Submitted by Biblioteca Central (biblioteca@unicap.br) on 2017-12-04T17:11:48Z No. of bitstreams: 1 alexandre_alberto_santos_oliveira.pdf: 7325970 bytes, checksum: 48dd9611078d268af3bbce1dd0db2c03 (MD5) / Made available in DSpace on 2017-12-04T17:11:48Z (GMT). No. of bitstreams: 1 alexandre_alberto_santos_oliveira.pdf: 7325970 bytes, checksum: 48dd9611078d268af3bbce1dd0db2c03 (MD5) Previous issue date: 2017-11-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / This research aimed to map the discourse coming from several religious communities of Jurema Sagrada in Recife and in its Metropolitan Region, which defend that "Jurema is the primate religion of Brazil" and the existence of a religious system of its own, which is its worldview, to which I have opted to call a juremological system. The methodology we used was the technique of dense ethnography (GEERTZ: 1978), the bibliographical and paleographic survey (to make a large survey of the existing texts, to systematize its historical and anthropological debate) and participatory field research, in a perspective, based on the qualified speeches of the juremeiros (male priests) and juremeiras (female priests) of tradition, to systematize this cosmos, which until then, had not been described and debated in the existing bibliography. With this, we seek to make an assertion by taking the Sacred Jurema as a religious and social phenomenon in the field of the sciences of religion. / Esta pesquisa objetivou mapear o discurso oriundo de diversas comunidades religiosas da Jurema Sagrada em Recife e Região Metropolitana, que defendem que “a Jurema é a religião primaz do Brasil” e a existência de um sistema religioso próprio, que é sua cosmovisão, ao qual optei chamar de sistema juremológico. Usamos como metodologia, a técnica da etnografia densa (GEERTZ: 1978), o levantamento e pesquisa bibliográfica e paleográfica (para fazer um grande levantamento dos textos existentes, para sistematizar seu debate histórico e antropológico) e pesquisa de campo participativa, numa perspectiva, a partir das falas qualificadas dos juremeiros e juremeiras de tradição, sistematizar este cosmo, que até então, não havia sido descrito e debatido na bibliografia existente. Com isso, buscamos realizar uma assertiva tomando a Jurema Sagrada como fenômeno religioso e social no campo das ciências da religião.

Submitted by Verena Bastos (verena@uefs.br) on 2016-05-10T12:22:55Z No. of bitstreams: 1 O esvaziamento do sagrado em Miguel Torga - Vagner Ferreira.pdf: 800257 bytes, checksum: fafac226cfdb3716bcbe64061e47b0dc (MD5) / Made available in DSpace on 2016-05-10T12:22:55Z (GMT). No. of bitstreams: 1 O esvaziamento do sagrado em Miguel Torga - Vagner Ferreira.pdf: 800257 bytes, checksum: fafac226cfdb3716bcbe64061e47b0dc (MD5) Previous issue date: 2013-03-21 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The literature has much examples which represents the religious universe. But this representation clashes, anyway, from the consolidated religious patterns and, like this, this sacred may seems an emptied way. This work intends to do a discussion of the existence sacred in the literature, analyzing more specifically, in the Miguel Torga?s writing. First time, we discuss the meaning of the sacred to the man; how it stay in religious universe and, still, the different faces of the ways how both ? the sacred and the man ? interact. Next, we have the view of the sacred presence in torguiana?s poetry, beyond the discussion how Torga represents the sacred and the man in his texts, pretending understanding the strategies and literary characteristics of the Portuguese writer, constituents of a writing that intend emphasize the man instead of the sacred, following a discussion about the Torga?s man, that can be pointed like universal. Finally, we made the analyses from the chosen tales that are in the books Contos da montanha and Novos contos da montanha, that the sacred presence is evident. This way we have an interpretation work or interpretations suggests about the empting of the sacred in torguiano?s tales. / A literatura possui v?rios exemplos nos quais se representa o universo religioso. Mas esta representa??o constantemente destoa, de alguma forma, dos modelos religiosos consolidados e, assim, este sagrado pode at? figurar de uma forma esvaziada. O presente trabalho pretende fazer uma discuss?o da presen?a do sagrado na literatura, analisando-a, mais especificamente, na escrita de Miguel Torga. Em um primeiro momento, discutem-se os significados do sagrado para o homem; como se situam no ?mbito da religi?o e, ainda, as diversas facetas dos modos como os dois ? o sagrado e homem ? interagem. Em um segundo momento, tem-se o panorama da presen?a do sagrado na poesia torguiana, al?m da discuss?o de como Torga representa o sagrado e o homem em seus textos, procurando compreender as estrat?gias e caracter?sticas liter?rias do escritor portugu?s, constituintes de uma escrita que procura enaltecer o homem em detrimento do sagrado, seguida de uma discuss?o sobre a proje??o do homem torguiano, que pode ser apontado como universal. Em um ?ltimo momento s?o feitas as an?lises dos contos escolhidos, presentes nos livros Contos da montanha e Novos contos da montanha, nos quais a presen?a do sagrado se faz patente. Tem-se, assim, um trabalho de interpreta??o, ou antes, sugest?es de interpreta??es, sobre o esvaziamento do sagrado nos contos torguianos.

The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal bass-baritone soloist, flute doubling on alto flute, B flat clarinet doubling on bass clarinet, violin, cello, piano, percussion on vibraphone and marimba, doumbek (a middle eastern drum), and men's chorus (TTBB). The approximate duration is thirty minutes. The text comes from the Old Testament book of Daniel, Chapter 9 verses 4 through 19. In these passages the prophet Daniel rends from his heart a prayer of repentance, mercy and forgiveness on the behalf of a fallen nation. The harmonic language of the composition combines both classical contemporary and jazz sonorities. The rhythmic language is drawn from the meter of the text, and is used to underscore the emotion of the prayer. These elements combine to form a rich music experience that conveys the penitent heart of the prophet Daniel.

This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

The photographer Rodney Smith shows us images of real things and people, but real things and people that aren’t positioned in real ways and places people would actually be. Instead, he uses something very familiar to each of us–the human body–and consistently puts it in very unfamiliar situations. By using something so intimately familiar to each of us as the body in weird ways, he automatically jars our own experienced sensations. And this jarring of familiar sensations, this defamiliarization of something so familiar to us, is what typically results in what literary critics term the feeling of the uncanny. What the uncanny does, in its defamiliarizing of the familiar, is to jar viewers from their sense of the familiar. It displaces them from where they normally are. In Rodney Smith’s photographs, our bodies, unfamiliar with the bodily experiences of his subjects, are dislodged from where they are. Yet the feeling produced by Smith’s photography is not uncanny; rather, it has a sort of reverent, almost sacred, effect. His background as a graduate of the Yale School of Divinity makes him deeply interested in truth beneath the surface, and so he uses photography to get at that sort of truth through his use of the body in ways that would typically produce an uncanny effect, yet don’t. The settings in which he places bodies, as well as the way he uses the bodies themselves, help to shift the feeling of the uncanny into the feeling of the divine or sacred. His ability to do so is highly contingent upon his use of bodies: because we, the viewers, all have bodies, our bodies resonate with those we see in his photography. We are connected to the subjects of his works in a fundamental and profound way because of our embodiedness. And using this connection, Rodney Smith takes our now displaced bodies and transports them with his bodies to somewhere beyond the surface, somewhere sacred. Through his use of techniques typical of the uncanny, he shifts the effects of the uncanny from simple displacement of the self to meaningful replacement of the self within the greater context of our unique and, in his eyes, beautiful world we live in.

No description available.

This project is a site-specific ethnographic study of a culture around a community water tank that serves as a value-driven piece of architecture and has become an inconspicuous tourist attraction in the city of Växjö due to its peculiar acoustic property. At the onset, I draw parallels between an ancient underground temple called the Hypogeum located in Malta, where the physical dimensions of the space similarly shaped sensorial experiences in more nuanced ways than conventional architecture of its time. The core of my work here has three explorative angles. One, where I embark on interdisciplinary research approaches, to conduct field studies and investigate ways to empirically test how the physical properties of spaces shape cognitive impressions. A crucial need to express spirituality within an academic framework is proposed and a method of non-intentional design (NID) is introduced as my driving process for the study. Two, as a digital story, I conduct interviews and make the culture of this space visible to the public through an instagram account called #echoingawareness. And three, I present some of my experience building this slow and steady relation with the local municipality with a proposal to provide space on the urban planning table for bottom-up approaches where voices from such sacred spaces can be made more inclusive. I hope this could be a useful resource as a transdisciplinary study for future planning of urban architecture and design.

This master’s thesis is a comparative propaganda analysis that studies the use of history with a religion dimension, similarities and framing of propaganda messages in the Islamic States propaganda magazine Dabiq and Brenton Tarrant’s manifesto The Great Replacement. The propaganda has been analysed with Jowett and O’Donnell’s propaganda model, combined with Jan Assmann’s theories about cultural memory, historia sacra and cultural semantics. The results show that both actors use history with a religious dimension to frame their messages, but that Tarrant uses more cultural aspects than religious. Both actors also project similar messages such as referring to supranational communities, the sacred history of ancestors, ancient enemies, new foundational history and a call for organisation by their target audience.

This study explores the roles of religious organizations in the refugee movement “Lampedusa in Hamburg”, in Hamburg, Germany during 2013 and 2014. “Lampedusa in Hamburg” consisted of approximately 300 refugees who had come from Libya, and decided to fight for their right to stay in Germany. Early on, religious organizations became important supporters to the movement, by providing the members food and shelter. By analyzing archival material and interviews with two religious representatives, this thesis investigates the involvement of religious organizations, their collaborations, and the outcomes produced by their work during the protests, using theories connected to secularization and religion and migration. The analysis shows that the involvement of religious organizations in the “Lampedusa in Hamburg”- movement is an example of how faith-based actors in the West are standing up against authorities and objecting migration policies. Their work, collaborations and impact were clearly shaped by national ties with the German state and their position in society.  Further, local dynamics formed the roles of the religious organizations, especially in the case of the St. Pauli church – one of the most central religious actors – located in St. Pauli, a block with a long history of protests. During the Lampedusa in Hamburg-movement, processes operating at global, national, and local scales met, exposing the complexities of the roles that religious organizations take on, as they become involved in migrant processes in Western Europe today.

A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.