Muslims in the U.S. are increasingly looking to integrate into its society while trying not to lose their identity as Muslims. They find themselves in a dilemma when it comes to the issue of congratulating and even partaking in the festivals of non-Muslims in the U.S. This issue has gained prominence and momentum after the event of 9-11, in which the Muslims wanted to show and prove their tolerance and acceptance towards others while trying to hold onto and maintain the (...) core principles of Islam. For this reason, this topic is a hotly debated issue in the U.S. and the West in general and a cause of division and confusion amongst Muslims. However, in order to justify their position and feel that they are following the teachings of Islam, they turned to the Islamic scholars, both in the West and the Muslim world, regarding the permissibility or prohibition of congratulating and partaking in non-Muslim festivals. This paper employs a qualitative methodology to analyse the fatāwā of permissibility and its effects on the Muslims living as minorities in the U.S. This qualitative method will give readers an insight, through a questionnaire that was conducted by the researchers, into how the Muslims in the U.S. perceive the issue of congratulating and/or partaking in the religious festivals of the non-Muslims. (shrink)

Festival is a performative dimension of cultural praxis that strengthens bonds of cohesion in society. Festivals are also an integral part of religious praxis. They have the potentiality of bringing its adherents and non-adherents together thus creating and sustaining social communion among them. This reality of sustaining social communion confirms an important function of religion in society with particular reference to its social integrative effects. Therefore, this article assesses how religious festival, Christmas, fosters social integration among (...) Igbos in Nigeria. On a related note, many Igbos, see Christmas festival as unique occasion for them to visit their communities; attend meetings of their associations and/or town unions and consolidate family ties. These are opportunities for building social integrations, otherwise denoted as social communion in this research. This work makes use of critical analysis of relevant texts and questionnaire survey methods as means of gathering materials and data for this research. In view of understanding how Christmas festival aids social communion among the Igbo ethnic group, the theories of structural functionalism, social capital and social integration are being utilised as theoretical frameworks for this study. Finally, this study avers that religious festival cements social communion between the Igbos in Calabar Metropolis and their ancestral communities. (shrink)

An ethnographic approach to the South Indian festival Ayudha Puja reveals that the celebration plays a role in the construction of scientific communities. Ayudha Puja has the ability to absorb westerners, non-Hindus, and non-Brahmins into Indian science and engineering communities and is thus widely practiced in South Indian industry and academia. The practice of Ayudha Puja thus parallels what M. N. Srinivas labels “Sanskritization.” Within India, the process of Sanskritization refers to the adoption of high-caste habits and diet by (...) upwardly mobile lower-caste communities. While not actually an example of Sanskritization, participation in Ayudha Puja is analogous to that process: by joining a Hindu rite within the scientific and professional workspace, outsiders become part of local laboratory, department, or office culture. Such practices reveal the need for scholars to investigate scientific community building outside the domain of how scientists reveal new facts about the world. (shrink)

In Igbo traditional religion (ITR), there are different means through which therapy and healing are achieved. One such means is through the Nsukka-Igbo Ọmabe masquerade festival rituals and performance theatre. To seek out this aspect of the cultural festival that has been under-researched, this study delves into detailed discussions of the pre-arrival, arrival, events in between, departure and postdeparture of the Ọmabe masquerade festival. Relying on a qualitative method, the study analytically and descriptively discusses the data gathered (...) through participatory observations and interview sessions with some of the devotees possessing sufficient knowledge of the masquerade tradition and festival. Photographs have been included to flesh out the narratives, as well as enrich and enhance the readers’ engagement with the article. Also, relevant materials from extant literature are quoted and cited. The study examined the rituals, music, performances and other interesting key components of the festival and found that the traditional practice through masquerade festivals such as the Ọmabe is therapeutic, leading to emotional activation and healing. Undoubtedly, this has been sustaining its re-enactments in the face of neoreligious intolerance, urbanisation, modernity and globalisation that have been adversely affecting cultural practices. Contribution: The article critically engages with the reappraisal of the Ọmabe cultural heritage festival among the Nsukka-Igbo people, providing thought-provoking, impactful research as well as insightful reading towards achieving an understanding of its rituals, materiality and performance theatre and their accompanying therapy and healing benefits. Bearing in mind that HTS Teologiese Studies/Theological Studies focuses on religious issues and that the ‘masking festival’ is a part of Indigenous religious practice, the author considers this article to be suitable for its objectives. (shrink)

In this paper I address the phenomenon of syncretism with respect to Chinese religions. An analysis of the syncretism that takes place between the three major Chinese religious traditions is first done in its personal and social dimensions. The social structure of Chinese religion is then used as a framework to understand how Buddhism and Daoism were made compatible with Confucianism. All this will serve as a background for the case study of Macau, where Chinese religious syncretism is (...) very much alive. Three popular religious festivals are celebrated annually and simultaneously on the eighth day of the fourth lunar month, namely, zuilongjie (醉龍節) Feast of the Drunken Dragon, tangongdan (譚公誕) Tam Kung Festival and fodanjie (佛誕節) Feast of the Buddha. (shrink)

Patrimônio de Fé e Religiosidade: os Bens Culturais inseridos na Festa do Senhor dos Passos em São Cristóvão, Sergipe, Brasil. (Heritage of Faith and Religiosity: Cultural Objects inserted on the Festival of Senhor dos Passos in São Cristóvão) - DOI: 10.5752/P.2175-5841.2013v11n31p1018 O conceito de Bens Culturais de uma localidade vem passando por novos paradigmas quanto à abrangência e relevância. Nesse âmbito, além do Patrimônio Material de ruas, praças, igrejas, objetos artísticos e históricos, o discurso e ações dos órgãos oficiais (...) e da comunidade, devem também se pautar pela valorização das produções imateriais da cultura. Esses elementos envolvem os sujeitos e os sons produzidos por eles, seus ofícios, memórias, festas e religiosidade. Nesse sentido, o presente artigo visa analisar os Bens Culturais que compõem o cenário da celebração do Senhor dos Passos e descrever os seus valores histórico, religioso e artístico. A metodologia utilizada foi: pesquisa bibliográfica, documental e de campo. Após as três etapas da pesquisa e observação no local, constatado que a Festa do Senhor dos Passos em São Cristóvão possui elementos patrimoniais conectados que a transforma em um evento vinculado à identidade cultural-religiosa da região. Alguns desses elementos já são tombados nos níveis estadual, nacional e mundial, enquanto que outros, embora não reconhecidos pelos órgãos oficiais de salvaguarda do Patrimônio, são valorizados pela comunidade no que concerne a afetividade, memória, dádiva e pertencimento: Patrimônios de Fé, Religiosidade e Culto em Sergipe. Palavras-chave : Patrimônio Cultural. Festa. Religiosidade. Senhor dos Passos. São Cristóvão (Sergipe).The concept of cultural property that belongs to one locality has been going through new paradigms regarding the scope and relevance. In this context, in addition to material assets (streets, squares, churches and historical-artistic objects) the speech and actions of official bodies and the community, should also be guided by the appreciation of intangible productions. Such elements involve the subjects and the sounds produced by them, their crafts, memories, parties and religiosity. In this way, this article aims at analyzing the aspects that make up the scene of the festivities of Senhor dos Passos as a Cultural object and describes its historical, religious and artistic values. The methodology used was the bibliographic, documental and field research. After the three stages of research and on-site observation, it was found that the Festival of Senhor dos Passos in São Cristóvão owns connected heritage elements which turn it into an event linked to the religious-cultural identity of the region. Some of these elements are already safeguarded statewide and at national and global levels, while others, though not recognized by the official bodies of safeguarding of heritage are valued by the local community by affection, memory, donation and belongingness: Heritage of Faith, Religiosity and cult in Sergipe. Keywords : Cultural Heritage. Festivity. Religiosity. Senhor dos Passos. São Cristóvão (Sergipe). (shrink)

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, (...) however, the neighbourhood has become a place with bad reputation, “a den of thieves”. The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship. (shrink)

The riddle Frazer confronts us with in The Golden Bough is posed in the form of a question. ‘Why is this happening?’ - this life and death of the King of the Wood at Nemi? In the related context of his accounts of the fire-festivals in Europe, Frazer refines the question in a more dramatic form: ‘What is the meaning of such sacrifices? Why were men and animals burnt to death at these festivals?’ Frazer recognizes something serious in all this. (...) The practice of human sacrifice is puzzling; it does leave us disquieted! But Frazer's search for what he calls ‘a fairly probable explanation’ of the motives which gave rise to the priesthood of Nemi and its embodiment of the practice of human sacrifice, Wittgenstein in his ‘Remarks on Frazer's Golden Bough’ feels, does not help us to understand a practice like the burning of a man! With all the additional data, numerous theories, and the historical tracing of origins we are no closer to resolving the perplexities of the riddle than the riddle itself presents to us daily. (shrink)

This study explores the philosophical and religious dimensions of Lusheng musical instruments in the Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China. The study's qualitative research method involved conducting interviews and observations, and the use of qualitative research design grounded in ethnomusicological theory and philosophical and religious frameworks. A purposive sampling technique was used to identify participants comprising musicians, community leaders, artisans, religious figures, and elders having extensive knowledge about Lusheng traditions. A thematic content analysis approach (...) was used to analyze the data collected. The results of the study reveals that the Miao and Dong communities deeply integrate one Lusheng instrument, a traditional reed-pipe, into their cultural, spiritual, and social fabric. The research highlights Lusheng’s significance in religious ceremonies such as funerals and the Drum Zang Festival, where it functions as a sacred medium, facilitating communication with ancestors and deities. Philosophically, Lusheng music embodies communal unity, continuity and the interconnectedness of life and death. Economically, Lusheng music supports local artisans and performers, contributing to the region’s economy through its production and performance during festivals and tourist attractions. Educationally, Lusheng music fosters cultural identity, religious understanding, and artistic expression, ensuring its transmission across generations. Through formal and informal educational programs, the Lusheng remains a vibrant part of community life, blending tradition with creative innovation. The study underscores the importance of preserving Lusheng as both a cultural and spiritual artifact, enriching the lives of the Miao and Dong people while maintaining its relevance in the modern world. (shrink)

Many festivals use animals in the name of continuing traditions and religious acts of historical and cultural relevance, as well as for tourist entertainment; however, the welfare of these animals has been overlooked in favor of maintaining cultural identity or making economic profits. The criticism of animal-based festivals has been growing along with the increased public awareness of animal rights. However, this change in public perception has not yet been translated into actual government policies in Korea. This study addresses (...) the unethical practices and challenges regarding animal welfare at festivals from the perspective of visitors to understand the public perception of the need for institutional and regulatory interventions to improve the treatment of animals at festivals. An online survey (N = 1000) is conducted to examine the public perception of animals and animal welfare at festivals and how strongly online survey participants support organizer- and state-level actions to protect the welfare of festival animals. Logistic regression analyses identify gender, pet ownership, pro-animal attitude, visiting experience, sensitivity to criticism regarding animal issues, and perception of animal welfare at festivals as significant predictors of online survey participants’ support for actions ensuring the welfare of animals used in festivals. Our findings also suggest that people sympathize with the need to enhance animal welfare but have low levels of sensitivity to the maltreatment of animals at festivals, indicating the existence of cognitive dissonance. Establishing guidelines and regulations for improving animal welfare can help festivals use animals in a more sustainable way and make visitors rethink and re-establish human–animal relationships. (shrink)

In A.D. 60 Nero instituted at Rome a quinquennale certamen which he called Neronia. It was in three sections—athletics, chariot-racing, and music —after a Greek model. This model would be that of the Pythian rather than of the Olympic Games, for at the latter there was no regular musical contest; though perhaps Nero got his immediate inspiration from the Augustalia at Naples, which was an athletic and musical festival of a religious nature.

There are two main ways to develop practices in religious naturalism. The first way is to practice within some traditional religion. Since those religions involve the worship of divine persons, which religious naturalists reject, religious naturalists must develop non-literal or fictional styles of participation in those religions. The second way is to develop new naturalistic religions. Since these will not be religions of worship, they will be religions of self-realization. Self-realization includes physiological, ethical, and spiritual self-realization. The (...) goal of spiritual self-realization is an ideal self whose concern includes all things and which is therefore existentially unified with nature. Techniques for self-realization include Stoic and Buddhist meditative practices, transformational festivals, and the use of entheogens. (shrink)

Considering what social and economic historians have argued about the reinforcement of societal obligations in English festival culture, still functional in a Protestant context, this essay looks at how a specific Shakespearean character exemplifies the normative interpenetration of the self-interested and the communal. Festivals foster a religious sensibility intertwining, in complex ways, spiritual with economic gain. Through his part within the atmosphere of festivity, reconciliation, and salvation at the end of The Winter’s Tale, Autolycus proves the symbiosis of (...) commerce and charity. (shrink)

Ayudha Puja, a South Indian festival translated as “worship of the machines,” is a dramatic example of how religion and science intertwine in political life. Across South India, but especially in the state of Karnataka, scientists and engineers celebrate the festival in offices, laboratories, and workshops by attending a puja led by a priest. Although the festival is noteworthy in many ways, one of its most immediate valences is political. In this article, we argue that Ayudha Puja (...) normalizes Brahminical Hinduism within scientific culture through the inclusion of non-Hindus and through scientists' description of the festival as “cultural” rather than “religious.”. (shrink)

Politics and religion are two concepts that have constantly intertwined throughout history and continue to do so at the start of the third millennium. Previous studies show that religion plays an important part in the political life and the concepts of state and church are connected. Although there are also certain discursive manners in which the Church adapts to political and socio-economical contexts, it is much more often that the connection between the two spheres of communication (political and religious) (...) comes from the part of politicians. The article deals with notions such as pseudo-events, media spectacle, political marketing and using religion as a tool for political positioning. The current research is based on an analytical descriptive method: the media content analysis. The focus of the analysis is on the highest rated daily print media and it covers the period from 2007 to 2010. It checks the prevalence of politicians in the media coverage of religious events on the most important religious holidays of the year: Easter, St Mary and Christmas. The most relevant results of the study show that the intertwining of politics and religion is often negatively reflected by the media. The results are a necessary addition to previous studies (Iancu and Balaban) that had only focused on a quantitative analysis of politicians' media coverage during religious festivities. (shrink)

This research focuses upon tracing the acculturative trends of the Hui Muslim community in Xi'an. It suggests that the existence of Muslims in China is a dialectical process between the adaptation to the Chinese culture and the retention of essentially Islamic religious traits. It is exclusively based upon ethnography and aims to investigate qualitatively the patterns of acculturation/retention of the Hui in the light of four socio-religious variables, i.e. identity, dietary habits, religious festivals and life passage rituals, (...) social networking and marital homogamy. This is a small scale qualitative research based on participant observation, interviews, and an analysis of historic, archival, and documentary material. The sample consists of Hui people of Xi'an both from within and outside the Muslim Quarter without any restriction of age and gender. The archival and qualitative data is derived from the iconography and fieldwork in Xi'an between November 2011 and December 2014. Applying Gans definitions of acculturation and assimilation, this paper concludes that the Hui are acculturated in the Han society but not assimilated, as they exhibit retention of ethnic religious traits. (shrink)

European nations like Portugal and Spain, driven by its crusading zeal, carried out their religious and political agenda by spreading Catholicism in the Maghreb and stopping the pursuit of fugitives (Muslims and Jews). The current study aims to narrate the events of the Battle of Wadi al-Makhazin and its religious and political dimensions, which deprived the Papacy of regaining its glory in activating the Inquisition, and forcing Muslims and Jews in Spain and Portugal to convert to Catholicism. Adopting (...) a historical approach, this research queried how religious dimensions shaped the fate of Battle of Wadi al-Makhazin, how the victory of the Saadi state stopped the expansion of the European nations like Portugal and Spain in the Maghreb, and what were the religious and strategic implications of this victory. The victory saw the collapse of the Portuguese state politically, militarily and economically. With this defeat, Portugal was annexed to the Spanish throne. The Jews in Morocco celebrated the victory at Battle of Wadi al-Makhazin, commemorated the defeat of Portugal as an annual festive event. They celebrated the escape from the hands of King Sebastian of Portugal, who had ordered to kill every Jew in the Maghreb who did not convert to Catholicism. This study reiterates the significance of the Battle of Wadi al-Makhazin as a landmark that not only halted Christianization efforts targeting Muslims and Jews in the Maghreb, but also ended the Portuguese crusading endeavors in the region. (shrink)

Expressions of gratitude to God or any divine deity varies in each community, and often evolves from simple acts to complex rituals across different traditions. One such ritual is the Maddoa tradition of Pinrang community, Indonesia, practiced prior to a planting season, as an expression of gratitude to Allah SWT, especially by those whose occupation is agriculture. This study examines how the maddoa' (traditional swing) ceremony reflects a blend of cultural practices and broader Islamic theological perspectives in Pinrang, Indonesia. The (...) research aimed to understand the ceremony's role in shaping community cohesion and religious identity. A qualitative ethnographic approach was employed with data collected through observations and interviews with spiritual leaders and local farmers. The findings revealed that, rather than following the simple expressions of praise typically found in Islamic teachings, the community performs intricated, seven-day rituals that conclude with the erection and use of the maddoa swing after a successful harvest. Although this practice diverges from orthodox Islamic norms, it is embraced as a form of gratitude and cultural preservation. This implies that religion can be adaptable to accommodate local customs through reinterpretations of tradition ('urf) or via a theological debate. The study’s scope is limited to one community and may not reflect broader patterns. Future research could further explore how local traditions are influenced by subtle adaptations or eroded by extreme interpretations of religious practices. (shrink)

This volume investigates for the first time whether and to what extent religious knowledge - e.g., "sacred" narratives, customary practices, legal rules, family traditions, festival observances - was accessible to and known by ordinary people beyond religious functionaries. This book is the first collaborative interdisciplinary study of this important subject area with chapters written by international experts on ancient Mesopotamia, the Hebrew Bible, Qumran literature, rabbinic literature, and early Christianity including apocrypha and monastic traditions.

This study explores the religious dimensions of Thai Buddhism through the interplay between ritual and art, and its impact on Thai identity. It investigates how art underpins Thai Buddhist rituals by examining the nature and role of prominent ritual and religious practices. The research focuses on temple art and artistic elements such as murals, statues, and other features that transform ritual spaces into sacred zones during significant festivals like Visakha Bucha and Makha Bucha. Additionally, it includes an analysis (...) of sand mandalas, which symbolize temporality and engage participants in their creation and observation. The study also addresses the ethnoreligious aspects of Thai folk music (Luk Thung) and dance-drama (Khon), highlighting their roles in reinforcing Buddhist institutions and societal cohesion. By examining case studies such as Loy Krathong and the Phuket Vegetarian Festival, the study demonstrates how religious and cultural performances shape Thai identity. Ultimately, the research asserts that Thai Buddhist art functions as both a symbol of religious principles and an active medium for religious representation and performance, thereby affirming and enacting Thai national and sacred identity. (shrink)

A large section of the population (70%) of Uttarakhand largely depends upon agricultural based activities for their livelihood. Rural community of the mountains has developed several indigenous and traditional methods of farming to conserve the crop diversity and rejoice agrodiversity with religious and cultural vehemence. Traditional food items are prepared during occasion, festivals, weddings, and other religious rituals from diversified agrodiversity are a mean to maintain agrodiversity in the agriculture system. Agrodiversity is an insurance against disease and extreme (...) climatic fluctuations, as a coping mechanism in times of scarcity, as a means to enhance overall productivity of farms, as a source of critical nutrition and medicine in the Himalayan region. The different traditional system of agriculture and indigenous method of maintaining soil fertility, socio-cultural and religious rituals has saved many crops that are under threatened category. But all these system and practices are ignored nauseatingly in hill agriculture policy, where more emphasis was given for plain areas. Less emphasis is being put on local systems that rely on existing natural, human, and social assets such as biodiversity, traditional knowledge, and social capital underpinning collective action to ensure food security. Of late, development planners have realized the importance of appropriate technologies and therefore have stressed the need for on-site training, and capacity building of user groups in rural areas of the region. Rural technology demonstration and training center have been supposed as a means disseminating technologies enabling improvement in the yield potential of farms, income generation from off-farm activities, and conservation and efficient use of natural resources. There is a strong need to bring desirable changes in the agricultural policy, research, and development in reference to mountainous regions. The present paper describe present scenario of agriculture, traditional, and socio-cultural practices of retaining soil fertility and agrodiversity, policy dimensions, and strategies for management of the Himalayan agroecosystems. (shrink)

In his account of the events leading up to the outbreak of the Peloponnesian War, Thucydides tells us that in 435b.c.the Epidamnians decided to transfer their allegiance from Corcyra to Corinth in accordance with the Delphic oracle, whereupon the Corinthians agreed to support Epidamnus against their own colony Corcyra. One of the reasons given is that the Corinthians hated the Corcyraeans for their contempt for their mother city, as ‘in their common festivals they would not allow them the customary privileges (...) of founders, at their sacrifice they did not give priority to Corinthians [as other colonies did]’ (οὔτε γὰρ ἐν πανηγύρεσι ταῖς κοιναῖς διδόντες γέρα τὰ νομιζόμενα οὔτε Κορινθίῳ ἀνδρὶ προκαταρχόμενοι τῶν ἱερῶν ὥσπερ αἱ ἄλλαι ἀποικίαι). Precisely what the dispute was and what the word προκατάρχεσθαι means have not been convincingly explained by commentators. (shrink)

When Christians worship God, their cultic activities display, in widely varying combinations, attitudes of fear, respect, love, trust, awe, deference and obedience. They worship the Lord with all their heart, soul and strength, confessing their own insignificance in comparison to God, yet expressing confidence in the divine mercy which they believe will assist them through the trials of this life, toward a joyful existence beyond the grave. In the liturgical churches, the dominating mood varies according to the tables of feasts (...) and fasts: Christmas and Easter are times for joyful song, brightly coloured vestments and festive activities. Ash Wednesday and Good Friday are days of penitence, sorrow and sombre hymnody. Throughout the year, the houses of worship are places of bowed heads and lowered voices, of respect and sobriety, and sometimes of veneration for icons and the objects used in worship. The inventory of revered objects varies considerably, as do the activities thought to be appropriate in this connection, ranging from the Low Protestant's respectful handling of the Bible to the High Churchman's prostration before the Monstrance, in the Benediction of the Holy Sacrament. But it is clear that divine worship normally involves reverence and awe and that it usually involves some form of self-abasement. (shrink)

Rituals are a very important part of daily life, traditions, cultural and religious gatherings and have a significant role on teaching about cultural heritage and social codes. Teaching about religious and cultural rituals have also important effects on personal development, acculturation and social engagement of an individual. Exploring and understanding the personal, cultural and social aspects of rituals is an important purpose of education and especially religious education. Educational drama offers educational environments that students can improve creativity, (...) critical thinking, empathy, communication skills, knowing others and respect to differences. Creative drama offers a suitable learning environment for students to understand social aspects and importance of rituals it allows students to share their previous experiences and to learn from other students. The aim of this article is to determine the effects of creative drama on teaching about religious and cultural rituals in the school context. For this purpose, creative drama sessions on daily prayer in Islam, fasting in Ramadan, religious feasts in Islam, month of Muharrem and Ashoura and Nawruz Festival has been carried out with 16 secondary school students. Research data has been gathered with focus group interviews and analyzed with thematic analysis method via NVIVO program. It is determined that students have reached an understanding about; basic information about rituals, understanding the source of rituals, being eager to participate to the rituals and knowing about others. These findings can be considered as learning outcome of creative drama sessions on cultural and religious rituals. And students have found creative drama sessions are beneficial in regard of active participation, sharing personal experiences and exploring differences. (shrink)

While many scholars have realized that the Enlightenment period was much more religious than previously thought, the deists are still seen as basically secular figures who believed in a distant and inactive deity. This article shows that the hundred and thirteen French Revolutionary deists who wrote prayers and hymns to God believed in a caring, loving, and active deity. They maintained that God wanted people to be free, and so God actively helped the French Revolution by leading the French (...) armies to victory and revealing enemy plots. The majority of these prayers and hymns were said at government-sponsored religious festivals. It is a mistake, however, to dismiss this religious language as being about sacralizing the new nation. Instead, there were places in the festivals where individuals could express their own religious views. Furthermore, most of these prayers and hymns were written while Maximilien Robespierre was pushing his deist civil religion and labelling irreligious people as enemies of the French republic. However, the same views about God were expressed after his death by the Theophilanthropists. Thus, these deists were not merely echoing the party line while Robespierre was alive, but were expressing their true religious feelings. (shrink)

Pretende-se, neste artigo, inserir o leitor no universo do catolicismo popular do povo goiano a partir de suas três dimensões: o culto popular à figura de Deus Pai, que em Goiás ganha o nome de Divino Pai Eterno, na cidade de Trindade; a devoção popular à figura de Deus Filho, no culto ao Senhor Bom Jesus dos Passos, na Cidade de Goiás; e por último, no culto ao Espírito Santo, na Festa das Cavalhadas, na cidade de Pirenópolis. Na religiosidade popular (...) sagrado e profano se mesclam no cenário do cerrado goiano do Brasil Central. Na pesquisa realizada percebe-se que o povo goiano não separa sua experiência de fé das experiências do cotidiano em suas devoções populares. O povo do cerrado sabe suspender momentaneamente a dureza do dia-a-dia, mergulhar num estado de graça e dele sair revigorado para enfrentar as vicissitudes que a vida impõe a todos. O panorama religioso goiano é marcado pelas festas apresentadas nesse artigo e por outras que floreiam o calendário secular e religioso local. Palavras chave: Religiosidade popular, Divino Pai Eterno, Senhor Bom Jesus dos Passos, Festa do DivinoThis article intends to insert the reader within the universe of popular Catholicism in the state of Goiás in Brazil through three dimensions: the popular cult of God as father which is called in Goiás the Divino Pai Eterno in the city of Trindade; the devotion of the Son called Bom Jesus dos Passos in the city of Goiás and at last, the cult of Holy Spirit as it is shown in the city of Pirinópolis during a festivity known as Festa das Cavalhadas. In central region of Brazil the popular religiosity, the sacred and the profane appear mixed. This research clarifies that people does not separate their faith from their everyday experiences. People from Cerrado land knows both how to suspend temporarily the hardness of daily life and to dive into the state of grace. They come out from that experience fulfilled with the necessary energy to deal with the vicissitudes their lives impose upon them. In Goiás the religious scene is marked by the festivities described in this article along with other ones that brighten secular and religious calendar. Keywords: Popular religiosity, Divino Pai Eterno, Senhor Bom Jesus dos Passos, Festa do Divino. (shrink)

This book has two main tasks: (1) to call attention to the special challenges presented by our experience of affect—all varieties of pleasure and pain—and (2) to show how these challenges can be overcome by an “enrichment approach” that understands affect as the enrichment or deterioration of conscious activity as a whole. This “enrichment approach” draws from Alfred North Whitehead as well as the pragmatists John Dewey and William James, all of whom thought of affect as a fundamental aspect of (...) experience rather than a special class of feelings. It also draws from recent scientific research that suggests that the dynamic repertoire of consciousness can change, effectively expanding and contracting our capacity to feel. Weaving these perspectives together, the book develops a theory that accounts for the peculiar phenomenology of affect and sheds new light on a diverse range of experiences, from everyday pleasures and pains to the special satisfactions of the arts and religious festivity. At the same time, it presents a fresh and distinctively affect-centered perspective on the nature of consciousness. (shrink)

The gods, however, took pity on the human race, born to suffer as it was, and gave it relief in the form of religious festivals to serve as periods of rest from its labors. They gave us the Muses, with Apollo their leader, and Dionysus; by having these gods to share their holidays, men were to be made whole again . . .That Plato1 regarded music as an extremely powerful means to cultivate morality and good citizenship is well-known.2 In (...) the Laws we are told that musical license is the chief reason for political license, and in the Republic Socrates insists that music education is the greatest bulwark of a polis.3 The Platonic corpus is also peppered with striking suggestions that the well-educated soul is, above .. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to the (...) United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

Masked revelry, the quaffing of large amounts of wine and the sound of flutes … this cavalcade would pass through the streets of Rome every 13th June, even crossing the forum itself. As we will show later on, a connection can be established between this celebration (theQuinquatrus minusculae) and the statue of Marsyas, the acolyte of Dionysus, which stood in the forum and was associated with freedom, wine and charivari. In turn, this connection will open the way for a new (...) interpretation of the multiple meanings of the feast and the satyr in the highly charged political atmosphere of Late Republican Rome. The main aim of this study will be to show, in the third part of this article, howpopularespoliticians tried to exploit the opportunities presented to them by religious festivities andludito draw more of the public into theircontionesor to obtain a favourable verdict in a political trial. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Something to do with Demeter:Ritual and Performance in Aristophanes' Women at the ThesmophoriaAngeliki TzanetouLike his character the Kinsman, Aristophanes invades Athenian women's religious space. He puts onstage for the whole city a religious festival restricted to women. He suggests that women use this occasion to drink and plot against men, and he portrays them as carrying on adulterous affairs and duping their husbands. As a result (...) of this negative portrayal of women, scholars have concluded that the play undermines women's position in the festival and in the city. Elizabeth Bobrick (1997), for example, argues that the play misrepresents women's experience in ritual. Lauren Taaffe (1993) insists the play shows that women are only men in disguise, that it is not really about women at all but rather uses them to highlight male concerns. And Angus Bowie (1993, 227) concludes that in this play Aristophanes demonstrates that comedy, not tragedy, has the right to "give an accurate and fulsome picture of female villainy."On the face of it, Women at the Thesmophoria satirizes women's real ritual experience and does not respectfully depict the Thesmophoria-a very important festival celebrated throughout Greece, which promoted agricultural and human fertility. And yet, despite the Kinsman's invasion and his mockery of women, the role of women in ritual is not really undercut in this play. The female characters who inhabit the comic stage and protest their portrayal in drama do not aim to redefine their social roles as wives and mothers. Instead, they use the authority of their roles to mount a successful attack against Euripides because he undermines these functions. In fact, the play acknowledges and validates women's contribution to the fertility of the polis in two different ways.After the Kinsman is unmasked and taken captive by the women, four different strategies for rescuing him are staged. After all these strategies, derived from plays by Euripides, fail, a fifth strategy succeeds. As scholars have noted, the Kinsman's captivity and rescue parallel the founding myth of the Thesmophoria festival, the story of Persephone's [End Page 329] abduction and imprisonment by Hades and her rescue by her mother Demeter.1 My reading of Women at the Thesmophoria builds on this analysis by demonstrating how each of the Euripidean parodies moves closer to the myth of Demeter and Persephone. Moreover, with each of the parodies the actors become increasingly feminized. In the final scene of the play every character onstage but one is wearing female dress. Ironically, structurally and theatrically, Aristophanes' play celebrates women's power, as it is demonstrated in Demeter's rescue of her daughter and the rebirth of human and agricultural fertility.Moreover, the play affirms the centrality of women to the fertility of Athenian drama. Earlier studies have seen Women at the Thesmophoria as a competition between Euripides and Aristophanes and between tragedy and comedy (e.g., Hubbard 1991, Henderson 1996, Zeitlin 1996b, Gibert 1999-2000). The play's movement from male to female, especially in the arrangement of the parodies, is also a move from Dionysus to Demeter. The captivity/rescue plot is associated with not only Demeter and Persephone but also Dionysus, the presiding deity of Athenian theater. The stories of Dionysus' captivity and rescue are different, however; in these the god rescues himself and punishes his captors (e.g., Pentheus and Lycurgus). As the rescue strategies in Women at the Thesmophoria [End Page 330] unfold, they move from the Dionysian pattern of self-liberation and punishment of opponents to a Demetrian one of cooperation and reconciliation. This is also a movement from tragedy to comedy, in which tragedy fails to liberate while comedy succeeds. The four parodies and the final scenario move from explicitly tragic situations, including the threat of human sacrifice, to love/marriage plots and finally to men dressing as women to deceive a parodically hypermasculine male, thereby achieving a return to normality. By the end of the play, male cross-dressing does not show how easy it is to become female, but how essential women are to comedy-not only to creating laughter but also to the basic function of comedy: affirming and celebrating the... (shrink)

Knowledge of the structure of the cosmos, Plato suggests, is important in organizing a human community which aims at happiness. This book investigates this theme in Plato's later works, the Timaeus, Statesman, and Laws. Dominic J. O'Meara proposes fresh readings of these texts, starting from the religious festivals and technical and artistic skills in the context of which Plato elaborates his cosmological and political theories, for example the Greek architect's use of models as applied by Plato in describing the (...) making of the world. O'Meara gives an account of the model of which Plato's world is an image; of the mathematics used in producing the world; and of the relation between the cosmic model and the political science and legislation involved in designing a model state in the Laws. Non-specialist scholars and students will be able to access and profit from the book. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 319-328 [Access article in PDF] Introduction Mary-Kay Gamel Aristophanes' Thesmophoriazousai (Women at the Thesmophoria Festival) takes its title from an important three-day religious festival celebrated by women in honor of the goddess Demeter and her daughter Persephone. In this play, the playwright Euripides learns that the women of Athens plan to use the occasion of this women-only gathering to put (...) him on trial for the negative depictions of women in his plays. Euripides convinces a relative of his to dress in female costume, infiltrate the festival, and find out what the women are up to. The plot is quickly uncovered and the intruder captured. After several rescue schemes based on scenes from Euripides' tragedies fail, the playwright wins his relative's freedom by agreeing never to slander women again.Thesmophoriazousai has strong characters, a lively plot, and themes significant and timely both then and now—the relation between gender and performance, the representation of women in the media, an artist's responsibility. Yet it has received little attention from scholars and realized even fewer productions. The most obvious reason for neglect is the play's lack of explicit political commentary. Dover, for example, thinks it "leaves us with nothing difficult to think about... it has nothing to say about making peace" (1972, 169). The play contains considerable literary and dramatic criticism, in the form of both explicit commentary and parody, but this aspect has been far less studied than the contest between the tragedians in Aristophanes' Frogs. Some critics think the play weak compared to other plays of Aristophanes. Lever, for example, finds the conflict "not so clear-cut" since "the idea at stake... is only the stepping-off point for the fun that follows" (1956, 120). There are exceptions to this neglect. Norwood ranks Thesmophoriazousai far above Lysistrata: "for dazzling wit and irresistibly laughable farce combined this play is perhaps the world's finest masterpiece... glorious foolery suffused by a thrice-refined intellectual virtuosity that never misses a point, never overstresses it" (1931, 253-54). Rau (1967) gives the tragic parodies their due; in his substantial chapter on Thesmophoriazousai, Moulton declares it "skillfully composed and unified" (1981, 142); Bierl (2001) provides a detailed study of the role of the chorus. Yet the inattention continues: [End Page 319] Harriott (1986), Reckford (1987), and Segal (2001) mention the play only briefly.The years 2000 and 2001 seemed like a promising time to reconsider Thesmophoriazousai. The play's obscenity, which Norwood thought the only cause of its neglect, is no longer an obstacle. Recent scholarship on the religious and ritual context of Athenian drama helps us understand the role of the Thesmophoria and women's ritual in the play. And the rise of feminist criticism offers new perspectives on its portrayal of gender relations. Whitman unambiguously uses gender to denigrate the play: "These women are scarcely the warm wives and mothers of the Lysistrata, but rather a pack of vengeful furies... Femininity, whether real or assumed, is under a somewhat morbid cloud; by contrast, there is something genuinely refreshing about the masculinity of Mnesilochus [as he calls the Kinsman]... Comedy is virile, like Mnesilochus, and essentially truthful; tragedy is at best a hermaphroditic affair" (1964, 223-24). In a ground-breaking article first published in 1981, Zeitlin instead sees the play's connections between gender conflict and genre conflict—"the equivalence between intertextuality and intersexuality"—as the source of its power (1996, 375-416).Some feminists, however, question the function and effect of women's portrayal in Athenian plays written by males for male actors and possibly for an all-male audience. Zeitlin has argued that in Athenian tragedy, women are figures of male self-representation: "the self that is really at stake is to be identified with the male, while the woman is assigned the role of the radical other... functionally women are never an end in themselves, and nothing changes for them once they have lived out their drama on stage... they play the roles of catalysts, agents, instruments, blockers... and sometimes helpers or saviors for the male characters"... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 319-328 [Access article in PDF] Introduction Mary-Kay Gamel Aristophanes' Thesmophoriazousai (Women at the Thesmophoria Festival) takes its title from an important three-day religious festival celebrated by women in honor of the goddess Demeter and her daughter Persephone. In this play, the playwright Euripides learns that the women of Athens plan to use the occasion of this women-only gathering to put (...) him on trial for the negative depictions of women in his plays. Euripides convinces a relative of his to dress in female costume, infiltrate the festival, and find out what the women are up to. The plot is quickly uncovered and the intruder captured. After several rescue schemes based on scenes from Euripides' tragedies fail, the playwright wins his relative's freedom by agreeing never to slander women again.Thesmophoriazousai has strong characters, a lively plot, and themes significant and timely both then and now—the relation between gender and performance, the representation of women in the media, an artist's responsibility. Yet it has received little attention from scholars and realized even fewer productions. The most obvious reason for neglect is the play's lack of explicit political commentary. Dover, for example, thinks it "leaves us with nothing difficult to think about... it has nothing to say about making peace" (1972, 169). The play contains considerable literary and dramatic criticism, in the form of both explicit commentary and parody, but this aspect has been far less studied than the contest between the tragedians in Aristophanes' Frogs. Some critics think the play weak compared to other plays of Aristophanes. Lever, for example, finds the conflict "not so clear-cut" since "the idea at stake... is only the stepping-off point for the fun that follows" (1956, 120). There are exceptions to this neglect. Norwood ranks Thesmophoriazousai far above Lysistrata: "for dazzling wit and irresistibly laughable farce combined this play is perhaps the world's finest masterpiece... glorious foolery suffused by a thrice-refined intellectual virtuosity that never misses a point, never overstresses it" (1931, 253-54). Rau (1967) gives the tragic parodies their due; in his substantial chapter on Thesmophoriazousai, Moulton declares it "skillfully composed and unified" (1981, 142); Bierl (2001) provides a detailed study of the role of the chorus. Yet the inattention continues: [End Page 319] Harriott (1986), Reckford (1987), and Segal (2001) mention the play only briefly.The years 2000 and 2001 seemed like a promising time to reconsider Thesmophoriazousai. The play's obscenity, which Norwood thought the only cause of its neglect, is no longer an obstacle. Recent scholarship on the religious and ritual context of Athenian drama helps us understand the role of the Thesmophoria and women's ritual in the play. And the rise of feminist criticism offers new perspectives on its portrayal of gender relations. Whitman unambiguously uses gender to denigrate the play: "These women are scarcely the warm wives and mothers of the Lysistrata, but rather a pack of vengeful furies... Femininity, whether real or assumed, is under a somewhat morbid cloud; by contrast, there is something genuinely refreshing about the masculinity of Mnesilochus [as he calls the Kinsman]... Comedy is virile, like Mnesilochus, and essentially truthful; tragedy is at best a hermaphroditic affair" (1964, 223-24). In a ground-breaking article first published in 1981, Zeitlin instead sees the play's connections between gender conflict and genre conflict—"the equivalence between intertextuality and intersexuality"—as the source of its power (1996, 375-416).Some feminists, however, question the function and effect of women's portrayal in Athenian plays written by males for male actors and possibly for an all-male audience. Zeitlin has argued that in Athenian tragedy, women are figures of male self-representation: "the self that is really at stake is to be identified with the male, while the woman is assigned the role of the radical other... functionally women are never an end in themselves, and nothing changes for them once they have lived out their drama on stage... they play the roles of catalysts, agents, instruments, blockers... and sometimes helpers or saviors for the male characters"... (shrink)