In the article, the vocabulary related to the wedding ceremony in the Pamiri languages is discussed. In particular, vocabulary reflecting the wedding ceremony in Ishkashimi language is almost unknown. In the Pamiri languages are still preserved all the traditional wedding ceremonies. The vocabulary associated with them is well-kept in full and is indigenous and sometimes borrowed. For the most, the terminology applied in the ritual is borrowed. Often the term is borrowed from Badakhshan dialect of the (...) Tajik language. At the same time, some Tajik words are used in specific meaning that is typical only to the dialect of Badakhshan and Dari language of Badakhshan in Afghanistan. This is mainly the vocabulary associated with traditional ways and procedures of the wedding ceremony. Some other words, such as sarbьzьrg ’to give respect, attention to mourners’, can be observed only in classical Persian literature. In view of the Islamization of the region the Arab terms are frequently used in rituals; they are associated with official terminology applied during the marriage process and designate its legal aspects. There are also Turkic lexis that was included into the dictionary because of language and cultural contacts in the region. It is significant that in the lexicon predominate metaphorical and descriptive ways of designation of the ceremonies. Remarkable specific vocabulary with original meaning is of particular use in the local minor Iranian languages in comparison with such major written national languages as Tajik language of Tajikistan and Dari Afghanistan. For example, in Ishkashimi language the word dumod is used only in the sense of ‘son-in-law‘, and in the meaning of ‘bridegroom‘ - only Å¡amard. Since the marriage and wedding ceremony has a special place in the spiritual culture of the people, the symbolic function is included into almost all the rites and ritual objects of it. During the ceremony, people wish of fertility, happiness, coming together and family well-being for the whole family and for the newlyweds. Thus, the terminology associated with these rites is preserved for a long time in the language; equally strong are numerous ritual prohibitions related to marriage. (shrink)

The article examines government regulations in the 18th - the first half of the 19th century, which were used by the parish clergy in order to confirm the legality of marriages and allowance for brides to the wedding ceremony. The scientific novelty of the research is in the attempt to identify, systematize and analyze the government regulations of the specified period, which regulated the preparatory stage in the conduct of the sacrament of marriage. The cited church written sources in (...) accordance with the name, content and presented conditional classification of the legal documentation were singled out into special groups of official directions, the most significant fragments were cited, it was drawn attention to the writing forms, the differences in the presentation of information about the main personalities of the wedding ceremony were shown. (shrink)

官學으로서의 國家典禮 연구가 주된 축을 이루었던 조선 초기의 禮學的 樣相과 다르게, 조선 중기에 이르면 宋翼弼을 시작으로 많은 禮學者들에 의해 『朱子家禮』의 四禮 전체에 대한 심도 있고 다각적인 연구가 진행된다. 그에 따라 婚禮에 대한 논의도 병행되기 시작한다. 畿湖禮學과 嶺南禮學의 차이만큼 각 學派에서 논한 婚禮論은 그 특성을 달리하고 있다. 宋翼弼과 金長生 등 畿湖學派에서의 婚禮에 대한 논의는 대체적으로 『朱子家禮』의 「昏禮」를 기본 범주로 해서 그것을 충실히 따르고자 하는 경향을 보이고 있다. 또한 家父長的 男性中心 意識과 신부에게 의무적인 孝養을 강조하는 모습을 나타내기도 한다. 그들은 禮經 및 여러 (...) 典籍들을 통한 考證的 측면에도 집중하는 경향을 보이고 있는데, 이는 禮學 발전의 큰 진전이라 평가된다. 嶺南學派에서의 婚禮에 대한 논의는 비교적 다양하게 나타난다. 鄭逑와 張顯光은 『주자가례』 일변도로 흐르는 禮學的 경향에 대해 학문적 다양성의 바람을 드러내고 있다. 정구는 「士昏禮」의 六禮 형식을 거의 그대로 반영하고 있는 伊川의 「昏禮」 내용 전체를 소개하고 있다. 장현광은 『주자가례』를 기본 골격으로 삼고는 있지만 일부에서 「사혼례」의 儀式으로 대체한 것이 보인다. 특히 그는 風俗的 女家行禮를 반영한 ‘半親迎’ 儀式을 적용하고 있으며, 그에 따라 『주자가례』에서의 맨 마지막 절차인 ‘婿見婦之父母’를 편의상 同牢宴 다음날 아침에 하도록 하고 있다. 古代 三禮 중에서 『周禮』를 가장 중시했던 尹鑴는 자신의 「婚禮」에서 「사혼례」가 아닌 『주자가례』를 거의 그대로 따르고 있다. 그것은 그가 『儀禮』를 철저히 배제시켰던 것과도 상통한다. (shrink)

Capture unforgettable moments of that special day Professional wedding photographer Glen Johnson knows there's a huge difference between being able to take good pictures and being a good wedding photographer. In this exquisite, full-color book, Glen dispenses sage advice and solutions for taking impressive digital wedding images -- posed or candid, in any weather, in any setting, at any locale. You will also learn the secrets of creating a successful digital wedding photography business, and much more. (...) Whether you're an aspiring professional or an amateur who wants to improve your skills at digital wedding photography, this book will help you succeed. Discover what makes wedding photography a unique specialty * Find out how to make people feel relaxed and comfortable while you're shooting * Explore ways to capture the emotion as well as the moment * Understand different photographic styles and adapt to your client's wishes * Prepare for all types of lighting situations * Learn appropriate etiquette for shooting in dressing rooms and during the ceremony * Know what to take when traveling abroad * Set up the perfect digital studio to process your images * Find out how to price your work realistically * See why your business skills may be more important than your photographic talent Beautifully illustrated with full-color photographs, each showingthe camera settings and other details used to create the image. (shrink)

Recent decades have seen substantial increases in the average amount of money spent on wedding ceremonies in economically developed countries. This article develops an account of wedding expenditure as a form of positional competition where participation involves purchasing services in a market. The main emphasis is on the role that conspicuously expensive weddings can play in enabling certain kinds of signalling, most notably the signalling of commitment to a personal relationship and a distinct signalling of personal wealth. (...) The analysis seeks to demonstrate how wedding expenditure is both similar to but distinct from the positional consumption associated with markets in other goods and services. While much of the work in this article is descriptive, it aims to complement more normatively engaged work on the moral status of marriage, and on the proper evaluation and response to excessive positional consumption. (shrink)

Two successful digital wedding photography guides in one e-book set These two e-books offer wedding photographers a full-color reference that walks them through all the major and minor steps in planning and organizing a successful wedding day shoot. Digital Wedding Photographer?s Planner and Digital Wedding Photography Photo Workshop include a complete guide to wedding photography, covering the key concepts and skills necessary to create memorable wedding photos. From the first meeting with the bride (...) to the final presentation of the completed book, these two e-books are packed with important checklists, schedules, etiquette tips, and much more. Offers a step-by-step guide for all the major and minor steps in planning and organizing a successful wedding day shoot Gives tips for everything to the first meeting with the bride to the final presentation of the happy couple's commemorative book Contains checklists, schedules, etiquette tips, and much more Includes a complete resource for wedding photographers of any skill level Offers information on everything from brightly lit outdoor weddings to poorly lit evening ceremonies The Wedding Photographer?s Full Resource Guide offers one-stop shopping for all the information a wedding photographer needs. (shrink)

Sickle cell anemia (SCA) is a major genetic disease with the greatest burden in sub-Saharan Africa. To try to help reduce this burden, some churches in Nigeria conduct premarital sickle cell hemoglobin screening and refuse to conduct weddings when both individuals are identified as carriers of sickle cell trait. This paper explores the ethical challenges involved in such denials. We assess whether churches have the right to decline to marry adults who understand the risks and still prefer to get married, (...) and whether couples should be denied church weddings based on the risk that their child may suffer from sickle cell anemia. We examine the moral and ethical dimensions of such denials and explore the underlying socio-cultural context involving the purpose of marriage and the meaning of the wedding ceremony in societies where premarital screening is one of the few tools available to reduce the risk of having children with SCA. The potential role of the church is also examined against the background of church beliefs, the duty of the church to its members and its role in reducing the suffering of its members and /or their children. We argue that the church should impose these burdens on couples only if doing so promotes a sufficiently compelling goal and there is no less burdensome way to achieve it. We then argue that the goal of reducing the number of individuals in Nigeria who have SCA is compelling. However, testing earlier in life offers a less burdensome and potentially even more effective means of achieving this goal. This suggests that, advocating for earlier screening and helping to support these programs, would likely better promote the church’s own goals of helping its parishioners, increasing the number of church weddings, and reducing the burden of SCA in Nigeria. (shrink)

In Documentalità, Maurizio Ferraris presents marriage as a paradigmatic instance of a social object whose essence is constituted by the generation of documents. This claim appears to hold good for some of the standard forms of matrimony recognised within the Roman Law tradition. The case is put for saying that, nevertheless, the appeal to documents puts the cart before the horse: the validity of a marriage depends, if anything, on the behaviour of the participants in it as much before as (...) after any supposed document-generating ceremony. (shrink)

This article deploys and extends Ulrich Beck’s critique of ‘zombie categories’ :261–277, 2001) to consider how conjugal relationships are brought into being before the law. The argument presented here is that sexual performatives relating to marriage—and especially, in this instance, consummation—continue to produce a kind of social-legal magic, even as the social flesh of their enactment is rotting. Rules concerning annulment relating to wedding ceremonies, consent, disclosure, and consummation demonstrate that certain frameworks of conjugality involve a kind of (...) corporeal magic animating the privileged place of heterosexual marriage. Thus, rules and regulations pertaining to weddings continue to produce and protect heterogendered, sexually dimorphous bodies, even though this privileging is—or at least, is becoming—socially obsolete. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sophocles’s Enemy Sisters: Antigone and IsmeneWm. Blake Tyrrell (bio) and Larry J. BennettAt the core of the Oedipus myth, as Sophocles presents it, is the proposition that all masculine relationships are based on reciprocal acts of violence. Laius, taking his cue from the oracle, violently rejects Oedipus out of fear that his son will seize his throne and invade his conjugal bed. Oedipus, taking his cue from the oracle, (...) does away with Laius, violently rebuffs the sphinx, then takes their places—as king and “scourge of the city,” respectively. Again, Oedipus, taking his cue from the oracle, plots the death of that unknown figure who may be seeking to usurp his own position. Oedipus, Creon, and Tiresias, each taking his cue from the oracle, seek one another’s downfall.All these acts of violence gradually wear away the differences that exist not only in the same family but throughout the community.—René Girard, Violence and the SacredRené Girard does not include feminine relationships in his assessment of the Oedipus myth, yet the same redundancy that characterizes the males marks the females.1 Jocasta conjoins in one person multiple and redundant social roles: she is the mother and wife of the same person, for which she [End Page 1] hangs herself, leaving for Oedipus “many pains that a mother’s furies fulfilled” (Homer Odyssey 11.279–80). Her daughters, their father’s sisters, manifest kinship redundancy in two persons. Incest produces circularly, reverting to a sibling of the parent rather than moving forward with a descendant. The absence of linear progression from one generation to the next creates a sameness and equilibrium that thwart separation and individuality. Oedipus’s brothers/sons fail in their adult roles, because neither can overcome the other’s right to the throne of Thebes and the mastery of its royal household. They are enemy brothers locked in reciprocal violence.2 Antigone and Ismene have escaped notice not only as enemy sisters but even as products of the same incest. Audiences for Sophocles’s Antigone have viewed them as “normal” women and cooperated with his characters in emphasizing the differences between them. They have assumed from Antigone’s betrothal to Haemon and resistance to Creon that she is the elder, more mature sister.3 They tend to accept without question that Antigone engages in burial rituals with Polyneices’s corpse (241–58) and returns to it (442–35).4 Bernard M. W. Knox’s critically powerful concept of the “Sophoclean hero” has bolstered this view of Antigone while reducing Ismene to a foil, and abetted the tendency of modern producers of the play to cast an older or more famous actress in the role of Antigone.5 Naturalistic readings like that of C. M. Bowra—“seeing that Ismene is her only close relative in the world, Antigone is remarkably cold to her”6—have masked the source and hence the vehemence of Antigone’s fury.That the reciprocity of the violence between Ismene and Antigone has gone unnoticed is understandable in view of the familiarity of the conflict between their brothers. Males in Greek society pursued difference by striving to excel as aristoi (best) in competition for prestige, wealth, and power.7 Whenever Eteocles and Polyneices came together, each asserted a right to Oedipus’s household and throne that was equally matched, and violence ensued from the equilibrium. On the other hand, Greek women were not supposed to compete with one another for distinction. They wove wool for clothes, maintained the household, and cared for the children, the sick, and the dead, activities that required cooperation away from public view.8 Proximity to other women was the norm and desideratum. Moreover, lawgivers like Solon based their funeral legislation on the premise that every woman wanted to participate in mourning.9 For the sake of public tranquillity, legislators tried to limit the numbers of women participants by imposing restrictions according to degrees of kinship, for instance, to children of fifth cousins. In this context, women were interchangeable, and the places they held during birth, coming of age in wedding ceremonies, and death, [End Page 2] were open to more than one woman. Closeness and... (shrink)

It seems very commonly agreed that Sappho's wedding-songs display none of the ritual obscenity so frequent in the genre. Thus D. L. Page wrote of fr. i ioa that ‘There is no trace here or elsewhere in Sappho of that ribaldry which was characteristic of the songs recited at this and other stages of Greek wedding-ceremonies’. Similarly Sir Maurice Bowra asserted of fr. 111 that it is ‘neither bawdy nor exalted, but playful. If the humour is a (...) bit primitive, that is due to tradition, which expected jokes at this level’. On the next page he writes of the songs sung outside the bridal chamber, as distinct from those sung in the procession thither, that ‘Here too Sappho seems to avoid bawdry but is not averse from rather elementary jokes’. (shrink)

Intimacy and the public sphere have typically been conceptualized dichotomously both in scholarly and popular accounts. Problematizing this approach, I argue that considering ‘intimacy’ and ‘public’ solely as dichotomous entities unduly limits the scope of research on intimacy. In making this case, I interpret classic social theory from the works of Simmel and Habermas. Both accounts of transformations in modernity describe the emergence of a sphere of intimacy as a corollary of these transformations, i.e. not as clearly opposed to but (...) intricately related to the emergence of the public sphere. I reflect on the implications of these insights for contemporary studies of intimacy by applying them to the example of wedding ceremonies with the aim to explain a transition from a conspicuously ‘public’ performance to a hybrid public/private event which has now come to include experiences of intimacy supported by mediated publics. (shrink)

The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis (...) of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today. (shrink)

Over recent decades scholars have begun explicitly to acknowledge the importance of visual display in the formation of the fifteenth-century Burgundian “Theater State.” This remarkably apposite term, coined in the early 1980s by Wim Blockmans and Walter Prevenier, encapsulates the centrality of ceremony and ostentatious self-projection to both the political process of state building and the more personal imperative of identity construction in the Burgundian Netherlands under Duke Philip the Good . The specific sorts of display associated with the Theater (...) State in previous studies have tended to be larger-scale ceremonial events with an inherent performativity—rigorously staged entries, sharply choreographed jousts, elaborately themed dinners, joyously restrained wedding ceremonies, or grimly festive funeral processions—though the individual aspects of their makeup, that is, the texts written to accompany them, the images produced to illustrate them, or the costumes worn to celebrate them, all add to the lavish effect. But the role of these smaller-scale articulations of luxury in the shaping of a courtly identity in Burgundy has been infrequently discussed by critics; and the part played by literature and the material book in the fostering and sustaining of this spectacular culture has gone largely unacknowledged. (shrink)

Qaṣeeda-i Burdah written by Egyptian sufi poet Busīrī (d. 695/1296) as an eulogy for Beloved Messenger Moḥammed has received great attention in the Islamic world. This work has been recited both in cultural/social ceremonies such as weddings, holidays and funerals. On the other hand, it was also annotated, translated, and takhmīs, tesdīs, tesbī‘ and taşṭīr were written to it by the pen of scholars and litterateurs in literary circles. These activities, which have been carried out over and over again, (...) has been going on from the 15th century to the present day. Not only the reputed people, but also unknown ones or ones whose names were later forgotten have tried to translate it to their own language. The subject of the study is one of this type of poetic translations of the eulogy. Like its translator, date of this poetic translation is also unknown. This work was written in the remel baḥr type of ‘arūż in 162 verses using the spelling of the classical period. Although a significant portion of the rhyme words was adapted from the source text, it has a more understandable style than its counterpart. In terms of poetry, it is above the average. The translator decorated the meaning that he borrowed from the original text with his own poetic ability and tried to express it in a unique manner. For this aim, it is more literary, lyrical and successful than most other translations of Qaṣeeda-i Burdah. In the present study, text of the mentioned work was given with transcription along with mentioning of some of its features. Summary: Qaṣeeda-i Burdah written by Egyptian sufi poet Buṣīrī (d. 695/1296) has an important place in the Islamic world. Named by the poet himself as al-Kavākib-al-durriya fī madḥi khayr-al-bariyya, this work is also known as al-Qaṣeedat-al-mīmiyya since its rhyme letter is Arabic mim, as Qaṣeeda-i Bur’ah since it caused Buṣīrī to recover from a disease, as Qaṣeeda-i Burdah due to the rumor that this event took place while he was wearing a coat by the hands of Beloved Messenger Moḥammed. In order to prevent confusion with the eulogy of Ka‘b b. Zuhayr (d. 24/645) with the same name, it is known in cultural circles as Qaṣeeda-i Bur’ah. However, in literature, it is commonly referred as Qaṣeeda-i Burdah. The work was written in simple baḥr style of ‘arūż, and consists of 161 couplets. It has ten sections in terms of its content: longing for the beloved, complaining about the soul, eulogy for Beloved Messenger Moḥammed, his birth, miracles, dignity of the Holy Qur’ān, miracle of mi‘rāc, importance of jihad, sorrow, hope, prayer and request. The eulogy, which has an effective style, has gained great acclaim in the Islamic geography and has been read for various purposes for centuries. Some people recite it in wedding ceremonies, while some others use it in funerals. The sick people recite it with the hope of healing, while calligraphers wrote it for practice.Owing its fame more to its story rather than its value of art, the eulogy was translated into Eastern languages such as Persian, Malay, Pashto, Punjabi, Turkish and Urdu, as well as into Western languages such as German, French, Greek, English, Spanish, Italian and Latin. In addition, many annotations, footnotes, takhmīs, tesdīs, tesbī‘, taşṭīr and replies were written to it. For example, the poem annotated in Arabic by Ebū Shāme al-Maqdisī (d. 665/1266), Khalid b. ‘Abdullah al-Ezherī (d. 905/1499), Ibrahim b. Moḥammed al-Bacurī (d. 1277/1860), ‘Omer b. Aḥmed al-Ḥarpuṭī (d. 1299/1882) was translated into Persian by the men of letters such as Molla Ḥafıẓ Sharaf (d. after 810/1407), ‘Iṣāmuddin b. ‘Arabshah al-Isfarayinī (d. 945/1538), ‘Ali b. Ḥasan Zavareī (d. 968/1560). The work was annotated by Le‘alī Aḥmed b. Muṣṭafa (d. 971/1563), Sayyid Ḥasan b. ‘Abdurraḥman (d. 1071/1661), Naẓifī Ismail Aqḥiṣarī (d. after 1205/1790), Shaykh-al-Islam Makkī Meḥmed (d. 1212/1797), Moḥammed b. Fayżullah (d. 1231/1816), Moḥammed b. Aḥmed (d. 1318/1900), Anqara Governor ‘Abidin Pasha (d. 1324/1906) in Turkish language. Takhmīs was written to the work by poets such as Ṭashkoprizade Kemaleddin (d. 1030/1621) Khocazāde Asad (d. 1034/1625), Sayyid Moḥammed Sharifī (d. 1040/1631), Shaykh-al-Islam Yahya (d. 1053/1644), Suleyman Naḥifī (d. 1151/1738), ‘Abdullah Ṣalaḥī (d. 1197/1783), Shaykh-al-Islam Makkī Meḥmed, Mollacıqzāde Raif (d. 1238/1823), Muṣṭafa Maqṣud (d. 1258/1843), Yemliḥazāde Muṣṭafa (d. 1294/1878), Meḥmed Said Pasha (d. 1308/1892), Moḥammed Favzī (d. 1318/1900) while Ismail Mufid (d. 1217/1803) wrote tesdīs and Niyazī-i Mıṣrī (d. 1105/1694) wrote tesbī‘ to it.The work was translated into Turkish language by poets such as ‘Abdurraḥim Qaraḥiṣarī (d. after 888/1483), Kemal Pashazāde (d. 940/1534), Ahmed-i Rıḍvan (d. before 945/1538) Le‘alī Aḥmed b. Muṣṭafa, Shamsaddin Sivasī (d. 1006/1597), Kemalatī Meḥmed (d. before 1015/1606), Esasī (d. before 1041/1631), Sayyid Ḥusayin (d. after 1050/1641), Mehmed Ṭalib (d. 1089/1679), Sukutī Meḥmed (d. 1103/1691), ‘Abdulhay Jalvatī (d. 1117/1705), Sulayman Naḥifī, ‘Abdullah Ḥulvanī (d. 1159/1746), Aḥmed ‘Arifī (d. after 1195/1781), ‘Abdullah Ṣalaḥī, Ismail Mufid, Sivaslı Aḥmed Suzī (d. 1246/1830), Evranyali ‘Abdurraḥim (d. 1282/1865), Meḥmed Said Pasha, Qonyalı Fakhreddin (d. 1365/1950), Sazai Qaraqoç (d. 1933), Ilhan Armutchuoghlu (d. 1937), Maḥmut Qaya (d. 1945), but there are also translations whose translators are unknown. The present study deals with such a translation of the work. To our best knowledge, the translation that has not been paid much attention by scholars to date and was mentioned only by Ṣadıq Yazar. Even he articulated only a few sentences about the translation based on a deficient copy of the work. Both in the library records and in its copies, there was no information about the translator and the translation date of the work. The translation, which beginns directly without a section such as an introduction at the opening, was written in 162 verses with the spelling of the classical period. It has a remel baḥr style of ‘arūż structure with fā‘ilātun fā‘ilātun fā‘ilātun fā‘ilun rhythm. Although it has some ‘arūż mistakes, it can be said that it is successful in terms of rhythm. Using the source text rhyme of mīm letter, the translator directly adapted some rhyme words from the Arabic text, while converting some others to appropriate Turkish words. Although he used some of them only once, he used some others several times. This finding implies that the translator may have had difficulties in finding words for the rhyme. It is noteworthy that he used some of those words in different meanings, and he employed 99 different rhymes in 162 couplets. The translator used the original text for purposes other than the rhyme words. He used some words directly without translating them or only removed the ḥarf-i ta‘rif. He transformed some words to others with the same stem or to their counterparts in Persian. While converting some of the phrases to forms suitable for the structure of the Turkish language using various practices, he used the old Anatolian Turkish as well as living Turkish. Like Buṣīrī’s eulogy, the poem, which consists of 10 parts in terms of contents, is suitable for the contents of the source text, but it is not a literal translation. The translator, who cared about literary rhetoric, largely preserved or even contributed to the harmony elements of the text. He reinterpreted the meaning of Buṣīrī’s work using his poetry skills, and produced a successful translation in terms of poetry with minimal rhyme flaws. Considering other translations of Qaṣeeda-i Burdah, the translation has similarities with that by Uskudarlı ‘Abdulhay Jalvatī in terms of rhyme letter, with that by Sayyid Husayin Amasī in terms of rhyme, and with that by Ismail Mufid Afandi in terms of direct adaptation of some words in original text, while it has common characteristics with the translation by Naḥifī in terms of both rhyme letter and direct adaptation of most rhyme words from the original text. On the other hand, the translation has similarities with the translations by Kemal Pashazāde, Ahmed-i Rıḍvan, Esasī Afandi, ‘Abdullah Ṣalaḥī and Na‘imī in terms of rhyme letter, rhyme and adaptation of most rhyme words from the original text. However, it is simpler compared to the translation by Kemal Pashazāde, more loyal to the content of original text compared to the translation by Ahmed-i Rıḍvan and more robust in terms of rhyme compared to the translation by Na‘imī. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Pleasure of the PlayDeborah KnightThe Pleasure of the Play, by Bert O. States; 226 pp. Ithaca: Cornell University Press, 1994, $34.50, cloth, $12.95, paper.I am an Aristotelian about narrative structure. This is not always a fashionable position, and in some company I know just what to expect: a pop deconstructivist dressing down by those who assume that I must have simply missed the point of poststructuralism and (...) postmodernism. Surely, the nay-sayers claim, no one believes in beginnings, middles, and ends anymore—certainly not since Godard taught us that we don’t need to put them in that order. Isn’t it just obvious (they continue) that we must reject the ideology of wholeness and unity, and opt instead for fragmentation, or self-reflexivity, or other violations of Aristotelian form? And there is no mistaking that, in some quarters, notions like mimesis and catharsis haven’t received much good press lately.But there are still kindred Aristotelians, and Bert O. States is one. His The Pleasure of the Play takes the Poetics as its pivotal text and sets in motion around it a lively discussion of plays from, yes, Oedipus Rex to The Real Inspector Hound, stopping along the way to consider Shakespeare, Chekhov, Brecht, Handke (among others), before concluding with an essay on Samuel Beckett’s Catastrophe, a play dedicated to Václav Havel. States adopts an open rather than a closed view of what the Poetics has to say about tragedy, expanding the discussion well beyond tragedy itself, out toward drama and, indeed, comedy. But he is clearly unwilling to go as far as another group of Aristotelians, notably Paul Ricoeur, Alasdair MacIntyre, and Jerome Bruner, who treat narrative as a mode of actual lived existence. States’s objective is to show the continued vitality of the Poetics, especially in terms of what it can tell us about drama in cultural contexts much removed from the one which offered Aristotle his range of primary textual material. [End Page 272]To be clear, then, States doesn’t claim to be doing either Poetics “scholarship” or exegesis. Indeed, this book is not what one might typically think of as a philosophical examination of the Poetics. Anyone looking for such a thing would do well to consult the excellent but unmistakably philosophical Essays on Aristotle’s Poetics, edited by Amélie Oksenberg Rorty. States is doing something else here. Like Aristotle, he is showing how dramatic structures work.The book is engaging. It features wonderfully turned phrases, examples that immediately illuminate a point, and nicely interwoven references to a range of theorists and philosophers who only rarely are found in each other’s company, for example: Richard Boyd, Martin Heidegger, Douglas Hofstadter, Wolfgang Iser, Maurice Merleau-Ponty, Francis Sparshott, Tzvetan Todorov. Some of States’s more delightful examples might offend Aristotle purists. Hard cheese to them. Consider how States uses Roland Barthes’s analysis of the newspaper feature story, or fait divers, to illuminate the structure of the great dramatic plots. In States’s examples—GENERAL SACRIFICES DAUGHTER IN WEDDING CEREMONY (Iphigenia at Aulis) or WIFE FORCED INTO ADULTERY BY HUSBAND, MOTHER, PRIEST (Mandragola) or, to use Aristotle’s own example, MAN’S STATUE AVENGES HIS MURDER (pp. 67-68)—what each mock headline captures is the peculiar, often ironic, internal logic of drama. For States, this peculiar logic is characterized by events which are simultaneously improbable, unthinkable, unanticipatable, yet—given the unfolding course of actions—uncannily probable after all.Central to understanding this internal logic is the Aristotelian notion of peripety, the critical “divulging event” (p. 49) which turns out to be just the reverse of what one intended (as for example Oedipus killing his father and marrying his mother). Where Aristotle seems to treat peripety as a mere plot device, States considers it “a principle of plot development.” Thus, the status of peripety as a crucial dramatic plot device is “really a symptom” of its more basic function (p. 86). Peripety as a principle of plot development helps to show why it makes little sense to claim that what narratives imitate is “reality”—peripety is just what “open life” lacks (p... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Shinto: The Way Home: Dimensions of Asian SpiritualityJason M. WirthShinto: The Way Home: Dimensions of Asian Spirituality. By Thomas P. Kasulis. Honolulu: University of Hawai'i Press, 2004. Pp. xx + 184.Thomas P. Kasulis wrote his fine new book Shinto: The Way Home: Dimensions of Asian Spirituality as the result of a promise made over a glass of scotch to Henry Rosemont, who is currently editing a series of (...) volumes highlighting various Asian spiritual traditions. These volumes promise to be strong, advanced introductions, and it is already clear that they should be seriously considered as introductory texts for courses in the Asian spiritual traditions. However, feeling "queasy" about his promise, Kasulis confessed that he was "primarily trained as a scholar of Japanese philosophy and there is simply not that much Shinto philosophy to write about" (p. xvi). Yet it appears that the scotch did not inspire frivolous behavior. The book is written by someone who has much love-perhaps even a pure heart and mind (makoto no kokoro)-for the Japanese spiritual heritage, and hence it makes an outstanding introduction to the basics of the Shinto tradition and its many practices. "Reading this book should help readers begin, not end, their study of Shinto" (p. xvii).Kasulis argues that Shinto is for the most part not a religion in the conventional Western sense. In fact, the Japanese word for "religion," shūkyō, is a neologism to designate the teachings (kyō) that comprise a shū, that is, a "discrete religious community with common practices and teachings" (p. 30). Yet Shinto operates in the background for most Japanese people, and so does not necessarily originate or result [End Page 358] in a clearly articulated doctrinal position. It comprises part of the cultural ambiance of Japanese life. It shapes the Japanese wedding ceremony and governs the Japanese relationship to rice (including sake).More significantly, it helps ritualistically inculcate the rudiments of what might be called something like a deep ecology. Certain remarkable locations in nature, certain foci that are spectacularly aberrant or startlingly exceptional, are marked off by a sacred portal (torii) or rope (shimenawa). They are designated as places of awe and wonder, as places inhabited by the kami (gods). In this way, a Shinto ecological aesthetic contrasts directly with a classical Western sense of beauty. The latter is achieved when an object is in maximum proximity to its idea-when it deviates as little as possible from its inherent nature. In Shinto the kami are present in an awesome deviation from the norm (as in a gnarled pine or a wondrously twisted rock).Yet Shinto does not necessarily ghettoize the sacred space, truncating it from its circulation with all of nature. Rather, sacred spots (like sacred practices) are isolated in order to serve as an opening into nature as sacred. They are sacred portals to the sacredness of the whole-"they are holographic entry points for experiencing kami everywhere" (p. 23). Kasulis traces these themes from Japanese prehistory, including their eventual appropriation in the early-eighth-century chronicles the Kojiki and the Nihonshoki, both of which were commissioned by imperial decree. Furthermore, there was much in Shinto that was compatible with the emergence of Buddhism in Japan. The latter helped Shinto remain dynamic and nondogmatic (p. 93), and Shinto helped make some of the more difficult aspects of esoteric Buddhism (Shingon and Tendai) more accessible to commoners (p. 99).However, in the isolationism of the Tokugawa period, Shinto was slowly wrested from its ensconcement in Japanese Buddhism. The influences of Neo-Confucianism and the Japanese code of the warrior (bushidō), the demilitarization of Buddhist monasteries, the relegation of monasteries to census taking, and other measures helped the Tokugawa clan consolidate their own power and enervate Buddhism's hold on Japan. Shinto itself would have to be freed from its Buddhist housing. The most fateful instance of this purification process transpired inadvertently with Motoori Norinaga (1730-1801) and the dawning of the kokugaku or "native studies" movement. Norinaga spent more than three decades deciphering and annotating the linguistic labyrinth of the Kojiki. Yet this was not a mere scholastic exercise. Norinaga assigned the Kojiki the status of scripture... (shrink)

In his book Documentality, Ferraris imagines a wedding scenario where all participants have Alzheimer. The ceremony proceeds as normal, and by its end, a new husband and wife exist. However, the next morning, the spouses forget everything. This scenario underscores the importance of writing in Ferraris’ theory. A recorded document, such as a marriage certificate, could confirm their marriage. Ferraris’ approach to documentality and social ontology illustrates that if the discovery of this document occurred after the death of the (...) spouses, it would confirm a real marriage in which the spouses were unaware they had been married (§§ 1-2). The central question addressed in this paper is: Can documentation replace the deontic and constitutive functions of language? Searle’s philosophy of society, through his philosophy of language and mind, will be examined to discuss how language creates social objects via collective intentionality (§§ 3-6). It is precisely language, with its inherent deontology, that enables the existence of real marriages even without recorded evidence (§ 7-9). (shrink)

Purpose: The purpose of the study was to assess the socio-economic challenges faced by CoG-Kenya in poverty alleviation in Emuhaya District, Western Kenya.Methodology: This study was a cross-sectional research that sought to give an examining and descriptive scrutiny of the CoG-K’s activities in Emuhaya District of Western Kenya. This study sampled a total of 312 respondents (1 Bishop, 1 General Secretary, 1 General Assembly Trustee, 1 General Assembly Treasurer, 16 Directors, 282 Pastors, and 10 Elders) through purposive sampling method. Oral (...) interviews, questionnaire methods and focus group discussion were used to collect data from the respondents. Observation method was used to validate the information obtained through oral interviews and questionnaires. Secondary data was sourced from published and unpublished literature. Data was analyzed using the theological method of induction (TMI).Results: The study concludes that as much as the CoG-K has made concerted attempts towards development in Emuhaya District by influencing the peoples thinking on legitimacy of wealth and education, and on the moral value of saving and investing. However some of its programs and ceremonial functions like ordination, baptism, marriage and weddings tend to retard these efforts of alleviating poverty. Although such programs and celebrations serve the poor at the grassroots level, they delay change in behavioural and institutional transformation capable of sustaining economic growth.Unique contribution to theory, practice and policy: There is a need to change cultural practises that tend to retard development among the adherents of the CoG-K in Emuhaya District. The study posits that cultural practices surrounding marriage and death that are repugnant and detrimental to change should be discarded if development is to take place. (shrink)

McBride, Glen Culture' and 'society' are words we use very loosely. We can find their exact meaning in dictionaries but usually don't, as the context of our sentences provides the information we need in our conversations. We know our societies are the huge group of people living in our city or nation. Our culture is the large range of behaviour we have learned in our society. It includes our food preferences, ways of dressing, our ceremonies for weddings and births (...) and the laws that structure our world, everything that we know from growing up in our family and society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'I am cringe, but I am free':A Reparative Reading of Assuming the Ecosexual PositionVanesa Raditz (bio) and Jess Martinez (bio)Annie Sprinkle, Beth Stephens, Jennie Klein, and Linda Montano. Assuming the Ecosexual Position: The Earth as Lover. University of Minnesota Press, 2021. ISBN 9781452965796.INTRODUCTIONEcosexual: Eco from the ancient Greek oikos; sexual from Latin, sexuales 1. a person who finds nature romantic, sensual, erotic, or sexy, which can include humans or (...) not. 2. A new sexual identity (self-identified). 3. A person who takes the Earth as their lover. 4. A term used in dating advertisements. 5. An environmental activist strategy. 6. A grassroots movement. 7. A person who has a more expanded concept of what sex and orgasm are beyond mainstream definitions. 8. A person who imagines sex as an ecology that extends beyond the physical body.Assuming the Ecosexual Position: The Earth As Lover (Sprinkle and Stephens 2021, 2)What does it mean to take the Earth as a lover? How does it change our experiences of pleasure in our bodies to give attention to the eroticism of air in our lungs, mud on our skin, or water in our throats? How would it shape our ethical commitments to these elements that we depend upon for life if we were to reconnect with them as pleasurable extensions of our own bodies? These questions are at the heart of the decades-long research-creation performance-art collaboration between Annie Sprinkle and Beth Stephens that has built an international "ecosexual" identity and movement, a tale that they document in their new book, Assuming the Ecosexual Position: The Earth as Lover. Part travelog, part relationship memoir, part how-to guide, Assuming the Ecosexual Position chronicles [End Page 105] the emergence and evolution of their ecosex concept and community through a playful recounting of over a decade of productions: performative weddings to the earth, moon, lakes, rocks and beyond; theatrical two-women sexecology performances that culminate in explicit sex in piles of earth; ecosex walking tours; workshops; public sex clinics; documentary films; and so much more.Woven throughout are philosophical reflections on the entanglements between bodies, land, sex, eroticism, and love, many of which emerge from ecofeminist thought, pollinated with the post-porn, sex-positive, queer feminism of the 80s and 90s. In introducing their philosophical inspirations, they name Greta Gaard's classic piece on queering ecofeminism (18) which stimulated a body of work describing the ways that patriarchal systems of power simultaneously oppress women, the erotic, and nature (1997). Drawing upon Sprinkle's background in porn and post-porn modernist theater, Stephens' background as a queer artist with a doctorate in Performance Studies, their mutual interest in sex education, and their love for the redwoods of Santa Cruz, the pair crafted ecosexuality as a particular lens for expanding queer ecofeminist inquiry into the power of sexual liberation for ecological liberation, which they do through the creative methodologies of performance. The performance art practice that they develop has significant inspiration from the Fluxus art movement, which resisted the authority of museums to define the meaning or value of art, and encouraged the active practice and production of art throughout life.Among the inspirations they list in the introduction to Assuming the Ecosexual Position, Donna Haraway and Kim TallBear stand out. Donna Haraway's presence is felt throughout the book—as a colleague of Stephens at UC Santa Cruz, as a friend at their Wedding to the Earth, as a collaborator in the documentary Water Makes Us Wet, and ultimately, as a posthuman philosopher (Haraway 2000) who has inspired Stephens and Sprinkle to "see ecosex as a conceptual art practice and a way of thinking beyond individual identity, and even beyond human beings, to envision a larger system—an ecology of relationships" (8). The authors also express the influence of their evolving relationship with Kim TallBear, with whom Beth studied while pursuing her PhD, and who has encouraged the pair to leverage this posthuman and new materialist consciousness towards decolonial politics (TallBear 2015). They cite one of TallBear's blog posts on ecosexuality, where she encourages ecosexuals to use a critical eye towards "New Age" appropriation of Native American ceremonies... (shrink)

As the grandchild of Italian immigrants, photographer Gina J. Grillo has a personal impetus in her photographic studies of ethnic and immigrant life in the United States. In Between Cultures, Grillo explores the struggles immigrant children face as they develop their cultural identity in an environment completely new and foreign to them. Following the tradition of the pioneering photographers Jacob Riis and Lewis Hine, Grillo portrays the immigrant experience through children's eyes, unearthing a complex and poignant world. She begins with (...) images of newly arrived immigrant families at O'Hare International Airport during their first few hours in the United States, and then follows them through the gates and into Chicago's urban life: through her chronicle of citizenship ceremonies, cultural celebrations, weddings and dances, and other everyday scenes of immigrant life, Grillo captures the crucial elements that shape not only the characters of the children, but also the neighborhoods in which they reside. For adults, emigration to America is filled with both hope and fear, yet it is tempered by a mature understanding. For children, however, this same journey unfolds in the unrelenting present as they must constantly negotiate their individual identities and allegiances to culture, country, and kin. With moving quotations and drawings by immigrant children woven into Grillo's visual sequence, Between Cultures is a unique meditation on the development of individual identity through the reconciliation of multiple cultural heritages. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Five Poems DEBORAH WARREN Bugonia hic vero subitum dictu mirabile monstrum aspiciunt, liquefacta boum per viscera toto stridere apes utero et ruptis effervere costis. —Vergil, Georgics IV The covert’s dark, but Aristaeus sees —beyond it, in the oleandered meadow, walking to her wedding with her maids— Eurydice, as sweet as early windfall apples to the gods of the bitter dead. She runs, from shifting shade to sun (...) to shade until, in a shock of sudden sun, she sways, blinded, blundering into an adder’s kiss, and while the bridegroom waits by the bridal bed, she waits to be undressed by worms instead. But Aristaeus pays for the assault. The mead-gods visit on his apiaries wax-moth, mites, foulbrood and chalk-disease until an oracle orders a hekatomb: after nine days the myrtle-nymphs perform a miracle, and out of the carcases crawl fat new sun-furred drones to work the comb, a gift of the mead-gods who, with the poet, praise the teams of bright collaborating bees as little Romans—parvos Quirites. arion 27.1 spring/summer 2019 And what about Eurydice? The swarm goes humming on, a small Rome in a hive. The story’s not about Eurydice’s second chance, or whether she’ll survive. Eurydice’s a minor character; she’s only one girl, sui generis. Besides, no cattle-trick exists for her. The gods can let the apiaries thrive and armies—even empires—endure; one girl’s more complicated to replace. 44 five poems The Tithonus Club We can begin our visit with the Day Room where, in wheelchairs, some with canes or walkers, members sit: a fraternity so ancient that the confrères mostly ignore each other (club tradition). The dues are paid in decades; no one has an outstanding balance—Sir? Whoa, steady, there! Sit down... yes. Here’s your blanket. The badge of membership—the club regalia? Laminated ceremonial bracelets bear the motto Do Not Resuscitate (legend which, in practice, is seldom honored). Eleven-thirty, gentlemen; lunch is served, and now a little toast while the television mesmerizes the aides: Messieurs, your health! Deborah Warren 45 Aphrodite at the Old-Age Home —for Aphrodite Kalogeris “Honey,” the night nurse said to Aphrodite, “let me fix your bib. Look, Aphrodite! Here’s your juice and crackers, Aphrodite! “She doesn’t speak a blessed word of English,” the night nurse told us, “but she understands as good as if we spoke to her in Greek.” Aphrodite’s ears were as grotesque as the pore-coarse nose that bloomed across her face, but she heard her name: When Aphrodite rose and, beatific, dreamed across the room, traversing a happiness none of us could hear, she spoke a language older than herself but still her own—a dialect of beauty able to translate the fetid air. 46 five poems Climbing Etna We’d see the lava, nights, from the town square, as if the sun—an egg of fire—broke at dusk, threading its incandescent yolk down a mountain hanging in black air. Every night we’d scan the dark horizon looking for those streaks, and every night they took a while to find, however bright: Etna, it seemed, had spent the evening rising off the earth, to hover even higher, as if the mountain meant not to be found. And then, today, we ran the flows to ground, climbing up to the rolling burns of fire— closer, into the shimmering air and hiss that glanced up from the thick and red-flecked river —until our soles were smoking. But the lava sang, inside the mountain: Come, discover the fire’s origin and genesis; more—the heart of the world, in its enceinte of blind white heat. Seeing the lava course wasn’t enough, or watching the rock decant the sun; what brought us up here was the force— the hot loins—of a lightning god as dark as thunder; and, like Eve, like Semele, we wanted to approach. But there’s a spark, a jewel older than geology: stop shy of it—of finding the fire’s source, of closing in on what you shouldn’t see. Deborah Warren 47 Human Sucking strength... (shrink)

One of the most ancient art forms, poetry, like other art forms, finds its roots embedded in activities that are not necessarily associated with art today, most notably religious rituals. Still, even while poetry is now commonly enjoyed for its own sake, many poems continue to be made for specific life events: weddings, funerals, presidential swearing-in ceremonies, anniversaries, and so on. Their connection to such events may call into question the art status of some poems; indeed, definitions of poetry (...) (as is the case with definitions of art in general) must provide an account that establishes the art status of poems while still acknowledging that some poems may be parasitic upon human activities and events that have no intrinsically artistic goals. Questions of this sort already presuppose a notion of art that divorces art works from those activities and events and establishes art-making as an endeavor in its own right, one that by definition is independent from any other goals and one that, were it to be mixed with other activities or goals, would have its art status threatened. However, just as a notion of art that denied art status to (say) the Vietnam Memorial in Washington, DC in virtue of its serving a function beyond the purely artistic would be seriously defective, so a definition of poetry that denied poetry status to W. H. Auden’s ‘Funeral Blues’ would be anemic at best. The intention to write a poem, therefore, is the intention to fit one’s work into a tradition, one in which, as happens to be the case, poems are written for various occasions. Likewise, the poetic tradition is one in which various formal means have been employed (alliteration, meter, rhyme schemes, etc.); a ‘transparent’ poetic intention (i.e. one in which the poet is aware of the character of her intention) would therefore involve responding to the formal dimension of the tradition in various ways (see Ribeiro 2007). (shrink)

The concubines, with whom the sultans lived a family life, were classified according to a certain hierarchy in the Harem. The first wives of the sultan and those who gave birth were called Kadınefendi. The other wives with a lower status than the Kadınefendi wives were called Ikbal Hanımefendi. According to Islamic law, marriage with a concubine is not like a marriage with a free woman. If a marriage is desired, the concubine must be freed. Until the 19th century, sultans (...) did not marry their concubines for a few exceptions. In the 19th century, the legal status of concubines in the Ottoman Empire became controversial. The countries of origine changed when the Ottoman Empire was unable to conquer new territory. Consequently, the enslavement procedure of prisoners of war disappeared. Instead, Caucasian immigrants, who had to leave their homeland mainly due to the Russian attacks, gave their daughters to the Ottoman palace so that they would not suffer misery and could reach important positions in the future. Among these were orphans from poor families as well as those from noble Caucasian dynasties. Even though the young women in the palace were called concubines, at least some of them were free/Muslim persons. This meant, that they could not be enslaved according to Islamic law. Although there was no problem for those who served in the palace, a remarkable situation emerged for the would-be spouses of the sultan. Could a woman from a free and Muslim family be the sultan's wife without a marriage bond? Was the limitation of the Kadınefendi numbers to four (in times of Sultan Abdülaziz) due to the Islamic law principle, that a man could marry maximum four wives? Was there a marriage ceremony (nikāh) for Kadınefendi wives? What was the situation of the Ikbal? Satisfactory answers to these questions have not been given yet. However, there are no official records it was claimed that lately sultans married especially their concubines who were Abkhaz descendants and included them among their wives in this way, because they were free and Muslims. Thus, the matter whether Sultan Abdülhamid II's wives were concubines or wedded became the subject of some research today. Memoires claim that almost all of Sultan Abdülhamid's wives were free and of Muslim origin. According to this, it was said that the wives of Sultan Abdülhamid could not have the status of the concubine and that their relationship should have been by marriage. On the other hand, considering that a maximum of four women can be married according to Islamic law, the marriage of the Sultan, who had thirteen wives, raised juristic questions. This problem was most clearly seen in the inheritance case filed by his heirs after the death of Sultan Abdülhamid. In this case, where it was claimed that Sultan Abdülhamid was married to nine wives, no objection was made to that claim. In this study, information about the wives of Sultan Abdülhamid and their legal status was tried to be determined through the documents related to their salaries during the 2nd Constitutional Era. Besides, the issue of nine wedded women, which emerged in the case of Sultan Abdülhamid's inheritance, was evaluated in terms of fiqh (Islamic jurisprudence). Sultan Abdülhamid was never accused of marriages contrary to Islamic law by his opponents during and after his reign. From this point of view, it can be said that there was no situation contrary to Islamic law regarding the Sultan's harem at that time. This might be due to three possibilities: Firstly, some wives have concealed the truth in the court, which is the weakest possibility according to the data obtained. Secondly, the talaq (divorcement) was hidden by Sultan Abdülhamid and his wives were not aware of it. This possibility has been found to be problematic when evaluated in terms of Hanafi fiqh. Thirdly, the practice of al-nikāh al-tanazzuhī (marriage performed in order to avoid from fornication). Considering the correspondence between the state departments in the period starting with the 2nd Constitutional Monarchy and until the Republic, it is clear that the Kadınefendis were regarded as married wives (their number was limited to four), while the Ikbals were regarded as concubines. From this point of view, it is thought that the most plausible possibility is that the Ikbals were regarded as concubines and their marriages were al-nikāh al-tanazzuhī. (shrink)

The issue of wedding is of immense socio-cultural and pastoral concern for the Igbo people. The challenge revolves around the question of which wedding(s) the intending couple should choose. Which wedding is cost effective or more socially acceptable? Which wedding incorporates the extended families or alienates them? These choices are often so interconnected that to choose one is to reject the other. As a result, many young people have started cohabiting as families without wedding, or (...) have had one wedding which is considered incomplete, adversely affecting their sense of belonging and participation in their churches, or in the family and socio-cultural settings. This article intends to expose the origin, causes and consequences of the issue. It does not elucidate the rituals of traditional or church wedding, instead it explicates the nuances of both weddings vying for superiority, and the subtle, yet sophisticated contention over their values in Igboland. Then it suggests solutions to help alleviate it. (shrink)

This chapter explores the making of a humanist ceremony, and discusses why self‐identified humanists and secularists, who often define themselves within the tradition of ‘free thought’, want to foster ceremonies, given that ceremonies so often connote the routine, discipline, and authority associated with religion. It focuses on funerals provided by celebrants in the British Humanist Association (BHA), the most important non‐religious organization in the United Kingdom, and one of the world leaders in the development of such ceremonies. (...) A ‘non‐religious’ funeral, then, is one in which a conscious decision has been made to ground the event and its importance within ‘the immanent frame’. Anthropologists often observe that ritual speech and action carry particular meaning and force. Ritual frames a social world, and it communicates and validates a particular way of looking at the world. (shrink)

Emmanuel Falque’s The Wedding Feast of the Lamb represents a turning point in his thought. Here, Falque links philosophy and theology in an original fashion that allows us to see the full effect of theology’s “backlash” against philosophy. By attending closely to the incarnation and the eucharist, Falque develops a new concept of the body and of love: By avoiding the common mistake of “angelism”—consciousness without body—Falque considers the depths to which our humanity reflects animality, or body without consciousness. (...) He shows the continued relevance of the question “How can this man give us his flesh to eat?”, especially to philosophy. We need to question the meaning of “this is my body” in “a way that responds to the needs of our time”. Because of the ways that “Hoc est corpus meum” has shaped our culture and our modernity, this is a problem both for religious belief and for culture. (shrink)

. Human ceremonial ritual is considered as an evolved behavior, one of the principal effects of which is the promotion of intragroup cohesion by decreasing or eliminating intragroup aggression. It is seen as a major determinant of what Victor Turner calls communitas in human social groups of varying extension. The frequent paradoxical effect of ritual's promoting extragroup aggression at the same time that it diminishes intragroup aggression is considered. A neuroevolutionary model of the development and social effects of ritual behavior (...) is presented, being derived from both ethology and recent neurophysiological studies in humans. (shrink)

Adapting Wittgenstein's concept of the human species as 'a ceremonial animal', Wendy James discusses in a readable and lively style the conceptual ordering of space, time, and rhythm; the mutualities of language, consciousness, ritual and religious practice; the dialectics of gender and generation; power, war, and peace; and large-scale modern social formations such as the city and the nation. The Foreword is by Michael J. Lambek, Professor of Anthropology, University of Toronto.

A full-color reference to planning for and executing a successful wedding day shoot Wedding photography has become a major industry, and the number of photographers getting into this field is rapidly increasing—making it even more competitive. Written by top wedding photographer, Kenny Kim, this full-color reference walks you through all the major (and minor) steps involved in planning and organizing a successful wedding day shoot. You'll get unique advice on everything from your initial meeting with the (...) engaged couple to the final presentation of the commemorative book. Packed with checklists, schedules, etiquette tips, and much more, this book is an essential wedding photography resource for every wedding photographer. Provides detailed coverage of all the major and minor steps in preparing for a successful wedding day shoot Explores preparation for every detail of taking unique and memorable wedding day photos Spans the initial meeting with the couple all the way to presenting them with their photo album Reassures you of your preparation, using checklists, schedules, etiquette tips, answers to questions, and more From rings and vows to dancing and "wows", this resource will help you prepare to capture every moment of a couple's special day. (shrink)

In this article, I argue that opposite-sex couples planning weddings have a duty to make their choices in ways that undermine the harmful norms that lead to most women taking their husband’s last names when they marry, and most weddings being extremely expensive. This duty, however, is not a duty to significantly reduce the prevalence of those norms, since doing so is generally not in the power of individual couples. Rather, it is a duty to provide observing couples around them (...) with new live options for their own weddings. (shrink)

Later life is often seen as a time of losses. Through the death of loved ones and the dwindling of bodily capacities, older people are increasingly confronted with their own mortality. As losses accrue across different domains, they form a unique existential vantage point. We aim to shed light on this understudied dimension of later life by analysing older people’s everyday practices of sense-making. Drawing on the findings of a qualitative interview study (_n_=16, aged 65-93), we identify three distinct practices (...) by which older people make sense of death and bereavement: timing, communing, and missing. We conceptualise these practices as “farewell ceremonies,” a term we borrow from Simone de Beauvoir. The “farewell ceremony” describes a period of incremental goodbyes, which characterised the last ten years of Jean-Paul Sartre as well as the death process of Beauvoir’s mother Françoise. Beauvoir captures these farewell ceremonies in her memoirs _Adieux: A Farewell to Sartre_ and _A Very Easy Death_, which frame our philosophical reflection on practices of timing, communing, and missing. Bringing together Beauvoir’s literary and philosophical work with our empirical findings, we propose an integrated view on death and bereavement in later life that centres the intertwining perspectives of self and other. (shrink)

'Alors, c'est la cérémonie des adieux?' m'a dit Sartre, comme nous nous quittions pour un mois, au début de l'été. J'ai pressenti le sens que devaient prendre un jour ces mots. La cérémonie a duré dix ans : ce sont ces dix années que je raconte dans ce livre.

The United States, unlike most developed countries, continues to use the marital couple as the taxable unit for its income tax. This continued use of the marital unit— like its original establishment —rests on cultural preferences. This Article suggests that the roles of marriage, religion and taxation in America are essential factors in America’s retention of the marital unit. Part I examines the distinctive contribution marriage — especially the traditional single-earner breadwinner marriage — makes to the political life of the (...) country. Part II explores the similar role of religion. Part III describes some congressional efforts over the past two decades to aid, ostensibly, married couples through the income tax. Part IV concludes that although these actions have not been the most effective or efficient means of helping married couples, they nevertheless serve an important expressive purpose. Tax has been the arena for many political issues since the founding of the nation. Consequently, congressional actions and rhetoric regarding the income tax’s "marriage penalty" reinforce the marital unit/joint return and reaffirm — even if only symbolically — a national commitment to marriage as instrumental to American democracy. (shrink)

AtArgon.4.1653–88, Medea steps forward among the Argonauts and asserts that their harbourage on Crete will not be blocked by the bronze giant Talos, who stands menacingly throwing rocks at their ship. She claims that she alone can subdue him, and then steps forward and proceeds to do so. Using a sequence of ‘magical’ ritualistic acts, she causes Talos to scrape his vulnerable heel on a rock and fall down dead, as the ichor pours from his wound. This scene is the (...) last in which Medea appears in the epic, and accordingly it forms the final opportunity to bridge the gap between the Medea of theArgonauticaand the future Medea, one whose actions are already well known from such works as Pindar's fourthPythian Odeand Euripides’Medea. The importance for Apollonius to create a plausible transition between the Medea of earlier myth and the Argonautic Medea is evident. A clear-cut break from tradition would allow Medea to become an alternative Medea, perhaps akin to the alternative portrayal of Helen by Euripides; a continuation would allow corroboration with earlier sources, which would lend authority and validation to Apollonius’ version. It is now the common consensus that Apollonius tried, however successfully, to bridge the gap between a young and an adult Medea and between tradition and innovation in her character. (shrink)

The cult and ritual sphere is an important component of the religious complex, which is usually understood as a collection of ritual acts related to the worship of supernatural reality and aimed at achieving the bond of the believer with the object of worship. As an inalienable attribute of the religious phenomenon, the cult was created along with its occurrence and is characterized by the complication of manifestation in the process of historical development. Having an amazingly wide arsenal of expression, (...) the ritual is usually formed on a specific religious basis and includes the cultural and artistic means of realization, ethnological features of embodiment, political and ideological factors of the order. In addition, at the level of interreligious interaction, the ritual ritual complex accumulates many elements of previous beliefs, symbolic and symbolic nature of which allows us to speak about the continuity of the religious tradition. In fact, this feature of ceremonial actions gives grounds to speak of a ritual ritual complex as a unique symbiotic entity, in spite of the fact that religious adherents are often considered to be an exclusive ritual, that is to say, the indisputable nature of their cult professed, whereas in the perception and appreciation of the wider public, associate with the top national achievements, sacred property. (shrink)

A full-color guide to taking stunning wedding photos from "America's Most Popular Photo Expert" —Rick Sammon Wedding photography has grown into a major industry with droves of digital photographers in the field, all looking for a competitive edge. Whether you're new to the field or you're looking for some fresh new ideas, this full-color guide is packed with more than 200 tips, tricks, and secrets for taking stunning and memorable digital wedding photos. Top photographer and Canon Explorer (...) of Light Rick Sammon explores the wedding photography market from the angles of both novice and experienced digital photographers and offers guidance for choosing and using digital camera equipment, accessories, software, and printing options. "America's Most Popular Photo Expert" Rick Sammon shows you how to set up the scene for an incredible wedding shot—both posed and candid Shows how to prepare for a variety of conditions in all types of settings, including exotic locales Demonstrates best practices for post-shoot digital darkroom workflow Explains how to manipulate photos to include impressive effects Brimming with lavish inspirational color photos, this is the must-have book if you're looking to bring a unique style to your wedding photography skills. (shrink)

A “white coat” ceremony functions as a rite of passage for students entering medical school. This comment provides a second option in response to the earlier, more enthusiastic, discussion of the ceremony by Raanan Gillon. While these ceremonies may serve important sociological functions, they raise three serious problems: whether the professional oath or “affirmation of professional commitment” taken in this setting has any legitimacy, how a sponsor of such a ceremony would know which oath or affirmation to administer, and (...) what the moral implications of this “bonding process” are. I argue that the initiation oath is morally meanignless if students are not aware of its content in advance, that different students ought to commit to different oaths, and that bonding of students to the medical profession necessarily separates them from identification with lay people who will be their patients. (shrink)

Foucault only refers to Shakespeare in a few places in his work. He is intrigued by the figures of madness that appear in King Lear, Hamlet, and Macbeth. He occasionally notes the overthrow of one monarch by another, such as in Richard II or Richard III, arguing that “a part of Shakespeare's historical drama really is the drama of the coup d’État.” For Foucault, the first are illustrations of the conflict between the individual and the mechanisms of discipline. The second (...) are, however, less interesting than moments when the sovereign is replaced, not with another sovereign, but with a different, more anonymous, form of power. Yet, in his 1976 Collège de France course, Society Must Be Defended, where he treats the theme at most length, he intriguingly suggests that Shakespearean historical tragedy is “at least in terms of one of its axes, a sort of ceremony, or a rememorialization of the problems of public right.” Foucault was long fascinated by the theatre, and especially its relation to political ceremony. Drawing especially on his 1972 lectures in Paris and a related presentation in Minnesota, this paper asks how we might understand the relation between ceremony, theatre, and politics in Foucault and Shakespeare. Many of Shakespeare's plays, both histories and tragedies, thus demonstrate the importance of ritual and ceremony, a political theatre. Examining the disrupted ceremony of King Lear, the repeated ceremony of King John, the denial of ritual in Coriolanus, and the parody of the ceremonial in Henry IV, Part One opens up a range of historical, theoretical, and political questions. (shrink)

> What I'm interested in is your response to Tegmark. I haven't yet looked at > the paper you sent me in your email, but one response that I thought of is > this: Tegmark's argument, if cogent, suggests that there can't be neural > indeterminacies based on macro-level superpositions that collapse due to > neural processes. But your view doesn't involve macro-level superpositions; > it involves micro-level superpositions (of presynaptic calcium ions). So > even if Tegmark's argument is sound, (...) it's irrelevant to your view. Does > this sound right to you? (shrink)