site (FbNp-26) is a multicomponent Precontact site located within the confines of Wanuskewin Heritage Park approximately 2 km north of the city of Saskatoon Saskatchewan. The site was excavated during 2010 and 2011 field seasons with the participation of The University of Saskatchewan’s archaeological field school and the Saskatchewan Archaeological Society’s field school. As a result of these excavations, 30 m2 were exposed and four distinct cultural levels were identified. These include the Plains Side-Notched complex, Prairie Side-Notched complex, McKean series, and Oxbow complex cultures. An analysis of artifacts, ecofacts, and features from each cultural level was undertaken in order to determine site usage for each time period. Ecological concepts are often used as heuristic devices in archeological studies. The theory of island biogeography and the study of patch dynamics are two concepts that can lend themselves to the archeological study of past human groups. Island biogeography was developed to explain speciation in insular environments. In archeological studies, the same mechanisms affecting speciation can be employed to study the development of culture. Patch dynamics can be used to hypothesize how resource availability affected the behavior of past populations. Using the aforementioned concepts, the Wanuskewin/Opimihaw Valley area can be viewed as a terrestrial island. The unique combination of resources both tangible and intangible combined to make the area a draw for Precontact populations for the past 6000 years. Wanuskewin continues to attract people from around the world as a centre of spiritual and cultural renewal, a world class tourism destination, and an educational facility.

As an artist working with the female model, this practice-led research examines concepts of alterity and subjectivity while challenging the dominant role of male subjectivity in the western world. It revolves around the relationship between myself and the female subject, a specific woman who within the context of my work epitomises but at the same time transcends womanhood. This undertaking suggests that my representations of her body grow out of a dialectical tension between the feeling that the female other has almost become a metonymic extension of myself, and the awareness that such a feeling is at the same time illusory. The practical component of my investigations takes the form of body-themed box assemblages which are reminiscent of polyptychs, tabernacles and reliquaries. However, the sacred images which form part of these ecclesiastical items are replaced with others showing close-ups of the fragmented bodies of the model and myself. While this kind of profane artefact acts as a receptacle for our bodies which are broken down and enshrined together with other objects, it constitutes part of an ongoing process whereby the relationship between myself and the female figure is metamorphosed, re-shaped, and re-visioned. The significance of these creations is meant to extend beyond their artefactual existence and become mediums through which I re-visit female sexuality and eroticism and assess them within a spiritual context, albeit in the circumscribed framework of a particular woman. The artefact s ultimate objective is to appease my innate desire to access the other via a self-reflexive process which involves both mirroring and distancing at one and the same time. This process also includes an exploration into the spiritual with the aim of exploiting that which is other in the western theological tradition, namely God and the Divine. The gaze is also deeply involved in this exploration of the other. In fact, while our bodies are subjected to a re-visitation and trans-valuation in parts through multiplication and fragmentation, the gaze is in the process broken down into a series of glances which originate from myself, the viewer or the female subject. This process questions and disrupts the dominance of the male gaze, and its associated precepts, in Western visual culture. Finally, by correlating the model s body with the divine, my artefacts seek to give this woman, as an embodiment of the true other, a trans-corporeal identity. Rather than seeking to exert control over the other, they provide a pious space wherein the self and the other are able to encounter each other in a manner that initiates an equitable relationship, unhindered by presumptive knowledge. This is aided by the aesthetics and dynamics underlying the box assemblage which, while expressing gender fluidity and encouraging disengagement from preconceived dogmas a sort of reverse cognition also enhances the experience of its deific symbolism.

Finding something sacred in secular society is a relatively new field of religious studies. This thesis aims to find the secular sacred amongst Star Wars fans on the blogging platform Tumblr, in relation to Kim Knott and her theory of the secular sacred. I collected and studied 100 blog posts about Star Wars, specifically about one of its main characters, Rey. The research questions used were “How do fans of Star Wars and Rey express themselves on Tumblr?”, and “Could it be seen as sacred according to Kim Knott´s theory of secular sacred?” I analyzed the material with a hermeneutic approach, and using Kim Knott’s theory, I categorized the posts in to three categories: sacred, appreciative and sacrilegious. Even though the appreciative category was by far the largest, the results showed that a fifth of all the blog posts could be perceived as having content that could be seen as sacred to its poster. I came to the conclusion that my study supports the theory of sacredness not being exclusive to religious society, but can be found in the secular as well.

This dissertation will explore the way Philip treats puppets and masks as pseudo-sacred objects in order to maintain control in Angela Carter’s work The Magic Toyshop. To show the implications of the pseudo-sacred, I will use Violence and the Sacred by Rene Girard that examines the way primitive cultures are able to maintain order through particular religious beliefs and collective violence against a scapegoat. My critical reading of the text will look closely at how Philip uses the pseudo-sacred to build up the community. When the pseudo-sacred is finally called into question the community is threatened. Although Philip attempts to deflect blame onto the scapegoat Melanie, he fails as there is no social buy-in, leading to the destruction of the community. While the house is burned down destroying the puppets and masks, presumably along with Philip, the pseudo-sacred still has the chance of being perpetuated through Finn’s own obsession with power and control.