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Dissertations / Theses on the topic 'Chinese ritual'
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Robinson, Rebecca. "Ritual and sincerity in early Chinese mourning rituals." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=106338.
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This thesis examines the emphasis Eastern Han (24 – 220 CE) men placed on mourning their mothers and peers within the context of ritual theory and practice. The ritual texts, used as the basis for an imperial ritual reform in 31 BCE, provided instructions on how to properly perform the mourning rites, as well as whom to mourn. Full mourning was to be worn for fathers and superiors, yet in the Eastern Han, many did not heed these prescriptions, choosing in addition to mourn their mothers, equals, or inferiors, thereby subverting the traditional patriarchal model. By examining theories of ritual current in the Han, the mourning prescriptions themselves, and introducing the concept of sincerity in ritual, I argue that the changes in mourning patterns during the Eastern Han are indicative of the beginnings of a fundamental change in beliefs towards ritual and the ancestors.Cette thèse examine l'importance que les hommes des Han orientaux (24 – 220 EC) accordaient au deuil envers leurs mères et leurs semblables dans le cadre de la théorie et de la pratique du rituel. Les textes rituels, sur lesquels fut établie une réforme impériale du rituel en 31 AEC, fournissaient les instructions nécessaires pour déterminer comment performer correctement les rituels de deuil, de même que ceux et celles à qui ces rituels pouvaient être adressés. Le deuil complet devait être observé pour les pères et les supérieurs, mais chez les Han orientaux, plusieurs n'observèrent pas ces directives et choisirent plutôt de porter le deuil de leurs mères, de leurs égaux, voire de leurs subordonnés, renversant ainsi le modèle patriarcal traditionnel. Grâce à une analyse des théories du rituel pratiqué chez les Han, des directives relatives au deuil elles-mêmes, et en introduisant le concept de la sincérité dans le rituel, j'avance que les changements dans les structures du deuil au cours de la période des Han orientaux révèlent les premier changement fondamentaux dans les croyances envers le rituel et les ancêtres.
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Chiang, Fu-Chen. "Models in Taoist liturgical texts. Typology, Transmission and Usage : a case study of the Guangcheng yizhi and the Guangcheng tradition in modern Sichuan." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE5001/document.
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L’objectif de cette thèse est d’analyser une vaste collection de textes rituels taoïstes, le Guangcheng yizhi, qui a été compilé dans la province du Sichuan au 18e siècle. Cette collection est le fondement d’une tradition liturgique locale toujours vivante. La thèse aborde cette collection à la fois par une approche historique, en donnant le contexte social et religieux et en retraçant le processus de la compilation, de l’impression et de la diffusion, et par une approche de travail sur le terrain pour comprendre sa mise en pratique. Les deux premiers chapitres introduisent l’histoire du taoïsme au Sichuan depuis la dynastie des Qing jusqu’aujourd’hui, et plus précisément l’histoire textuelle du Guangcheng yizhi. Les chapitres suivants développent l’analyse de la tradition Guangcheng en développant la notion de "taoïste Guangcheng", et en explorant la typologie et la structure de ses rituels. Il s’intéresse à la construction d’un grand rituel par la combinaison de rites indépendants, et ce que ce processus nous apprend de la carte mentale que les taoïstes Guangcheng ont du répertoire de leur tradition. Enfin, le chapitre 6 développe le cas des rituels de repaiement de la dette de vie (huanshousheng) dans la tradition GuangchengThe basic theme of this dissertation is to understand a large collection of Taoist ritual texts from Sichuan, Guangcheng yizhi, first compiled in the 18th century and forming the basis of a living local ritual tradition. The dissertation uses both the historical approach (looking at the history of compiling, printing and using the collection) and fieldwork. The first two chapters introduce the history of Taoism in Sichuan since the Qing dynasty, and of the Guangcheng texts in particular. Then it explores the Guangcheng tradition developing notions such as “Guangcheng Taoist”, and the structure and typology of rituals. It analyses the building of a grand ritual and its “rundown” made of many smaller rites; this sheds light on the mental map of Taoists as they appropriate the shared ritual repertoire of their tradition. Finally chapter 6 analyses the ritual of repayment of life debt (huanshousheng) in the Guangcheng tradition
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Jones, Anthony. "Ritual Awareness, Symbolism and Creativity in Shi Jing Poetics." University of Sydney, 2006. http://hdl.handle.net/2123/1527.
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Master of ArtsFor more than two thousand years, the collection of poetry simply referred to as the Shi Jing, (“The Classic of Poetry”, “Book of Odes” or “Book of Songs”), has shaped the Chinese literary landscape. The classic is one of the central influences on the development of later Chinese poetry, and can appropriately be considered a major contributor to the habits of expression, imagery and structure which remained dominant until the nineteenth century.
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Wong, Ling-ling. "Tso Yueh-tzu : the post-natal ritual of Han Chinese women in Taiwan." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284331.
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Wang, Dongxia. "Ritual as communication in academic organizations : a case analysis of a Chinese institution." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/705.
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Wu, Nengchang. "Rituels, divinités et société locale : une étude sur la tradition des maîtres rituels du Lingying-tang à l’ouest du Fujian." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE5035/document.
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Prenant principalement appui sur des matériaux de terrain et des documents historiques, la présente étude examine la tradition des maîtres rituels taoïstes. Celle-ci a été une des traditions religieuses les plus vivantes en Chine méridionale, depuis la dynastie des Song (960-1279). Il s’agit d’une tradition d’exorcisme qui a emprunté beaucoup d’éléments au tantrisme. Elle s’est bien intégrée au taoïsme tout en révélant des relations subtiles entre le taoïsme et la religion populaire. D’un point de vue ethnographique, les maîtres rituels constituent un groupe important de spécialistes de rituels à l’ouest du Fujian, au sud-est de la Chine. D’un point de vue historique, chez les maîtres rituels contemporains se trouvent des éléments qui remontent à l’antiquité. Ainsi, la céation et la maîtrise de soldats du monde invisible pour conjurer les êtres malfaisants en faveur du peuple constituent un trait caractéristique. La tradition des maîtres rituels a joué un rôle important non seulement dans la vie quotidienne du peuple, mais aussi dans les processus socio-culturels régionaux. Le présent travail étudie notamment un mythe de « batailles de méthodes » entre des maîtres rituels et des mauvais esprits qui a trouvé sa place dans un contexte de conflits ethniques à l’ouest du Fujian. Il examine aussi un culte des maîtres rituels qui a donné l’occasion aux différents groupes sociaux d’exprimer leurs compréhensions de leur légitimité, ainsi que des rituels d’ordination et des rituels servant à cacher les âmes humaines des mauvais esprits, rites de vie qui contribuent aussi à la construction de la communautéRelying mainly on field materials and historical documents, this study examines the tradition of Daoist ritual masters; one of the liveliest religious traditions in South China since the Song Dynasty (960-1279). It is a tradition of exorcism which borrowed many elements from Tantrism; but it is also well integrated into Daoism while revealing subtle relations between Daoism and popular religion. From an ethnographic perspective, ritual masters are an important group of ritual specialists in western Fujian in Southeast China. From a historical point of view, among contemporary ritual masters, we can find many elements that date back to antiquity. Thus the making and mastery of soldiers of the invisible world for exorcising evil beings to save the people is a characteristic feature. The tradition of ritual masters has played an important role not only in the daily life of the people, but also in regional socio-cultural processes. In this regard, the present work studies a myth of “magic warfare” between ritual masters and evil spirits that has found its place in a context of ethnic conflict in western Fujian. It also examines a cult of ritual masters which gave the opportunity for different groups to express their understandings regarding legitimacy, as well as ordination rituals and rituals to hide human souls from evil spirits, that is, life rites which contribute also to the construction of community life
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Liu, F. S. "A documented historical and analytical study of Chinese ritual and ceremonial dance from the second millenium BC to the thirteenth century." Thesis, Trinity Laban Conservatoire of Music and Dance, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376454.
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Lam, Ching-wah. "The lost tradition : changing interpretations of music in the three Chinese Confucian ritual classics from the Han to the Qing dynasty." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/1023/.
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Jing, Yujuan. "Reconstructing Ancient Chinese Cultural Memory in the Context of Xianxia TV Drama." Thesis, Uppsala universitet, Institutionen för informatik och media, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446181.
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This study explores how Chinese ancient cultural memory is constructed, and specifically how it is reconstructed through Chinese Xianxia TV dramas during the past five years. Ancient Chinese culture has become a hit in Chinese popular culture today, in which Xianxia TV dramas draw the biggest audiences. This study focuses on the ways, namely the transformations between cultural memory as storage memory to cultural memory as living functional memory, in which the Xianxia genre reconstructs the past. Bringing together a ritual view of communication, cultural memory and participatory culture, it applies a cultural approach to communication, which refers to the production and the fandom reception of Xianxia TV drama. Meanwhile, the perspective of culture industry provides a critical dimension to look into this highly commercial genre. This study is based on the analysis of content and representations of the theme song lyrics, posters and the general narratives of six selected Xianxia TV dramas, as well as a virtual ethnography of fan-generated videos and their comments. The findings suggest that, the reconstruction of ancient Chinese cultural memory in Xianxia TV dramas is a complex interplay between the culture industry logics of Xianxia production and the passionate participatory fan culture. The limited representations of the past in the series are absorbed and practiced by the fan audiences. Through fan practices, the fans extend the media text with their passion and knowledge of ancient culture, attaching the cultural memory into their present real-life cultural identity and hence vigorously transforming cultural memory from storage memory into functional memory. This study speaks to the lack of bottom-up perspectives in the studies of the ancient culture revival trend in China, and it contributes to a deeper scholarly understanding of the Xianxia genre.
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伍煥堅. "金文中所見與酒禮相關之禮制及文字研究= A study of related etiquette and words of ritual use of wine as shown in the inscriptions on bronze wares of the Zhou dynasty." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/565.
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第一章陳述周代酒禮的研究狀況。當時的酒禮的類別、內容、程序等都有很大的探討空間，但是首先要打破銘文釋讀的障礙。我提出從古文字形構的角度考察禮儀的雛形，隨即在第二章實踐。經過考察與祼禮有關的瓚、將等字的本義，勾勒字義的引申關係，用來訓釋銘文語境中的具體含義，以此為基礎來說明了瓚、將兩種事物的禮儀用途，結果得出銘文瓚字既是表示飲酒的工具也是表示獻酒的動詞，其中瓚字由於詞性變換而孳乳出「口+瓚」、「吅+瓚」的寫法，為 、 字。銘文「口+瓚」、「吅+瓚」的寫法，按辭例都表示讓人酒飲義，兩字是在「瓚」字的基礎上添加了「口」或「吅」，屬標示動詞用法的表義符號。至於祼將的將則屬於同源分化，由本指奉持的將字添加瓚形，產生了專指祼將（獻酒）的 字。第二章又牽涉到「X+某+出入/逆洀+事/將令」的辭例，X位置皆有供酒食之意，不應籠統以協助義當之，將命明顯是傳話之意。在飲食禮中設有訝者，兼任迎賓並傳達主賓之言。出入/逆洀乃形容傳命之行為，學者以為是名詞，指王的使者，非是。透過《儀禮》飲食禮儀程序的展現，可以反映這種套語所描述的實際內容。第三、四章討論「饗禮」，以主題用品劃分饗禮的類別，可以分為饗酒和饗醴兩種。在歸納銘文有「饗」字的辭例時，我發現了「饗醴」有「侑」，「饗酒」無「侑」的現象。侑是勸的意思，因飲料的種類有別，而有勸和不勸之別，反映了周初飲酒觀念對後來用酒制度的影響。類似的辭例用字上的差別未盡被揭櫫，而這些差別是還可以解決一些文字釋義的問題，例如飲、厚、懿、莤等字被討論過不少，可是還未算審諦。重新考察辭例後，可見飲不用於醴，厚、懿和醴、醫等事物有關，藉此對個別經傳文句提出新見，也進一步瞭解飲酒禮儀的內涵。第五、六章圍繞�字的本義、辭例、禮制、思想等各個方面做討論。�字形義蘊涵了飲酒行為，也是飲酒禮的基本模式，字中每一個部件，都可以在三《禮》所見的飲酒禮中找到實物，而�字包含了招待的義項，也和文獻以酒作為招待賓客的主要用品相符。 Documents from the early Western Zhou already indicate significant ideological differences between the Shang and Zhou dynasties. Instructions and commands written down in the da yu ding bronze inscription and the jiu gao ("royal mandate regarding drunkenness") chapter of the Shangshu, for example, show that the Zhou believed that the downfall of the Shang dynasty was brought on by their excessive indulgence in alcohol, and that they intended to admonish their own people for this behavior. However, the widespread use of bronze drinking vessels up until the mid-Western Zhou period suggests that this idea was only held up by the ruling elite of the early Western Zhou and did not expand throughout the entire territory. Only when the Zhou developed their own distinctive culinary and ritual culture from the mid-Western period on, bronze drinking vessels started to disappear from daily use. But the decrease of bronze drinking vessels does not necessarily mean that drinking alcohol for ritual purposes had been banned. From the mid-Western Zhou throughout the entire Eastern Zhou period characters related to these rituals--e.g. jiu酒（wine）, yin 飲 ("to drink"), xiang 饗 ("to offer food and drinks"), guan 祼 ("to pour out libation") and zan 瓚 ("libation cup")--continue to appear on bronze inscriptions and show that the use of alcohol was still an indispensable part within court meetings. Only the form, quantity and quality of the alcohol vessels and drinking habits underwent changes, but they had not been forbidden categorically. The aim of this thesis is to outline the evolution of ritual ceremonies involving the use of alcohol vessels during the mid-Western Zhou period. By this, I attempt to demonstrate that the importance of offering alcohol drastically declined during this era. One indicator for this development is the decline in offering jiu 酒 ("wine") and its replacement with li 醴 ("sweet wine"). Due to its lower levels of alcohol, a higher amount of "sweet wine" could be consumed without becoming intoxicated and was therefore more suitable in the effort to abide the instructions given by the founding fathers of the dynasty. Besides a comparison of the terms jiu 酒 and li 醴, this thesis also offers new paleographic and phonologic analyses of related characters--e.g. suo 縮 ("filter"), yin 飲 ("to drink"), hou 厚 ("richness"), yi 懿 ("fine"), zan 瓚 ("libation cup"), guan 祼 ("to pour out libation"), etc.--to contrast the ritual system as described in the old texts with the bronze inscriptions according to the shape and sound of the character as well as the actual artifact.
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Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.
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This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.History of Art and Architecture
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Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.
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Xue, Asan. "Religion, Heritage, and Power： Everyday Life in Contemporary China." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1417.
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Based on an ethnographic study of the religious life of ordinary people in the town of Dongpu, this research explores the relationships between: religion and state power; Chinese ritual (li, 礼/禮) tradition and Christian culture; and religion and intangible cultural heritage in contemporary China.
This research found that both the practitioners of Chinese rituals and the Christian community deploy tactics to resist and negotiate with the hegemonic official culture through spatial and religious practices in their everyday life. Chinese ritual practices dedicated to deities and ancestors are defined as idol worship in the doctrine of Christianity and denigrated as feudal superstition in the official discourse of scientism, materialism and atheism. The contrast between Christianity as an orthodox religion and Chinese ritual practices as feudal superstition contributes to the religious hegemony of Christianity over the Chinese ritual tradition, thus rendering most Chinese rituals as lacking in status, although some Chinese rituals have gained legitimacy as intangible cultural heritage. The practice of intangible cultural heritage in contemporary China is subject to the global heritage movement spearheaded by UNESCO and China’s domestic political, cultural and economic agendas. Ordinary people deploy tactics to negotiate with the local/state power in response to the practice of top-down imposed intangible cultural heritage, thus gaining the legitimacy of practicing these rituals.
This research presents a poetics of ordinary people’s everyday life. The religious life of ordinary people is foregrounded and exerted as a self-evident entity and heterogeneous culture. This study demonstrates that everyday life can become a cultural experience of alternative modernity and an arena of cultural autonomy. Religious life is never simply equivalent to the homogenising ambitions of any power, such as capitalism, atheism or materialism. The practice of intangible cultural heritage is a process of selecting the ‘heritage in perception’ (i.e., heritage identified and safeguarded based upon UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage) from the ‘heritage in essence’ (i.e., heritage as the self-evident foundation of ordinary people’s everyday life). The safeguarding of intangible cultural heritage channelled from top-down may give rise to cultural hegemony due to the classification of intangible cultures into superior and inferior resources according to the official discourse of developing an ‘advanced culture’ and the principles of a market economy. The expert-centred mechanism of intangible cultural heritage identification rules out the cultural autonomy of genuine inheritors of intangible cultural heritage. Additionally, the identification of the intangible cultural heritage as a narrowly understood territorial property causes conflicts between nations and regions. This may stop the transmission of cultures among ordinary people and undermine UNESCO’s initial agenda of promoting the cultural diversity around the world.
Freedom in religion consists in the establishment of a civil society in which the autonomy of people’s cultural practices and religious life is achieved through democratic negotiation between the ruling government and the masses. It is until then that religious culture can be practised and transmitted as a self-evident ordinary culture and intangible cultural heritage by ordinary people in their everyday life.
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陳文寧. "論明清中國士人信徒對祭祖禮的探討以耶穌會羅馬館藏明清士人信徒祭禮文獻28篇為考察範圍= An analysis of Ming and Qing dynasties Chinese scholor-believers' studies on ancestral offering ritual: based on 28 documents, collected by the society of Jesus Roman archives, written by Ming and Qing dynasties Chinese scholar-believers on the offering ritual." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/289.
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由14位作者寫於17世紀、收於耶穌會羅馬館的28篇祭禮文獻，是迄今所見最早一批出自中國士人信徒之手，在禮儀之爭期間就傳教士對祭祖禮的顧慮作出回應的文章。按內容來看，傳教士的顧慮可歸納為兩類，一是採取詢問的方式，向這批士人信徒請教與祭祀相關的問題，二是對祭祖禮已持有否定態度，致令這批作者撰文予以反駁。從祭祖禮的觀點方面來說，28篇文獻作者主要是從祭祖本義、祭祖禮是否真的含有與天主教信仰相牴觸的成份等兩方面，進行論述。對於前者，他們認為祭祖源於人情、德育及治國三方面的需要；對於後者，他們指祭祖禮既無求福的成份，亦不認為祖先仍會來格來饗於祭祀現場，因此祭祖之槍祭"與祭上帝之槍祭"在本質上迥異。雖然在該如何理人死後的靈魂狀態、嘏辭是否在當時社會中已無人應用等細節上，個別作者有不同的意見，然而他們基本上是一致認為祭祖禮應允許中國信徒繼續奉行。從立論方式來說，28篇文獻作者中縱使有個別作者對某些儒家經典的可信性存疑，但他們大多仍是主要採用經學進路，強調先王、孔子、儒學的地位及中國文字用法有其特別之處，援引儒家經典、尤其是《禮記》對祭祖禮的描述，以及宋儒的觀點、當中又尤以朱熹為主，作為探討時的論據. 以28篇與其所身處的明末清初時期經學主流相較而言，他們的確反映了當時整體經學風氣所尚--以朱熹為宗、漸開漢宋兼爭之勢。不過，對於祭祖禮本義的理解，比對作為當時經學相關方面的代表人物--朱熹及其學派的陳澔、納蘭性德等人的觀點，在情、德、治三方面之外，朱熹等人並不否認祭祖求福、相信祖先能來格來饗，朱子甚至認為祭祖的本義之一，就是在於以祭祀之誠讓祖先的魂魄能夠得以安頓。以28篇與其所身處17世紀來華傳教士、教廷相較而言，耶穌會傳教士的觀點最與28篇相近，他們注意到祭祖禮在情、德方面對中國人的意義，認為仍有允許中國信徒奉行祭祀的價值。然而，多明我會、方濟各會傳教士則持定相反意見，他們的關注點不在於祭祖禮對中國人的意義、價值，而是禮儀中所存在的求福於祖先、相信祖先仍能來格來饗等成份，與天主教信仰相悖。至於教廷，則會按傳教士上呈的資料，而對祭祖禮是否仍能奉行於信徒之間，在答覆時作出相應的調整。立論方式上，除耶穌會與多明我會的萬濟國，會引用中國儒家經典作為討論依據外，托缽修會的傳教士主要是按眼見當時社會上祭祖禮情況作出判斷。雖然在論述過程中，28篇文獻一方面與明末清初經學主流對於祭祖禮本義的理解存在歧異，另一方面亦出現對經典的錯解、邏輯上的謬誤等若干不足；但是，不管是讓後世得以更全面地認識禮儀之爭這段歷史，抑或是為當代有關槍祭祖"問題的研究帶來參考與啟發，這批文獻皆具有重要的價值。Abstract The 28 documents, collected by the Society of Jesus Roman Archive, were written in 17th century by 14 authors. They were possibly the earliest Chinese scholar-believers that discussed with the western missionaries about the concept of ancestral offering ritual during the Chinese Rites Controversy. Since the ancestral offering ritual had been held negative attitude, the scholars had to write these documents for refuting. For the ancestral offering ritual, the authors mainly discussed the original meaning of ancestral offering ritual, and consider whether it is in contravention of the Catholic faith. They believed that ancestral offering ritual contained three elements: humanity(人情), morality(德育) and social order(治國). They neither looked for blessings from ancestors nor thought that the spirits of ancestors would be present to the ritual, thus, the ancestral offering and the offering sacrifice to God were different in nature. Though individual authors had different views on the state of the spirits of ancestors, they agreed that ancestral offering ritual should be allowed to continue to practice among Chinese believers. Most of the authors mainly used the Confucian Classics Approach(經學進路) to make their arguments. They took Confucian, especially the "Book of Ritual", and Zhu Xi of Song Dynasty as the main sources to present their.;arguments of ancestral offering ritual. However, apart from the three elements, Zhu did not deny that ancestral offering ritual was to seek blessings, and believed that the spirits of ancestors would be present to the ritual. Zhu even believed that ancestral offering ritual was for settling the spirits of ancestors. The view of the Society of Jesus was closed to that of the authors. They noted that the significances of ancestral offering ritual to Chinese people were more about humanity and morality, and thought that it was worthy for Chinese believers to practice the ancestral offering ritual. However, the Dominican and the Franciscan missionaries held of opposite view. Their concerns were not the significances and values of ancestral offering ritual, but the behaviour of seeking blessings from ancestors and the belief of the presence of the spirits of ancestors. In the Chinese Rites Controversy, the Society of Jesus and the Francisco Varo of Dominicans referred Confucian as the basis for their discussions. The Mendicant missionaries mainly depended on the situation at that time in the society to make judgments. The Vatican was only according to the information from missionaries to make corresponding judgments that whether the ancestral offering ritual was being allowed to practice among Chinese believers. Although there are discrepancies and some logical fallacies between the 28 documents and the Confucian Classics of Ming and Qing Dynasties about the understanding of the original meaning of ancestral offering ritual, these documents can bring great inspiration on the contemporary research of ancestral offering ritual and make a more comprehensive reorganization of the history of Chinese Rites Controversy.
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Mingming, Wang. "Flowers of the state, grasses of the people : yearly rites and aesthetics of power in Quanzhou southeast China." Thesis, SOAS, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245475.
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González, Hernández Daniel Nicolás. "Discurso y Ritual fragmentos desde la Religiosidad Popular." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/116915.
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Antropólogo SocialCierta experiencia ritual, ha sido, por años, lo que ha cautivado mi mirada. Pues, entonces, de esto trata esta tesis: de lo ritual. Y de cómo nos entendemos con esa experiencia desde un punto de vista etnográfico, histórico y teórico. Qué tipo de discurso es este discurso ritual. Y cómo el discurso se ha referido al ritual. Lo que se quiere hacer es describir tres momentos, tres niveles: la experiencia ritual, el discurso ritual y el discurso sobre lo ritual. Cada uno de estos niveles implica distintos tipos de descripción: audiovisual, etnográfica y antropológica. Además que nos obliga a diferenciar distintos tipos de discursos, figuras del discurso, cuando este trata sobre un objeto en particular. Hemos elegido esta perspectiva, la de analizar las distintas relaciones que se establecen entre el discurso y lo ritual, pues hay un conjunto no menor de ensayos sobre lo ritual y sobre lo religioso popular que enmarcan esta experiencia ritual como una forma pre-conciente o de alteración de la conciencia y que la obligan a una concepción mágico religioso o mística de esa práctica cultural, un participativismo primitivista que de alguna manera obliga al ritual a quedarse en silencio. Para nosotros el ritual habla mucho, en él hay un habla crítica que reivindica el lugar de la cultura en que ese habla a sido posible
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Lo, Wai Han. "Reproducing pleasure through rituals : the music culture of older adults and young people in Cantonese operatic singing lessons." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1470.
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Chen, Gang. "Death rituals in a Chinese village : an old tradition in contemporary social context." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260195321.
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Jiang, Bing. "Chinese gates of Late Imperial China in the context of cosmo-religious rituals." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/6685/.
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Previous studies on Chinese traditional gates, gatehouses, gateways or city gates were either embedded implicitly in the studies on physical forms and structures of general timber buildings since the 1920s, or dependently hidden in the vast researches on popular customs, literature and religions. In both of these contexts, Chinese gate buildings appeared as beautiful and typical figures as other types of Chinese architecture, with sometimes elaborate yet seemingly randomly and irrational decorations and ornaments that have been taken for granted by the Chinese. The question ‘what could Chinese gates mean’ in this background is not properly answered. This thesis is an excursion into the true character of traditional Chinese gate buildings in their relationships with space, rituals and possible cosmological origins, beyond their vivid images of Chinese style. It is proposed in this thesis that traditional Chinese gates, both of imperial palace gates and domestic entrances, are understood as thresholds, a symbol that marks spatial and political class boundaries in need of social protocols, rites and orders, and a unique intermediary that has been taken for granted by people (the Human World) to correspond to ancient Chinese cosmological understandings. This threshold is the result and dynamic symbol of cosmos of the time. From the oracle bone inscripts for gates/doors of the Shang period to the repeated greetings from the main gate via the U-shaped passage to the main hall in the pre-Han and Han period; from sacrifices to gates to ceremonial pai-lou gateways built for the imperial parade; from the ming-tang in classical texts to the Beijing city gates that practiced the ming-tang ideal; from the symbolic rules for lucky gates to the ritual of opening Wealth gates, sources over a long time span are collected, and arguments are mounted to discover how Chinese gates as architecture might be associated with cosmic symbols and ritual significance, and to further express the fundamental concerns of the implicit and inherent meanings of gates, which truly define them. The ideas proposed in this thesis are radical. However, what is delivered here attempts to bridge some gaps in the field and to provide a base for understanding and a possible direction for further research on the subjects relevant to Chinese architecture.
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Névot, Aurélie. ""Les lolos ont-ils une religion ?" : le théâtre rituel midje chez les Nipa du Yunnan (Chine)." Paris 10, 2003. http://www.theses.fr/2003PA100137.
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Cette thèse considère la société des Nipa du sud-ouest de la Chine, autrefois connue sous l'appellation « Lolo ». L'étude du théâtre rituel midje, mise en scène d'« une anthropologie » de la vie des Nipa, tente de montrer comment ce peuple organise sa vie et sa pensée à la lumière de sa religion chamanique dont les représentants sont les bimo qui maîtrisent une écriture rituelle différente de l'écriture chinoise ; et communiquent avec les esprits en voyageant dans le cosmos par la psalmodie de leurs manuscrits. Cette étude propose aussi une réflexion sur la société globale chinoise. On s'intéresse au « culte de l'unification » sur lequel repose le mode de gouvernement chinois depuis ses origines. Le pouvoir central a pour but d'intégrer les Nipa à la «Nationalité minoritaire» yi* et de fédérer les différentes branches Yi*. Il utilise ainsi les structures chamaniques en déléguant un certain pouvoir à une entité locale constituée de bimo dirigés par le bimo officiel nommé par l'EtatThis thesis considers the Nipa's society of south-western China ; formerly known as « lolo ». The study of the ritual theater called midje which expresses the anthropology of the Nipas, try to show how those people organize their life and their thought through their shamanic religion whose representatives are the bimos. Those shamans have a ritual writing different from the Chinese writing, and they communicate with the spirits by cosmos travels thanks to the psalmodies of their books. This study also proposes a reflection about the Chinese global society. It deals with the "unification cult" which is the basis of the Chinese govermnent since its origins. The central power wants to integrate the Nipas into the Yi national minority in order to federate the different yi branches. It uses then the shamanic structures by delegating a certain power to the local entity composed of the traditional bimos directed by the official bimo elected by the State
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Lin, Chen-Yuan. "Le rituel taoïste du sud-est du Fujian." Paris, EPHE, 2014. http://www.theses.fr/2014EPHE5033.
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Qu’est-ce que le taoïsme ? Cette thèse interprète le taoïsme à partir de ses rituels ou, plus exactement, à partir du rituel phare du taoïsme, le Jiao ou Offrande communale. Me basant principalement sur la tradition taoïste de la “double porte du Dao et de ses Méthodes” transmise au début du XIXe siècle depuis Zhao’an dans le sud-est du Fujian au Nord de Taiwan, , j’examine des questions fondamentales concernant la formation, le développement et les transformations du taoïsme du Nord de Taiwan, les origines historiques et les particularités sectaires de son Offrande et les interactions entre cette tradition et la société-hôte de Taiwan, et entre celle-ci et le taoïsme du Sud de Taiwan. La plupart des matériaux étudiés, dont certains nouvellement découverts, proviennent du travail de terrain. Utilisant les méthodes de l’ethnographie et de l’étude de textes, je fournis une description fouillie du taoïsme du Nord de Taiwan, que je compare ensuite au taoïsme de Zhao’an et du Sud de Taiwan, dans le but de distinguer ce qui est typique du rituel taoïste en général de ce qui relève de particularités locales. Les principaux résultats de mes recherches sont comme suit : 1) En étudiant la “double porte” à Zhao’an et à Taiwan, j’ai découvert un changement significatif dans le sens du ce terme clé. 2) En même temps, les manuscrits rituels de l’Offrande de la « double porte », ainsi que les instructions secrètes qui leur sont associées, restèrent inchangés. 3) La société locale s’intéressent en priorité aux rituels des taoïstes et non pas aux doctrines. Ainsi, étudier l’Offrande « double porte » nous fait entrer au coeur du taoïsme vivantWhat is Daoism? This thesis interprets Daoism from the point of view of its rituals or, more precisely, by looking at Daoism’s core ritual, the Jiao or communal Offering. Basing myself primarily on a Daoist tradition transmitted in the beginning of the nineteenth century from southeastern Fujian (Zhao’an County) to northern Taiwan, the so-called “double gate of the Dao and Methods,” I examine such basic questions as the formation, development, and transformations of this local Daoist tradition, the historical origins and distinctive sectarian particularities of its Jiao, and the mutual interactions between this tradition and local society and between it and the ritual traditions of other localities. Most of the materials studied, some of them newly discovered, come from fieldwork. Using the methods of ethnography and the study of historical texts, I provide a thorough description of local Daoism in northern Taiwan. The aim is to produce a basic picture of one form of local Daoism and, by comparing it with the Daoism of southern Taiwan and Zhao’an, to explore in it both what is typical of Daoist ritual generally and what is particular. In the end, what is real, living Daoism? The main results of my research are as follows: 1) Through a comparative study of the “double gate” in Zhao’an and Taiwan, I discovered significant changes in the meaning of this key term. 2) At the same time, the ritual manuscripts of the “double gate” Offering and the secret instructions associated with them have remained stable. 3) Local society turns to Daoism for its rituals, not its doctrines. The two-gate Offering provides profound insight into the true nature of Daoism
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Kern, Martin. "Die Hymnen der chinesischen Staatsopfer : Literatur und Ritual in der politischen Repräsentation von der Han-Zeit bis zu den Sechs Dynastien /." Stuttgart : F. Steiner, 1997. http://catalogue.bnf.fr/ark:/12148/cb37659433n.
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Beaud, Sylvie. "Masques en parade : étude d’une identité Han à la jonction du politique et du rituel : l’exemple du théâtre de Guan Suo (Yunnan, Chine)." Paris 10, 2012. http://www.theses.fr/2012PA100106.
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Les habitants de Yangzong dans la province du Yunnan sont membres de majorité han tout en étant régulièrement assimilés à une minorité ethnique par les personnes extérieures à la vallée. En effet, leurs tenues féminines s’apparentent aux costumes colorés qui font la notoriété des diverses minorités ethniques de la province. Pourtant, les habitants de Yangzong rappellent régulièrement leur identité han à travers un théâtre de masques joué lors du nouvel an chinois. Cette pratique, nommée d’après le personnage divinisé de Guan Suo, constitue l’un des emblèmes culturels locaux brandi à la fois par les villageois, les médias et les autorités qui l’ont promulgué patrimoine culturel immatériel national en 2010. Si les parties en présence se rejoignent sur la désignation de cet emblème, la façon dont chacun l’interprète diffère. Tandis que la promotion du Théâtre de Guan Suo comme « fossile vivant » de la culture chinoise par les instances officielles participe de l’élaboration d’un discours nationaliste, pour les habitants de Yangzong, la pratique renvoie à d’autres notions telles que le statut militaire, la mémoire et le terroir sur lesquelles repose leur identité han. Guan Suo permet ainsi aux villageois d’origines diverses de se réunir sous une même bannière et de s’établir en une communauté de culte rituellement inscrite dans le territoire. La manière dont ces représentations sont élaborées et s’articulent entre elles est examinée à l’aune des discours des différents protagonistes. Cette approche privilégie donc l’étude des différents modes de perception du passé, d’action au présent et de construction de l’avenirThe inhabitants of Yangzong, in Yunnan province, officially belong to the Han ethnic majority, and yet their ethnicity is often questioned by outsiders. The local women’s clothes, for example, tend to make them look very much like one of the numerous ethnic minorities. However, the villagers regularly reiterate their claim to Han identity through the performance of a masked opera at the New Year festival. This masked practice, named after the deified character of Guan Suo, became a major cultural expression of community identity recognized by the locals as well as the authorities. The practice was designed "national intangible cultural heritage" in 2010. Although there is consensus among locals and officials at different levels on the overall cultural value of the opera, the various actors differ in their interpretation of its significance: while the promotion of the Guan Suo Opera as a "living fossil" of Chinese culture is part of the official nationalist discourse, the Yangzong people consider the ritual opera a way to transmit their History and lay clam to their identity as Han. The banner of Guan Suo provides unity to villagers of various origins who can thus establish themselves as a cult community ritually anchored to a specific territory. This thesis interrogates these differing discourses to examine the way in which representations of identity are built and coexist as a means to reconstruct the past, act in the present and prepare the future
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Chen, Jin. "Le dualisme Na : étude des chants et rituels des Daba (Sichuan et Yunnan, Chine." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0544.
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Le présent travail a pour objet la description des systèmes rituels et des chants des Daba. Ces derniers sont considérés comme étant les spécialistes des rites et divinations du peuple na, un des nombreux groupes ethniques situés en Chine. A partir des données recueillies pendant les enquêtes réalisées durant la période 2004-2007, la thèse décrit et analyse trois cas rituels. Il s’agit du rite de vénération destiné aux ancêtres du lignage ou busina, du rite d’expulser les esprits maléfiques ou mukrabus, et du rite gibu consacré aux esprits gu représentant les ources d’eau. Pour chacun de ces cas, les Daba mettent au service leurs connaissances spécifiques des longs processus rituels et chants complexes, en vue d’atteindre des objectifs divers : soit, dans le cas busina, le partage des aliments avec les ancêtres et les autres villageois ; soit, dans mukrabu, l’expulsion des mauvais esprits représentant diverses saletés de la maison ; soit, enfin dans gubu, veiller à la satisfaction des esprits « ambivalents » gu, afin que ces derniers consentent à coopérer avec les humains dans les activités agricoles l’année suivante. Dans le dernier chapitre, nous mettons en lumière trois binômes ontologiques émergeant des descriptions et analyses précédentes : ils paraissent, en effet, constitués des rapports complexes entre les morts et les vivants, entre les mauvais et les bons, et enfin entre les humains et les entités environnementales. De plus, on remarque une tendance particulière de « répétitions » dans les méthodes employées par les chamanes na vis-à-vis des forces opposantes. Ensemble, ces relations et méthodes constituent ce que nous appelons « le dualisme na »This thesis explores the ritual systems and songs of the Daba, a class of ritual specialists and diviners among the Na of south-west China. Based on three periods of fieldwork carried out from 2004 – 2007, the thesis describes and analyses three types of ritual: the busina, a rite of veneration for lineage ancestors; the mukrabu, an exorcism rite; and the gubu, dedicated to gu spirits who represent springs. In each case, the Daba make use of their specific knowledge of long ritual processes, as well as of complex songs, to achieve various objectives. The purpose of the busina is to share food with ancestors and other villagers, mukrabu aims to exorcise evil spirits representing various forms of impurity, and finally gubu propitiates “ambivalent” gu spirits, so that they agree to cooperate with humans in the agricultural activities over the following year. By exploring the parallel unfolding and interweaving of ritual songs and practices. I draw out the principal characteristics of Daba ritual technique. In the final chapter, I highlight three ontological pairs emerging from previous descriptions and analyses. These emerge out of complex relationships between the living and the dead, between good and evil, and finally between humans and environmental entities (nature spirits). I also draw attention to the tendency towards “rehearsal” in the methods used by Na shamans vis-à-vis the opposing forces. These different methods and relationships together constitute what I call “Na dualism”
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Zhang, Zhikun [Verfasser]. "From Guan Li to eighteen-year-old oath ceremony : a study of Chinese initiation rituals in the perspective of historical anthropology / Zhikun Zhang." Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1023376156/34.
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Garcia, Léonardo. "Les Bailes Chinos : religiosité et métissages au Chili." Thesis, Paris 10, 2008. http://www.theses.fr/2008PA100069/document.
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Les bailes chinos sont un type de société religieuse métisse présente dans la plupart des festivités de la moitié septentrionale du Chili et du centre-ouest de l’Argentine. Les chinos, héritiers du modèle des confréries coloniales, se caractérisent aujourd’hui par leur forte identité masculine et par une ritualité essentiellement mariale (ex. sanctuaires de La Tirana, de La Candelaria-Copiapó et d’Andacollo). Le terme chino viendrait du quechua « serviteur », d’où son sens populaire actuel de « serviteur de la divinité ». Néanmoins, cette hypothèse, ainsi que celle les associant à l’immigration chinoise (de Chine) au Chili, reste largement critiquable. Les chinos se différencient des autres bailes religiosos quant au fait de danser tout en jouant de leurs instruments ; un type particulier de flûte (probablement d’origine préhispanique, vu sa similitude avec des spécimens archéologiques analogues), de tambours et de drapeaux, qui guident la musique et la danse d’une manière visuelle. Il est toutefois important d’apprécier les spécificités musicales, chorégraphiques et vestimentaires entre les groupes du Norte Grande, du Norte Chico et du Chili central. Ces identités se génèrent autant à partir des aspects historiques de l’aire sud-andine qu’à partir des paradigmes sociaux dérivés d’une globalisation croissante. Cette thèse aborde l’étude des bailes chinos à partir d’une optique comparative, en abordant autant les aspects de la ritualité que ceux de l’intégration sociale de ces groupes dans le contexte du Chili actuelThe bailes chinos are a type of cross-cultural religious brotherhood that participates at most of the celebrations held all through Chile’s northern half and in central-western Argentina. The chinos, related to the model of ancient Hispanic colonial brotherhoods, characterize nowadays by their deep masculine identity and by a rituality focused mainly on the catholic cult to the Virgin (ex. shrines in La Tirana, La Candelaria-Copiapó and Andacollo). The term chino would refer to quechua “servant”, from where we can extrapolate its actual popular sense of “servants of the divine”. Nevertheless, this hypothesis, as the one relating the chinos to Chinese immigration to Chile, is largely uncertain. The chinos differ from other bailes religiosos in the practice dancing while playing their own instruments simultaneously; a particular type of flute (probably of pre-Hispanic origin, if compared with analogue archaeological examples), drums and banners, which guide visually the music and the dance. Nevertheless, it is important to appreciate the musical and choreographic diversity between groups of Norte Grande, Norte Chico and Central Chile. These identities generate also through the historical aspects of the south-Andean area as through the new social paradigms derived from an increasing globalisation. This PHD concerns the study of the bailes chinos from a comparative point of view, approaching the aspects of the rituality and the social integration of these groups in the context of actual Chile
Los bailes chinos son un tipo de sociedad religiosa mestiza presente en la mayoría de las festividades de la mitad septentrional de Chile y en el centro-oeste de Argentina. Los chinos, herederos del modelo de las cofradías coloniales, se caracterizan hoy en día por su fuerte identidad masculina y por una ritualidad esencialmente mariana (Ej. santuarios de La Tirana, La Candelaria-Copiapó y Andacollo). El término chino vendría de un vocablo quechua que significa “servidor”, de donde se extrapola el sentido popular actual de “servidor de la divinidad”. Sin embargo, esta hipótesis, así como aquella que los asocia a la inmigración China en Chile, son ampliamente criticables. Los chinos se distinguen de otros bailes religiosos por danzar ejecutando simultáneamente sus instrumentos; un tipo particular de flauta (de origen probablemente prehispánico, dada su semejanza con especimenes arqueológicos análogos), tambores y banderas, las que guían visualmente la música y la danza. A pesar de este denominador común, es igualmente importante el poder apreciar las particularidades musicales, coreográficas e indumentarias entre los grupos del Norte Grande, Norte Chico y Zona Central. Estas identidades específicas se generan también tanto a partir de los aspectos históricos del área sur-andina como de los paradigmas sociales derivados de una globalización progresiva. Esta tesis se centra en el estudio de los bailes chinos a partir de un punto de vista comparativo, abordando los aspectos de la ritualidad y la integración de estos grupos en el contexto del Chile actual
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Venture, Olivier. "Etude d'un emploi rituel de l'écrit dans la Chine archai͏̈que (XIIIè-VIIIè siècle avant notre ère) : réflexion sur les matériaux épigraphiques des Shang et des Zhou occidentaux." Paris 7, 2002. http://www.theses.fr/2002PA070025.
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Après près de cent ans de découvertes archéologiques en Chine, un nombre très important d'inscriptions datant du XIIIe au VIIIe siècle avant notre ère a déjà été exhumé. En analysant ce matériel, l'auteur montre que non seulement ces premiers témoignages d'utilisation de l'écrit en Chine ont en commun d'apparaître sur des objets liés à des pratiques rituelles telles que le culte des ancêtres ou la divination, mais surtout que le fait d'ajouter du texte sur ces objets participait aussi fondamentalement d'une même démarche. Ecrire était une manière de donner une pérennité à des actes glorieux ou pieux et d'espérer ainsi voir se prolonger les bienfaits que les esprits devaient dispenser en récompense de ces actes. Poursuivant cette idée d'une utilisation restrictive de l'écrit, l'auteur entreprend également une réflexion sur la fonction de l'écriture dans la Chine archai͏̈que, mettant en lumière la nécessité de considérer la diffusion de sa connaissance comme un facteur essentiel de l'évolution de son utilisation dans la sociétéAfter nearly hundred years of archeological discoveries in China, a great number of inscriptions from the thirteenth to the seventh centuries B. C. Have already been excavated. The author's analysis of this material shows not only that this earliest evidences of the use of writing in China all appear on objects related to ritual practices such as the ancestral cult or divination, but also that the fact of adding text on those objects was fundamentally of the same nature. Writing was a way of giving glorious or pious acts an everlasting form, and by doing so, extended benefits proceding from this acts were expected from spirits in return. Going further with this idea of a restrictive use of writing, the author also starts a discussion on the function of writing in Early China, and sheds light on the need to consider the spread of literacy as an essential factor in the evolution of the role of writing in society
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Venture, Olivier. "Étude d'un emploi rituel de l'écrit dans La Chine archaïque (XIIIe-VIIIe siècle avant notre ére Réflexion sur les matériaux épigraphiques des Shang et des Zhou occidentaux /." Online version, 2002. http://bibpurl.oclc.org/web/29781.
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Favraud, Georges. "La communauté villageoise de Litang, et ses transmissions généalogiques et rituelles dans la construction de la modernité chinoise (du XIXe siècle à nos jours)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100014.
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Comment une communauté locale chinoise, structurée à la fois par ses transmissions patrilinéaires et taoïstes, participe-t-elle à la construction de la « modernité » ? Cette thèse montre la manière dont s’articulent et se transforment ces deux structures sociales communautaires fondamentales, afin de s’élaborer, de s’adapter et de participer au changement social de leur temps. Ce travail monographique porte en outre un regard ethnologique de plus grande échelle sur la société et l’histoire du bassin de la Xiang et de la province du Hunan : des cultes confucéens et patrilignagers rendus aux ancêtres agnatiques, du Pic du Sud (Nanyue) et des anciennes traditions rituelles, martiales et médicales taoïstes (Chunyang etQuanzhen), à leur recomposition actuelle dans le « socialisme de marché à la chinoise », après avoir traverséles premiers mouvements paysans communistes asiatiques (1927) orchestrés par Mao Zedong dans sa région natale, et la Révolution culturelle (1966-76).L’étude des mutations contemporaines du patrilignage des Chen du village de Litang, autour duquel se nouent les enjeux de pouvoir et la hiérarchisation des rôles des hommes et des femmes, ainsi que le système économique et écologique local, nous conduisentà repenser les bases mêmes sur lesquelles se construisent aujourd’hui les groupes de parenté chinois. L’analyse des mutations et des métissages entre parenté et rituel, qui se sont opérés dans le cadre du sanctuaire local des Transformations croissantes (ZenghuaGuan), institution en charge de l’organisation de la vie rituelle villageoise, montre quant à elle que la communauté de culte reste l’une des structures les plus fluides et durables de la société chinoiseHow does a local Chinese community, structured on the basis of both patrilineal and Daoist transmissions, participate in the building of “modernity”? This dissertation describes the way in which these two fundamental communal social structures are articulatedwith respect to each other, and the way in which they transform themselves in order to adapt to, and participate in, the social changes of their time. This monographic work also proposes, on a larger scale, an anthropological analysis of the society and history of the Xiang basin and Hunan province: from Confucian and patrilineal cults to agnatic kinship, as well as from ancient ritual, martial and medical Daoist traditions (Chunyang and Quanzhen), to their actual rearrangements in the “Chinese market socialism”, after having undergonethe first Communist peasant movements (1927) lead by Mao Zedong in his native region, and the Cultural Revolution (1966-76). The study of the contemporary mutations of the Chen lineage of Litang - an institution at the center of local power struggles, the hierarchization of sexual roles, and the village economy and ecology – leads us to reassert the very basison which Chinese parenthood groups elaborate themselves today. The analysisof the changes and the intermixturebetween parenthood and rituals, whichtake place in the local sanctuary of Increasing Transformations (Zenghua Guan) – an institution in charge of the local ritual life – shows that cult communitiesare one of the more fluid and sustainable structures of Chinese society
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Dong, Hsing pang. "Les pratiques du coucher du jeune enfant, la relation familiale et la construction psychique de la personne : une étude interculturelle comprative entre la France et la Chine (Taïwan)." Paris 5, 2006. http://www.theses.fr/2006PA05H033.
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Les pratiques du coucher du jeune enfant sont étroitement liées à la notion et à la représention spécifique de la personne conçue par la culture. Nous montrons qu'aux deux modèles du sommeil -dormir séparément en France et dormir ensemble en Chimie (Taïwan), correspondent deux modèles et deux processus de construction de la personne. L'un est basé sur la séparation d'avec l'autre et l'autre, sur la séparation d'avec soi. Opérant en deux sens inverses, la frustration de la séparation d'avec l'autre et la frustration de la sépartion d'avec soi conduisent à deux personnalités fondamentalement différentes : le "Moi authentique" en France qui s'attache à soi et le "Moi relationnel" en Chine qui se détache de son soi pour d'identifier à son rôle et à sa relation avec l'Autre. Il y a, en France et en Chine, deux modèles de théorisation sur la vie psychique de l'individu et sur le fonctionnement de son appareil psychiqueApart from their functional aspects, the infant sleep rituals are closely linked to underlying cultural representations regarding the notion and the specific representation of the individual as seen by the culture. We show that both sleeping models -sepatate sleeping in France and co-sleeping in China (taïwan- correspond to two models and two processes of self construction. One is based on separation from the other while the second is based on the separation from the self. Operating, in opposite directions, the frustration of separation from the other and the frustration of separation from the self lead to two fundamentally different personalities : the "Authentic self" in french which becomes attached to the self and the "Relational self" in China which becomes detached from his self to fill his role and his relation with the other. There are, both in France and China, two models of theorization on the psychic life of man and on the regulation and the functioning of his psychic system
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Spangemacher, Anne. "Les anciens maîtres du Bulangshan : étude des rapports entre doctrine bouddhique, rituels et pouvoir chez les Plang des Sipsong Panna, (R.P. de Chine)." Paris 10, 1999. http://www.theses.fr/1999PA100190.
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Les plang (bulang), une population austro-asiatique (mon-khmere) d'environ 85. 000 personnes, sont des agriculteurs sur brulis vivant dans le sud-ouest de la province du yunnan. Cette etude se concentre sur les habitants de la montagne des plang, une region auparavant integree au sein du royaume tai lu des sipsong panna. Une analyse ethno-historique demontre comment, a l'echelle des communautes villageoises plang, le controle du regime feodal tai s'est realise en superposant aux prerogatives traditionnelles du maitre du culte aux divinites tutelaires des agents infeodes par le pouvoir central et reconnus de ce fait comme les nouveaux detenteurs de l'autorite. On y constate l'apparition d'une stratification lignagere resultant de la transmission de privileges hereditaires, un principe encore predominent aujourd'hui, meme si les fonctions exercees par les chefs hereditaires sont essentiellement rituelles. La politique centralisatrice tai a ete stabilisee et renforcee a travers l'instauration d'institutions bouddhiques suivant une structure hierarchique. L'implantation de monasteres dans les villages plang s'accompagna de l'imposition d'un calendrier bouddhique et de l'harmonisation des cultes et croyances populaires. Pratiques therapeutiques et astrologiques, rites agraires et fetes bouddhiques sont examines par l'etude du rapport entre divinites locales et culte bouddhique en tant qu'enjeu identitaire. Si l'indianisation des plang leur conferait des avantages politiques sous le regime tai, dont le droit de gouverner les ethnies tibeto-birmanes voisines, la situation s'est renversee depuis la prise de pouvoir des communistes chinois en 1953.
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Tsai, Chien-Wen. "La compétence commnunicative en didactique des langues : étude des actes de parole rituels en français et en chinois mandarin et traitement en classe." Paris 3, 2007. http://www.theses.fr/2007PA030156.
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La compétence visée par l’enseignement/apprentissage d’une langue étrangère, est la capacité à communiquer. Depuis trente ans, l’approche communicative ainsi que la notion d’acte de parole occupent une place considérable dans la didactique des langues. Actuellement, les dimensions culturelles de la langue cible mais aussi de la langue source, constituent la problématique principale en la matière. A travers les recherches interactionnistes sur les actes de parole en français et en chinois mandarin, ce travail permet de revisiter ce domaine de recherches et d’apporter une réflexion sur les théories et leurs mises en pratique en classe de langue étrangèreThe purpose of foreign language teaching and learning is the development of communicative ability. Communicative approach and speech acts have played an important role in language teaching for thirty years. At present, cultural component of target language, but also of first language, constitute a central issue on the subject. Through the study of speech acts in French and in Mandarin Chinese, this dissertation attempt to reread speech act theories and to offer some applications in foreign language classrooms
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Henrion-Dourcy, Isabelle. "Ache Lhamo : Jeux et enjeux d'une tradition théâtrale tibétaine." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211111.
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L'objet de cette thèse est une monographie du théâtre traditionnel tibétain, ou ache lhamo, souvent appelé lhamo tout court, tel qu'il était joué à l'époque pré-moderne (antérieure à 1950) et tel qu'il est encore joué actuellement en Région Autonome du Tibet (République Populaire de Chine) et dans la diaspora tibétaine établie en Inde et au Népal. Comme la plupart des théâtres d'Asie, il est un genre composite :à la fois drame à thématique religieuse (issue du bouddhisme mahāyāna), satire mimée, et farce paysanne, il comprend de la récitation sur un mode parlé, du chant, des percussions, de la danse et des bouffonneries improvisées, ainsi qu'un usage de masques et de costumes flamboyants, qui tranchent avec la sobriété absolue des décors (la scène est vide) et de la mise en scène. Bien qu’il ait été encouragé et financé par le gouvernement des Dalai Lama, de grands monastères et des familles aristocratiques, c’est un théâtre avant tout populaire, et non pas réservé à une élite lettrée. Cette étude a circonscrit à la fois le contenu, le rôle social, le langage artistique et les implications politiques du théâtre dans la civilisation tibétaine.La méthodologie a été composée en combinant les apports et réflexions critiques de trois disciplines :l'ethnologie, la tibétologie et les études théâtrales. L'approche est fondamentalement ethnologique, en ce que la production des données repose sur une immersion de plus de deux ans parmi des acteurs de théâtre de la Région Autonome du Tibet (1996-1998) et de près d'un an parmi ceux de la diaspora d'Asie du Sud (1998-2000). Elle l’est aussi en ce que l’intention a été de constituer une intelligibilité englobante pour l'ache lhamo, c'est-à-dire de mettre au jour l'intrication des dimensions culturelle, sociale, politique, économique, rituelle et symbolique de la pratique théâtrale. L’une des contributions principales du travail est d’étoffer l’ethnologie régionale du Tibet central, mais ses conclusions et son esprit critique le placent également dans la liste déjà importante des travaux consacrés à l'invention des traditions. La tibétologie a fourni le cadre interprétatif fondamental des données recueillies. Une importance très grande a été accordée à l'histoire du pays ainsi qu'à la philologie et aux terminologies vernaculaires particulières au théâtre. L’étude s’inscrit dans l’un des courants novateurs de la tibétologie, privilégiant les aspects non plus religieux et politiques de cette civilisation, mais sa partie « populaire » et anthropologique, mettant au premier plan l’analyse des pratiques et non celle des doctrines. Des sources écrites (textes pré-modernes et sources secondaires de folkloristes tibétains et chinois) ont été intégrées aux observations. En ce qui concerne la troisième approche méthodologique, cette étude ne s'inscrit ni dans le courant des « performance studies » de Richard Schechner, ni dans l'anthropologie théâtrale d’Eugenio Barba, ni dans l'ethnoscénologie telle qu'elle est défendue par Jean-Marie Pradier, mais plutôt dans l'anthropologie du théâtre, au sens d'étude interprétative et multidimensionnelle, utilisant les référents établis de l'anthropologie et les savoirs indigènes pour décrire une expression culturelle déterminée et reconnue comme un genre à part entière, le théâtre.
Les résultats sont présentés en trois parties, qui peuvent être résumées de manière lapidaire par trois adjectifs :culturelle, sociologique, artistique. La première partie, intitulée "Le cadre culturel du lhamo avant 1959", est consacrée au contexte (historique, religieux et littéraire) dans lequel le théâtre est inscrit, ainsi qu’aux textes (leur contenu, leurs modalités de composition et de transmission) qui révèlent l'imaginaire propre du théâtre. La deuxième partie est une analyse de "L'ancrage sociologique du lhamo". Les conditions matérielles des représentations y sont examinées :les divers types de troupes, leur organisation interne, le statut social des acteurs, l'inscription de la pratique du théâtre dans le système socio-économique pré-moderne, et les rapports d'obligations tissés entre acteurs et seigneurs, ainsi qu'entre acteurs et commanditaires des représentations. La dernière partie, "Art et savoirs des acteurs", jette un éclairage sur la matière vive du lhamo. Elle rend compte des conceptions, valeurs, plaisirs et difficultés de ceux qui pratiquent cette forme d'art. Les divers registres de leur discipline sont analysés en détail :costumes, masques, gestuelle, chant, accompagnement musical (percussions) et sentiments exprimés. L'appréciation qui en est faite par le public est aussi consignée. Au cœur de cette partie se trouve une réflexion sur la nature rituelle et non rituelle du lhamo, et sur les liens éventuels de ce dernier avec d'autres activités religieuses, telles la possession. Les dernières pages de la thèse constituent un épilogue, qui fait le point sur la situation contemporaine, donc les implications politiques, du théâtre des deux côtés de l'Himalaya.
L'image anthropologique du lhamo qui a pu être dégagée de ces trois volets d'analyse le fait apparaître comme essentiellement ambivalent :le lhamo est un théâtre de paradoxes. À l'image de la civilisation tibétaine, il est composite et cohérent à la fois. Sa cohérence réside dans son ambivalence :il traverse et relie des aspects contrastés de la culture. Il introduit du jeu entre les polarités que Tibétains et tibétologues établissent parfois un peu trop à la hâte entre culture savante et culture populaire, écriture et oralité, éléments exogènes et apports autochtones, bouddhisme et cultes qui ont précédé son implantation, aspiration religieuse et intérêts mondains, spécialistes rituels et bénéficiaires qui les rémunèrent. Combinant fonction pédagogique et fonction rituelle, sacré compassé du texte et irrévérence grivoise des improvisations, le lhamo correspond aussi très bien à la manière dont les théâtrologues appréhendent le théâtre :comme un objet curieux, créé par les hommes et qui pourtant ne cesse de les intriguer, comme s'il était venu d'ailleurs.
Doctorat en Sciences politiques et sociales
info:eu-repo/semantics/nonPublished
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Hao, Yu-Hsiang, and 郝譽翔. "Nuo: A Study of Chinese Ritual Theatre." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/32397317021717185117.
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博士國立臺灣大學
中國文學系研究所
86
Ritual is the main performance context of Chinese darma. Ritual is closely co nnected with drama. They are two sides of one body and are inseperable. Theref ore ritual is an indispensible element in the study of drama. This thesisis co ncentrated on the syudy of Nuo, which is a form of performance combinedof ritu al and drama. In it I discuss the origin and developement, as well asthe meani ng, of Nuo. I also discuss the two aspects of Nuo--"She-Nuo" and "Yuan-Nuo", a nd try to point out the characteristics of ritual drama.
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Lacy, Julia Frances. "Showing Respect: Death Rituals of the Chinese Community in Coastal Urban British Columbia." Thesis, 2016. http://hdl.handle.net/1828/7051.
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Decisions on how to proceed at the death of a loved one can be very hard on those tasked with arranging funeral plans. When the deceased or their family span more than one culture, as frequently occurs in immigrant communities, those who remain may not even know what the culturally appropriate practices are. The difficulty of making decisions and plans without a resource base during times of mourning can increase the emotional burden of those who experience the death of a loved one.
This research gathers information from persons in the culturally diverse Victoria and costal urban British Columbia’s Chinese Canadian community about some of the death rituals practised locally. It also delves into the beliefs about renegotiated relationships with the deceased, other family members, and the community at large. A summary of this research is provided in a brochure intended to assist people who, as was the case for myself, find they need to make final arrangements but who do not have much knowledge of practices in the Chinese Canadian community.Graduate
jlacy@uvic.ca
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""It's the people here": A study of ritual, conversion, and congregational life among Chinese Christians." UNIVERSITY OF MASSACHUSETTS AMHERST, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3325322.
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Abel, Andrew Stuart. "“It's the people here”: A study of ritual, conversion, and congregational life among Chinese Christians." 2008. https://scholarworks.umass.edu/dissertations/AAI3325322.
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This is an examination of congregational life among Chinese Christians in New England. The study primarily focuses on (1) the attractions of Chinese congregational life for members and recruits, (2) the process of conversion and the social and organizational context in which it occurs, and (3) the implications of the study for conceptual models of conversion and church growth. Previous research on Chinese Christians has largely addressed cultural and identity issues regarding conversion to what is for the Chinese a foreign religion, as well as the social and political context of increased Chinese openness toward Christianity, especially among Chinese from the People's Republic of China. The existing literature addresses the attractions of Chinese churches, but there has been little effort to systematically compare among such attractions. Employing multiple methods (survey, informal interviews, and participant observation), this study focuses on how Chinese congregational life's attractiveness depends largely upon the relationship between three factors: social context, Chinese Protestant ideology, and interaction rituals. The findings presented here suggest that conversion is best supported when these three factors are isologous (or "in sync").
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LIU, BO-XUAN, and 劉鎛瑄. "The Study of the Ritual of Nianfo in Chinese Buddhism－A Case Study of Shandau’s Wangshenglizan." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/a3s4ya.
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LI, CHIA-HSIANG, and 李嘉祥. "The Research of Ritual Implications in Leisure Activities-A Case Study of Chinese Professional Baseball League Spectatorship." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/smhmym.
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碩士亞洲大學
休閒與遊憩管理學系碩士在職專班
105
This study aims to explore the ritual implications in CPBL(Chinese Professional Baseball League) spectatorship. Meanwhile, in order to achieve a better understanding of the word ritual, this study will be focusing on the differences of ritual implications between religion and baseball spectatorship. Besides, this study will be discussing the reasons why people may regard baseball spectatorship as ritual(positive) while others consider it as addiction(negative). An in-depth interview was conducted in this study. The participants were recruited from huge fans of CPBL , and were interviewed by the use of a structured questionnaire. Interpretations were revised and compared with new data until saturation and redundancy were achieved. That is, a total of five participants were interviewed in this study. The result indicates that there are six different settings of ritual implications in CPBL spectatorship including, stadium, equipments, jerseys, cheerleading, cheer props, and baseball rules. When it comes to the spiritual differences between religion and baseball spectatorship, the results implies that there are similarities in both aspects in terms of habits, flow experience, beliefs, and stability. Furthermore, the result indicates that self-expression and centrality are the two major reasons why baseball spectatorship may become ritual(positive) or addiction (negative). Finally, it was suggested that the six different settings in baseball spectatorship can be modified and used in order to promote baseball spectatorship. Also, the result may be taken into considerations for those who has been doing the research on addiction treatments. A further research on ritual implications in different sports spectatorship is also advised.
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Lai, Shinn-chuang, and 賴信川. "The Research of Gyo-san-sho-myo-shu-- The Investigation of Development of Chinese Buddhism Ritual Music." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/24877436700172943202.
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碩士華梵大學
東方人文思想研究所
87
Title of thesis: The Research of Gyo-san-sho-myo-shu-- The Investigation of Development of Chinese Buddhism Ritual Music Name of Institute: The Institute of Oriental Humanities of Hufan University Graduate date: June 1999 Degree conferred: Master Student: Shinn-chuang Lai 賴信川 Advisor: Prof. Wan-nai Chen 陳萬鼐 Prof. Kwong-yim Ho 何廣棪 Abstract Fan-bai(梵唄, the name of Chinese Buddhism ritual music) is a kind of art about Buddhist art and musicology. Yet the contents are not only the art of music but also the convenient way which can lead Buddhists to enlighten themselves as same as Buddha. So we may look it as the skill which lead people enter the three Buddhism gate(discipline,meditation,wisdom) which lead people to perfect their personality. Suppose we ignore the position of the philosophy of Buddhism about Fan-bai, then we will never get the clear image of Fan-bai. When we talk about the history of Chinese Fan-bai''s development, we had better have a good view-point so that we conveniently understand complete development of Chinese Fan-bai. Gyo-san-sho-myo-shu (The hymns book of Gyo-san)is the best view-point on the history of Chinese Fan-bai''s development. "Gyo-san" is a place both in Chinese and Japan. And Sho-myo is the ritual music in Japanese Buddhism. But the sho-myo was come from China about 847 AD. The contents of Gyo-san-sho-myo-shu doesn''t only contain the hymns which are belonging to Buddhism Ten-tai school in Japan but used by the Buddhists in the times of Chinese Sue & Ton Dynasty (603 --907) . This is the reason why I chose the research of Gyo-san-sho-myo-shu as the topic of this thesis. There are four important theories constructed the model of this research. They are: 1.Structure of the hymns; 2.Playing role in the ritual about the hymns;3.utility of the hymns;4.the development of the hymns. The approach of investigation in this thesis were based on the 4 theories and it developed the contents as follow: Section 1. The first section contains 3 chapters. It introduces the author''s objective and motivation for this approach. This section shows the selection of the references and discussion of different studies. It also gives the method and the process, and a brief summary of the thesis. Section 2. The second section are divided into 3 chapters and 2 sub-chapters. It discusses the meaning of "sho-myo" which contains Indian ,Chinese and Japanese view. It also briefly introduces the history and development from India to China before 847 AD. In this section the author gives discussion about 4 theories as the base on the understanding of Chinese Buddhism Fan-bai. Section 3: The section 3 are divided into 3 Chapters and 2 sub-chapters. The main subject of section 3 is to discuss the book, Gyo-san-sho-myo-shu. It introduces the history, development and the author and so on as the outline of Gyo-san-sho-myo-shu. It also introduces the inside of Gyo-san-sho-myo-shu containing literature and musicology. At the end, it also shows the work of keeping the hymns in Japanese Buddhism: Institute established, performance council and record tapes and video published. Section 4: The section 4 are divided into 4 sub-chapters. It talks about the inspiration about Gyo-san-sho-myo-shu which Japanese devoted themselves to keeping. Through this research, we may got the idea that Chinese may got the lost culture from the neighbor countries and also get the new idea to improve the study of Fan-bai in Taiwan. From this research, we may get the conditions of forming the history of Chinese Fan-bai. At the last, the author mentions about looking into the future of this research.
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Chen, Pi-Yen. "Morning and evening service : the practice of ritual, music, and doctrine in the Chinese Buddhist monastic community /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934032.
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Kuo, Yu-Ju, and 郭玉茹. "An Analytical Research on the Ritual Music of Yogacara Ulkā-Mukha Dharma Service of the Traditional Chinese Buddhism in Taiwan." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/efv84r.
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碩士南華大學
宗教學研究所
103
When Śikṣānanda first translated the “Yogacara Ulkā-mukha,” its content was merely a personalpractice of alms-giving the dead (shishi), or offering food to hungry ghosts. A thousand years later, theYogacara Ulkā-mukha Dharma Service flourished into a large-scale ancestral worship ceremony. Thisthesis studies the processes of this change. In Taiwan, the vocal formulae used in the Yogacara Ulkā-mukha Dharma Service is comprised ofthe so-called “gushan tone” and the “haichao tone.” The “gushan tone” is a Taiwanese style of Buddhistchanting that was acquired from Yongquan Temple in Fujian before the arrival of the Nationalistgovernment in 1949. The “haichao tone” is a Zhejiang style of Buddhist chanting that came to Taiwan afterthe arrival of the Nationalist government in 1949. This method of chanting was then taught in Taiwanesetemples. In turn, the Yogacara Ulkā-mukha Dharma Service became a popular rite, and ensured the continuity of Chinese Buddhism in Taiwan.
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Lin, Yi-jyun, and 林怡君. "A Research on the Ritual Music of the Dahan Chinese Orchestra in the Welcoming Royal Lord Fiesta in Dong-Gang." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87148703134163103423.
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碩士南華大學
民族音樂學系
100
Dong-Gang, the fishing village, is a place where temples of all sizes and shapes can be seen here and there. Temples have long been a place fusing folk rituals, traditional arts and culture and showed tight relationship with local development, and tempo square is even an important space for performance of traditional arts and interactions of people. The Dong-Long temple has embodies its status and importance on its organization and activities. The every three-year period Welcoming Royal Lord Fiesta in Dong-Gang has been held and passed down for almost one hundred year. It was chosen as ten Intangible Cultural Heritage in Taiwan by Council for Cultural Affairs (2010); the charter ceremony was held on November, 26, 2011, and the Welcoming Royal Lord Fiesta was officially put into conservation program of the government and the succession planning of Dahan Chinese Orchestra was an item. Dahan Chinese Orchestra is a musical organization of Dong-Long Temple, taking the responsibility of performing the ritual music, including Beiguan, Guangdong Music and Modern Chinese Instrumental Music, used in the ceremonies, and has long been playing multiple social roles in Dong-Gang area. Dahan Chinese Orchestra not only is a leading musical organization, but also does influences on social education. Being chosen as ten Intangible Cultural Heritage in Taiwan in 2011, the main project of Dahan Chinese Orchestra is to keep its leading status, serving Dong-Long temple, doing cultural spreading and communication on the other hand. Based on structural anthropology, the study consists of four sections: probe into the history of Dong-Long temple and the development of Dahan Chinese orchestra; discuss the worship of Royal Lord and the Welcoming Royal Lord Fiesta Dong-Long temple; investigate the ritual music Dahan Chinese orchestra performing while serving Dai Tian Syun Shou and during fiesta; discuss the functions of Dahan Chinese orchestra and its social status and symbol. The author, as a member of Dahan, tries to do a whole recording of the orchestra, and provides people with a complete picture of Dahan Chinese orchestra via the study.
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Lu, Le. "Study on Shan Gui: From Religious Text to Visual Representations." 2013. https://scholarworks.umass.edu/theses/1062.
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This is a diachronic study of Shan Gui 山鬼 (the ninth poem of the Nine Songs九歌). The paper is divided into two parts. In the first part, I choose to study Shan Gui from a religious perspective. A lot of effort is made to return to the scenes of sacrifice in the Nine Songs, by studying the sacrificing locations, totems, myths, and rituals. Through the literary appreciation with interrelated materials injected into this poem, Shan Gui would be read as a drama of wu’s巫 (shamans) worship performance in this paper. Western religious theories are used in order to understand primitive Chu people better and to explore the general rules in primitive people’s religious lives reflected by Shan Gui. The second part is an image study of famous Shan Gui paintings, and a lot of attention is paid to the artistic tension through the image re-creation. During this paper, I would like to create a picture of how Shan Gui developed through history from a religious image to a romance figure, and the way this image stepped from people’s common sacred sense into the literati’s private world.
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"Study of the music tradition and its contemporary change of the Theravada Buddhist Festival ritual performance of Dai ethnic nationality in Yunnan (Chinese text)." 2002. http://library.cuhk.edu.hk/record=b6073828.
Full textAbstract:
論文(哲學博士)--香港中文大學, 2002.參考文獻 (p. 341-355).
中英文摘要.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Zhong Ying wen zhai yao.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (p. 341-355).
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Chang, chang-cheng, and 張正昌. "Exploring the Consumption Culture of Ritual and the Live Experience among the Baseball Fan Communities─In the Context of the CPBL(Chinese Professional Baseball League)." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/23571231405398882469.
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鄭琪臻. "A sutdy on the mentoring of Confucian Ritual-Dance Yi-wu and elaborate-style painting for the Chinese traditional arts : the cases of two mentors." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/30866044516617072716.
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Chang, Su Ho, and 蘇何誠. "A Philosophic Reflection on Myth and Ritual of Han Chinese Religion in Taiwan－Focus on Concepts of "Tian", "De", "Ren", "Shen", "Gui" of I-Ching, Laotze,and Zhuangzi." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/94499474323230654833.
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博士中國文化大學
哲學系
100
Taiwan, as an immigrant society, cultural traditions, their cultural formation, can be divided into the original civil society into the social patterns and new patterns of cultural mixture. Ming and Qing occasion, it is Fujian, Guangdong coastal areas, massive Han Chinese into Taiwan during the peak period in the Fujianese, Hakka, represented, produced with the original Aboriginal cultural conflict and agitation. Since 1662, Zheng Chenggong get rid of the Dutch to power in Taiwan, established the Han Chinese as the main immigrant society, the social patterns remain in effect so far. In the process of moving to Taiwan, the Han Chinese has all sorts of conflicts and challenges of the times of his life was threatened and persecuted. Originally a traditional Han Chinese religion, carried on the spirit worship and Han ritual activities, and clan groups together to build the temple, as the sanctity of places of collective sacrifice in order to bring the community life of the common order of specification of the “religious consciousness” Provides spiritual beliefs and our ancestors settled. Therefore, the Taiwanese people's religious consciousness is created from the collective cultural heritage of life model is moved to Taiwan, Fujian, continuation of the original rural population off the accumulation of social and ideological system. Taiwan's traditional Chinese culture of religion to maintain the prototype, is a form of Confucianism, Buddhism and Taoism style blend of myth beliefs, self-evident, clear the occasion, with the ancestors into Taiwan from Fujian and Guangdong provinces to Taiwan, the three Four hundred years, incense is not broken, the formation of a unique religious culture, which contains the philosophical three religions, culture, art, etc. The essence of thinking, blending into the Taiwan's traditional religious beliefs, the spiritual heritage of Chinese culture. The ideological essence, an extremely brilliant bright national spirit into a form of folk religion. Taiwan's traditional customs and religious rituals as primarily expressions to “Myth” and “Ritual” religious form presented, and formed a religious cosmology presented in a way, philosophical view of life forms. This article explores the religious consciousness of Taiwanese origin and history of the core, I hope through the A Philosophic Reflection on Myth and Ritual of Han Chinese Religion in Taiwan－Focus on Concepts of "Tian", "De", "Ren", "Shen", "Gui" of I-Ching, Laotze, and Zhuangzi, restore a sense of Taiwanese religion and belief complex.
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"從"祠之如故"到"禮俗合一": 秦漢地方山川和人神祭祀研究 = From "sacrifice as the past" to "corresponding custom to ritual" : a study on local cults through Qin-Han China." 2015. http://library.cuhk.edu.hk/record=b6115397.
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秦漢時代的國家制度和意識形態對後世影響深遠，而祭祀制度是國家制度的重要組成部份，也代表了國家所倡導的思想規範。地方祭祀包括地方政府主導的官方祭祀和民衆自發的信仰活動，是國家禮儀制度和社會風俗信仰的交叉地帶。秦漢的國家祭祀體系隨著統一的深入發生了從覆蓋全國的神祠到集中於南北郊的改革，儒家思想確立為主流意識形態；地方祠祀在此過程中的地位升降和面貌變化成為國家禮制和意識形態變動、確立的一個標誌。以天地日月、社稷五穀、自然現象、物怪神怪等為對象的地方祠祀與山川祭祀、人神祭祀共同構成了地方祭祀的圖景。山川神具有求雨、保護神、個人禱祀等不同面向的作用；地方官員對山川祭祀的參與、利用與反對，則是政治需求與社會實際的影響。人神祭祀的信仰對象包括先王仁人、地方名人、神仙和厲鬼等，人神祭祀的性質多存在轉換，官方祭祀與民間信仰互相吸收和借鑑；地方官員鼓勵地方賢人祭祀，反對妖巫祭祀，作為實施教化的手段。
地方政府的祭祀是國家制度的一部分，中央機關也對地方政府的祠祀有監管作用。隨著國家祭祀的成立與變革，地方祭祀在國家祭祀中的地位先升後降，官方祭祀和民間信仰在地方祠祀處交會，東漢時期的地方祭祀有許多呈現官方和民間相結合的特徵。儒家式國家禮制的成立使得祀典與淫祀有了明確的邊界，但是這一界線受到經濟、社會等多種因素的影響，存在著相當的彈性。「禮俗合一」是儒家式的社會理想，士人試圖通過對地方祭祀的管理實施教化，移風易俗；但是祭祀活動的實踐與諸多現實因素有關，還有個人與偶然因素的作用，社會信仰始終包含多重屬性，以「禮俗合一」為理想，卻始終多種社會意識並存，成為中國古代社會的重要特徵。
As the beginning of a united empire, Qin and Han Dynasties had established the elementary state institution for dynasties hereafter. Qin and Han Dynasties absorbed and reconciled various religious traditions, including religions of all social classes and different regions in their efforts to set up a sacrificial system; and then turned to a Confucian-oriented sacrificial system with the reverence for Confucianism. Local cults, containing popular beliefs and sacrificial practice of local governments, stood in the overlapped place of state sacrificial system and popular beliefs, therefore the shifts of status and sacrificial practice of local cults can be a representative of the settlement of official ritual system.
Miscellaneous Gods were worshiped throughout the empire. The groundwork of this research is to investigate the existence of different kinds of local cults and the sacrificial practices. Worship to mountains and rivers were indispensable in both official religion and popular belief, and all levels of sacrifices had multiple functions in local society. The approval or opposition of sacrificial ceremonies by local officials mostly depended on social reality. Human gods accounted for a large part in local cults, who were worshiped in different motivation and social surroundings. The proportion of respectable officials and moral models increased in Later Han, for they were encouraged for the ethic function to rectify the customs and achieve the indoctrination of Confucianism.
Sacrifices to mountains and rivers and human gods in local society stretched across orthodox ritual and popular belief, but the boundary of the two traditions were in alteration all the time, which was largely affected by economic and political factors; and despite the officials and Confucian scholars tried to revise the sacrificial practices in local society, sacrifices to local cults were always contained multiple characters. "Corresponding custom to ritual" was the ideal social order, which officials struggled to approach but never actually achieved.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
李玥凝.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 408-428).
Abstracts also in English.
Li Yuening.
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黃淑珮. "Musical Offering and the Offering Rituals of the Chinese Buddhism." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/28248491998403089395.
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