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Bleakley, Alan Douglas. "Animalizing and shamanizing : animal presence in Shamanism and archetypal psychology." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262595.
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Merz, Sharon. "'Crocodiles are the souls of the community' : an analysis of human-animal relations in northwestern Benin and its ontological implications." Thesis, University of Exeter, 2018. http://hdl.handle.net/10871/32861.
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In this thesis I explore human-animal relations amongst the Bebelibe of the Commune of Cobly, in the northwest of the Republic of Benin, West Africa, with a focus on how they relate to their tikedimɔmɔnte (true totem(s), literally “interdict(s)-true”). I start with an historical review of totemism, the debates it generated and how these contributed to the recent ontological turn in anthropology. I then explore the theoretical ideas I use for my analysis, which include “presencing” and the “ontological penumbra” (J. Merz 2017b; J. Merz and S. Merz 2017). Presencing builds on semiotics by explaining how people make meaning present through their engagement in and with the world around them, whilst ontological penumbras are the shadowy spaces of limbo that affect our whole being and that people need to negotiate as part of making sense of their engagement with the world. As part of these theoretical frameworks, I examine the “onton”, as introduced by Johannes Merz (2017b). Ontons are experiential, agentive and relational entities that are the result of presencing processes. Ontons, however, cannot be divided into representations (signifiers) and represented (signified) as signs can. An engagement in the world between different entities in an ontonic and thus nonrepresentational sense necessitates my introducing further notions including shared “ontonity” (instead of shared humanity) and “ontonhood” (rather than personhood). I demonstrate how these theoretical ideas work with reference to human-animal relations primarily amongst the Bebelibe in the Commune of Cobly. In order to do this, I provide an in-depth, “thick description” (Geertz 1973) ethnography that explores how people perceive and relate to animals through hunting, domestication, attitudes to eating meat, animal commodification, reincarnation, shapeshifting and totemism. As part of my analysis I also examine the impact of Christianity on human-animal relations by exploring several incidents involving Christians and their tikedimɔmɔnte.
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Durand-Rous, Caroline. "Le totem réinventé : exploration de l'identité et redéfinition de soi dans la fiction amérindienne contemporaine." Thesis, Perpignan, 2017. http://www.theses.fr/2017PERP0043/document.
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La quête de l'identité est au cœur des ouvrages de fiction écrits par les auteurs indiens d'Amérique du Nord au cours du XXe et du XXIe siècle. Les héros, voire anti-héros, de ces romans et de ces nouvelles tentent de reconquérir une dignité perdue et se trouvent confrontés à des épreuves, parfois absurdes, qu'ils surmontent tant bien que mal. Dans les descriptions souvent très crues du quotidien de la vie dans les réserves indiennes ou les réserves urbaines, surgit une part de magie qui s'immisce dans les situations les plus banales, habite les objets les plus inattendus, et transcende la fatalité des destins. Cette magie suscite des esprits tutélaires hybrides, entre monde occidental et traditions autochtones, qui déguisent leur présence pour fédérer les protagonistes en une sorte de clan moderne et revisité. Ce faisant, ils redonnent du sens aux errances existentielles des personnages. Ce procédé littéraire n'est pas sans rappeler le totémisme rituel, pratique animiste ancestrale que l'on croyait oubliée et qui a été largement documentée par les anthropologues dans le courant du XIXe siècle. Notre corpus se réduit à Louise Erdrich, David Treuer, Eden Robinson et Joseph Boyden qui imaginent de nouvelles figures totémiques pour aborder différemment la question identitaire. La présente thèse étudie comment cette réappropriation du totémisme par le biais de la réinvention littéraire engage un mouvement en trois temps qui permet de perpétuer, de régénérer et de (re)créer une certaine identité amérindienneThe quest for identity is a central topic of North American contemporary Native fiction which recurrently dwells on the ontological confusion experienced by Native and bicultural protagonists and the subsequent urge to come to terms with their distinctiveness. Indeed, in many novels and short-stories the heroes, or anti-heroes, attempt to recover their lost dignity for better or worse while overcoming obstacles and enduring ordeals that sometimes prove absurd. Meanwhile, an unexpected magic pervades the crude descriptions of modern day life on Canadian reserves and American reservations and intrudes in the most trivial situations eventually transcending fate and destiny. The hybrid tutelar spirits thus staged, symbolically referring as much to the Western world as to secular indigenous traditions, disguise their presence with the aim to bring together the estranged protagonists in a reshaped modern clan. By so doing, these supernatural forces endow the characters' physical and spiritual journeys with renewed meanings. Such a process directly alludes to ritualized totemism, an array of ancient animistic practices and beliefs thoroughly documented by 19th century anthropologists. Interestingly, many contemporary Native authors, among whom Louise Erdrich, David Treuer, Eden Robinson et Joseph Boyden, contrive new totems in order to address otherwise the identity issue. This thesis aims to demonstrate how their literary reinvention of totemism engages a threefold movement, to perpetuate, rejuvenate and (re)create a specific form of Native identity
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Moody, Meredith Harper. "Totems : a comparison and contrast of four totemic sculptures in northern exposure with Northwest Coast Native American totem poles." Honors in the Major Thesis, University of Central Florida, 1997. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/177.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art
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Dahl, Rachel L. "Pocket Totems: Remembering the Ones we Love." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/587.
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This paper was an exploration of the history of portraiture and how that history related to the Senior Thesis show of studio art major Rachel Dahl. The focus of the paper is on the nostalgic and commemorative tendencies of portrait art throughout its history--namely the Italian Uomino Famosi of the fifteenth century, paintings commissioned of favorite horses and dogs, the portraits of recently deceased people, and the miniature eye portrait fad in Europe in the eighteenth and nineteenth centuries--and how these historic examples of portraiture influenced her work.
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Oppikofer-Brutsch, Françoise. "Gaston Chaissac : totems, masques, pierres et objets enluminés." Paris 1, 1990. http://www.theses.fr/1990PA010601.
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Mbamba, Mitamba Oswald. "Les usages contemporains des totems au Gabon (population nzèbi)." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0054/document.
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L’étude de la relation de l’homme avec la nature n’est pas un fait nouveau, surtout en ce qui concerne le triptyque homme/animaux/plantes. En effet, un bon nombre de travaux réalisés en sciences sociales a permis de mettre à jour différents niveaux de compréhension dans lequel l’humain met en évidence la faune et la flore dans ses activités quotidiennes. C’est le cas de notre sujet qui porte sur les usages et les représentations des totems chez les Nzèbi du Gabon. Toutefois, ce qui fait la richesse d’une recherche c’est avant tout sa spécificité et sa capacité à enrichir la science. Ainsi, notre recherche repose sur les discours et les légendes de la société nzèbi sur ses totems. Cette société qui se trouve repartie dans trois provinces sur les neuf que compte le Gabon, les nzèbi ont gardé une partie importante de leur héritage ancien, notamment celui qui les lie à leurs totems. Basée sur le principe de l’oralité, cette société véhicule l’essentiel des connaissances sur les totems par un enseignement qui se fait en des lieux et des circonstances souvent déterminé dans un cadre traditionnel. Si le totem a toujours fait partie de la cosmogonie nzèbi ; c’est-à-dire depuis la création de l’univers comme le présentent certains récits comme le mythe Koto, qui retrace l’histoire des Nzèbi, mais aujourd’hui, cette société ne vit pas en marge des évolutions contemporaines. C’est dans cette logique que cette étude tente aussi d’apprécier à partir des influences que connaissent les Nzèbi, de faire l’état actuel des usages et des représentations des totems dans la société contemporaine nzèbiThe study of the relation between man and nature is not a new fact, particularly regarding the triptych man / animals / plants. Indeed, many works in social sciences allowed to update various levels of understanding in how the human being highlights the flora and fauna in his daily activities. It is the case of our subject which concerns the uses and the representations of the totems among Nzèbi population, in Gabon. However, what makes the value of a research is the specificity and its capacity to enrich the science. Therefore, our research focuses on the speeches and the legends about totems in the nzèbi society. Nzèbi people which lives in three provinces on nine that count the Gabon, have guarded an important part of their old inheritance, in particular the one who binds them to its totems. Enriched by its oral tradition, this society conveys the main part of their knowledge on the totems by an education which takes place in a traditional frame that is in particular places and circumstances. Totems have always been a key element of the nzèbi cosmogony that is since the creation of the universe to today, as presented in the myth Koto which redraws the history of Nzèbi, but today, this society does not live outside the contemporary evolutions. It is in this perspective that our study also tries to analyse the present issues in nzèbi society, to understand the current state of the uses and the representations of the totems in the nzèbi contempory society
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Scholl, Camille Johann. "O "Enigma Bijag?" : saberes coloniais em disputa no Centro de Estudos da Guin? Portuguesa (1946-1967)." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7620.
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This work investigates the anthropological discourse built on the Bijago folks by Portuguese Guinea Studies Center?s members over the years that they produced the Portuguese Guin? Cultural Bulletins (1946-1973). The organizing principle of research is the discourse. This focuses on the concepts used by the authors to compose their arguments, that are matriarchy, totemism, animism and fetishism. They are the nucleus of the "bijago enigma" discussed by Jos? Mendes Moreira, Augusto Jos? de Santos Lima, Avelino Teixeira da Mota and Fernando Rogado Quintino within 1946-1947 and 1962-1967.
Este trabalho investiga o discurso antropol?gico constru?do a respeito dos Povos Bijag?s pelos membros do Centro de Estudos da Guin? Portuguesa ao longo dos anos que foram produzidos os Boletins Culturais da Guin? Portuguesa (1946-1973). O princ?pio organizador desta investiga??o ? o pr?prio discurso. Esta centra-se nos conceitos utilizados pelos autores para elaborar sua argumenta??o que s?o o matriarcado, totemismo, animismo e fetichismo. Tais comp?e o cerne da constru??o do ?enigma bijag?? por parte de Jos? Mendes Moreira, Augusto Jos? de Santos Lima, Avelino Teixeira da Mota e Fernando Rogado Quintino em dois contextos distintos, 1946-1947 e 1962-1967.
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Pettman, Dominic. "The Mole and the Serpent: A Totemic Approach to Societies of Control." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A71591.
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Animals are good to think with, or so they say. And animal totems have consistently found a hospitable ecosystem in Continental Philosophy. From Isaiah Berlin’s fox and hedgehog, to Friedrich Nietzsche’s menagerie of eagles and asses, to Donna Haraway’s companion species, different critters have been put to work at the service of The Concept. In Deleuze’s influential essay, “Postscript on the Societies of Control,” we encounter two particular animals: the mole and the serpent. (“We have passed from one animal to the other, from the mole to the serpent, in the system under which we live, but also in our manner of living and in our relations with others.” [2011: 140f]) The former is the emblem of the disciplinary society, which, according to Deleuze’s argument, is evolving swiftly into a control society, overseen by the oily coilings of the latter. What to make of this totemic distinction? What can the mole and the serpent tell us about the present moment, thirty years after Deleuze released them into our minds in this context? Since it is hardly more than a suggestive throw-away line in the original piece, we can only speculate.
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Rosa, Frederico Delgado. "L'âge d'or du totémisme ou l'histoire d'un débat anthropologique." Doctoral thesis, Université de Paris X - Nanterre, 1997. http://hdl.handle.net/10362/3944.
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Wilson, Linda Y. "The re-imaging of place identity, tourism, totems and the totem pole project in Duncan, ritish columbia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0002/MQ37666.pdf.
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Kašinskaitė, Martyna. "MITINIS ŽMOGUS." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_150229-87056.
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Mitinis žmogus - šiuolaikinėje visuomenėje atspindintis senosios kultūros pasaulėžiūros suvokimą. Žmogus sąmonės lygmenyje laviruojantis tarp praeities kultūros dvasinių įsitikinimų ir šiuolaikinės visuomenės informacijos bei žinių.The mythical man - in a modern society, reflecting the culture of the old world-perception. Man exists between the level of consciousness of the past culture and spiritual beliefs of modern society of information and knowledge.
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Dyck, Sandra. "These things are our totems : Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Dyck, Sandra. "These things are our totems Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Ottawa : Library and Archives Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.
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Seibel, Svetlana [Verfasser], and Astrid [Akademischer Betreuer] Fellner. ""Personal Totems" : The poetics of the popular in contemporary indigenous popular culture in north america / Svetlana Seibel ; Betreuer: Astrid Fellner." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2018. http://d-nb.info/1174877030/34.
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Clarke, Maree, and mareec@koorieheritagetrust com. "Maree Clarke: reflections on creative practice, place and identity." RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091118.114516.
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I am connected to the Yorta Yorta, Wamba Wamba, Mutti Mutti and Boonurong people through my heritage. My connection to these four language groups provides the framework for my arts practice research project. Totems are an important component of my work. Totems govern life in Koori tribal language groups. For example, they dictate who you can talk to and marry, and govern rights for making art, including men's business and women's business. This translates as 'Lore' in Koori culture. Lore is a Koori term meaning a way of being that encompasses kinship systems, responsibilities, and beliefs, as they interconnect with a particular area of country. In the past, when the Museum acquired Aboriginal artefacts, they sometimes did not record all the details. This meant there was then a break in the knowledge. Aboriginal people have our own collection of artefacts in various cultural institutions, but we do not have that layer of information about what the designs were about. The totems are not necessarily in the designs on the shields and artefacts. They are generally designs relating to those different areas. Gunnai/Kurnai can be quite different to Latje Latje, for example. Some of the designs on the banners may represent the totems. This can reflect an artist's interpretation of the meanings within such designs. My work incorporates a re-interpretation of a range of different totems connected to the language groups I have a blood connection to.
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Larocque, Yves. "Le surréalisme et le canada : histoire de l'idée du surréalisme au canada anglophone entre 1927 et 1984, ou : cours général de surréalisme au canada anglais, ou : a l'ombre des totems." Paris 1, 1996. http://www.theses.fr/1996PA010534.
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L'étude des textes nous a révélé qu'au Canada anglophone, on connait d'abord le surréalisme par les périodiques, les livres, quelques expositions et conférences et chacun de ces dispositifs véhiculaires diffuse une image du mouvement telle qu'on se la présentait. Dès la première exposition surréaliste au Canada (Toronto, 1938), l'idée du surréalisme, toujours soumise aux élans patriotiques du Canada anglophone, ne s'en est affranchie que grâce à des conditions favorables de diffusion provoquées par l'apostasie passagère de l'idéologie dominante du nationalisme. On ne peut dissocier la contextualisation de l'idée du surréalisme en sol canadien des deux vagues d'immigration que connait le Canada au tournant du siècle. La confession protestante, intimement liée à l'essor de l'industrialisation et à la tempérance, est aussi en grande partie responsable du retard de l'appropriation de l'idée surréaliste au Canada anglophone. Par ailleurs, l'émergence de l'idée du surréalisme au Canada anglais ne peut être dissociée des déplacements des populations rurales à la ville excitées par une accumulation de profit plus considérable. Il faut ajouter à cela l'effet cyclotron de la deuxième guerre mondiale avec la diaspora surréaliste. Et n'oublions pas d'une part, les traductions tardives de Breton, d'Alquier et de Nadeau et, d'autre part, la condition féminine des femmes peintre affranchies des soucis financiers, lesquelles peignes dans un ton automatiste. Par ailleurs, l'histoire des idées repose aussi sur les cartes climatiques ; l'hiver canadien a été un facteur déterminant quant à l'articulation et à la circulation du surréalisme. Cela dit, s7adaptant a une réalité changeante, le projet surréaliste est amené à se manifester in extenso sur d'autres terrains et à assumer une autre forme par des moyens autres. Toutefois, nous verrons que c'est par le biais d'un romantisme sensible mais indéfinissable, inhérent aux canadiens, que la libération esthétique du surréalisme est dirigée vers le problème d'une nouvelle figurationEnglish Canada first learned of surrealism through periodical publications, books conferences and few exhibitions. Each of those dispositifs vehiculaires (Regis Debray, cours de mediologie generale, Paris, Gallimard, 1991) diffused an idea of the movement based on their differing perceptions : for example, surrealism is essential to the opening up of the canadian society according to the canadian forum, yet it is denounced as fascism in the pages of the saturday night. From the first manifestation of surrealism in Canada at the canadian national exhibition of 1938 (Toronto), the idea of surrealism has always been subject to english canadian partiotism yet free from it thanks to favorable conditions of diffusion caused by the transitory apostasy of the dominating ideology of nationalism. Furthermore, we cannot dissociate the idea of surrealism on canadian soil from the two immigration waves that Canada experienced at the beginning of the century. Moreover, protestantism, intimately linked to the burgeoning of industrialization and to the temperance of the senses, is greatly responsible for the delay in the appropriation of surrealism by english speaking canadians. Winter is also a reason a determining factor as for the circulation of surrealism in Canada. Therefore, the surrealist project manifested itself on other terrains in order to approprioate another form, and by other means, however, we xill see that it is throuhg a sensible romantism proper to canadians, that aesthettic liberation of surrealism will bring Canada toward another type of figuration
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Cowan, David Fraser. "The best sin to commit : a theological strategy of Niebuhrian classical realism to challenge the Religious Right and neoconservative advancement of manifest destiny in American foreign policy." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4202.
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While few would deny America is the most powerful nation on earth, there is considerable debate, and controversy, over how America uses its foreign policy power. This is even truer since the “unipolar moment,” when America gained sole superpower status with the end of the Soviet Union and the Cold War. In the Cold War Reinhold Niebuhr was the main theological voice speaking to American power. In the Unipolar world, the Religious right emerged as the main theological voice, but instead of seeking to curb American power the Religious right embraced Neoconservatism in what I will call “Totemic Conservatism” to support use of America's power in the world and to triumph Manifest destiny in American foreign policy, which is the notion that America is a chosen nation, and this legitimizes its use of power and underpins its moral claims. I critique the Niebuhrian and Religious right legacies, and offer a classical realist strategy for theology to speak to America power and foreign policy, which avoids the neoconservative and religious conservative error of totemism, while avoiding the jettisoning of Niebuhr's theology by political liberals, and, the political ghettoizing of theology by his chief critics. This strategy is based on embracing the understanding of classical realism, but not taking the next step, which both Niebuhr and neoconservativism ultimately do, of moving from a prescriptive to a predictive strategy for American foreign policy. In this thesis, I argue that in the wake of the unipolar moment the embrace of the Religious right of Neoconservatism to triumph Manifest destiny in American foreign policy is a problematic commingling of faith and politics, and what is needed instead is a strategy of speaking to power rooted in classical realism but one which refines Niebuhrian realism to avoid the risk of progressing a Constantinian theology.
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HYUNG, LI-CHUN, and 黃麗君. "The User Acceptance of Totemism Culture in Nail Painting: the Case Study of Atayal Totemism." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3sm4g8.
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碩士亞太創意技術學院
文化創意設計研究所
104
Not only the preservation, the establishment, and the application of indigenous cultures are effective ways to improve the values of indigenous cultures, the creative transformation of indigenous cultures is the other promising approach to promptly elevate the modern values of it; nail painting, which contained art, creativeness, and business, thus has become a cultural and creative industry combined with indigenous culture, creative design, and fashion trends. The study hence is to explore the user acceptance of totemism culture in nail painting, by discussing the Atayal Totemism. First, the simple sampling is adopted via questionnaire survey, and the subjects are selected from the users in the Witch Nail Painting and the beauty care layer of department stores in HsinChu City. Later, the collected data are analyzed by SPSS through descriptive statistical analysis, independent sample t test, and paired-sample t test. Finally, the results are as follows: 1. the users identified the applicability of diamond totem with moderate high degree, and there are partial significant differences between the identifications of applicability of diamond totem in groups, education, consumption frequency, and average spending; 2. The user identified the applicability of tattoos totem with moderate high degree, and there are partial significant differences between the identification of applicability of tattoos totem in groups, consumption frequency, and average spending; 3. The identification of applicability of tattoos totem is higher than the one of diamond totem in aesthetics, creativeness, and overall experience.
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Wu, Shu-Fan, and 吳叔凡. "The Meanings of Metamorphosis under the System of Mythology and Totemism - A Case Study of the Classic of Mountains and Seas (Shan-hai Ching)." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/a66ak4.
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碩士實踐大學
服裝設計學系碩士班
103
This study aims to examine and investigate the relationship between the environmental impacts and the metamorphosis of totem in Shan-Hai Ching. Furthermore, by deconstructing one of the most significant totems among the Hua-Hsia (a.k.a. Hua-Xia) culture and civilization—dragon—with regards to its transformations and variations, I will analyze this totem and explore the meaning of its components. At the same time, I will practice the concept and aesthetic inspired by the Dragon totem and its metamorphosis with a costume design project. This project consists of four series: 1) cape and coat; 2) armor; 3)hemispherical dome; and 4) theatrical impressions (which is an artwork on paper). My costume design project is aimed to experiment with the texture of fabrics, and the outcome of which is meant to address the marks developed through the processes of metamorphosis and to emphasize such expressions driven by the conversion of meaning. For examples, in order to delineate the pristine texture of cave paintings, I apply tie-dying technique paired with discharge printing, in the meanwhile with the assistance of laser engraving. In addition, I also intend to create the relief texture of embossment through the garment structures and patterns, as well as the handcraft skills. By doing so, I endeavor to convert the plane surface to a three-dimensional structure, which embodies my understanding of the transformation of the meaning carried by the metamorphosis of the totem. The process reflects a step-by-step transitional progress of my costume design philosophy with this project, from the flat plane, and then a relief solid, and finally to a three-dimensional structure. Shan-Hai Ching is a classic and a prototype of Chinese mythology on metamorphosis. With detailed descriptions, it is also a fabulous geographical and cultural account of ethnicity, medicines, plants, animals, minerals, geological features, religions, and so on. It is also considered an important reference to the field of Chinese history. I argue that, the perspective of metamorphosis epitomized by Shan Hai Ching, is the portraiture of the totem worship phenomenon that is developed from the relationship between the given geographical environments and the living of the people there and then. In other words, the logic of metamorphosis mythology illustrated in Shan Hai Ching is shaped by the philosophy regarding the harmonious coexistence of nature, people, and also species. My costume project is designed to reflect such argument—by combining Western techniques and Oriental aesthetics, I attempt to unfold the toughness of Hua-Hsia civilization with the texture of fabrics, and also to inscribe the depth of history to the details of pattern.
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MÁLA, Jan. "Tělesné proměny." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-252475.
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The theoretical part of the thesis should bring us into the issue followed by subsequent analysis and comparison of body modifications such as piercings, microdermal implants, tattoos and corsets in the socio-cultural discourse. The following section should be focused on the differences between ethnic cultures with respect to the issue outlined. The output of the practical part is based on theoretical knowledge, basic manual should be the final product, which would introduce the issue of deliberate physical transformation of the main points to the general public.
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Zweininger, Jakob. "Religiöse Ansprechbarkeit der Post-Sowjetischen Kirgisen : eine sozio-missiologische Fallstudie des Bekehrungsprozesses der zum Christentum konvertierten Kirgisen = Religious accountability of post-Soviet Kyrgyz people: a socio-missiological case study of the conversion process to Christianity of proselyt Kyrgyz people." Diss., 2009. http://hdl.handle.net/10500/876.
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The Kyrgyz are a Mongolian, Turkic ethno-linguistic people group. The political and
social changes of the post-soviet times have led to a great religious openness among the
Kyrgyz. Within one decade the nunber of Kyrgyz Christians has grown from few dozens to
over 3000. The intention of this work was to analyze the conversion process of the Kyrgyz
converts to Christianity and to apply the results to further missiological activity.
The religious background of the Kyrgyz, which is heavily influenced by Folk Islam,
was presented in the first chapter of the paper. In the second chapter, interviews collected
from Kyrgyz Christians were evaluated. The third chapter summarizes the most important
findings of the work and makes them applicable for missionary work. The precise knowledge
of the religious background of the Kyrgyz and intercultural communication that it is based
upon it can essentially dismantle barriers for the acceptance of the gospel.Christian Spirituality, Church History and Missiology
M. Th. (Missiology)
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Zweininger, Jakob. "Religiose Ansprechbarkeit der Post-Sowjetischen Kirgisen : eine sozio-missiologische Fallstudie des Bekehrungsprozesses der zum Christentum konvertierten Kirgisen." Diss., 2009. http://hdl.handle.net/10500/876.
Full textAbstract:
The Kyrgyz are a Mongolian, Turkic ethno-linguistic people group. The political and
social changes of the post-soviet times have led to a great religious openness among the
Kyrgyz. Within one decade the nunber of Kyrgyz Christians has grown from few dozens to
over 3000. The intention of this work was to analyze the conversion process of the Kyrgyz
converts to Christianity and to apply the results to further missiological activity.
The religious background of the Kyrgyz, which is heavily influenced by Folk Islam,
was presented in the first chapter of the paper. In the second chapter, interviews collected
from Kyrgyz Christians were evaluated. The third chapter summarizes the most important
findings of the work and makes them applicable for missionary work. The precise knowledge
of the religious background of the Kyrgyz and intercultural communication that it is based
upon it can essentially dismantle barriers for the acceptance of the gospel.Christian Spirituality, Church History and Missiology
M. Th. (Missiology)
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Florianová, Andrea. "Srovnání pojetí totemismu u S. Freuda a E. Durkheima." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-300248.
Full textAbstract:
This master thesis is based on an interpretation of the essential ideas, through which Emil Durheim and Sigmund Freud theoretically elaborate questions of totemism, and on a comparison of these ideas. The major aim is to explain the general conception of religion of both authors and subsequent comparison.
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Mack, Johnny Camille. "Thickening totems and thinning imperialism." Thesis, 2009. http://hdl.handle.net/1828/2830.
Full textAbstract:
This thesis analyzes the relationship between the legal traditions of indigenous peoples and the Canadian State. I posit that the current relationship is aptly characterized as imperial. The imperial dynamics of this relationship perpetuate imbalances of power between the two traditions. This situation of power imbalance produces two effects that are of concern here. First, it enframes the development of indigenous legal traditions
within the liberal state, domesticating indigenous norms to accord with liberal norms.
Second, it disencumbers indigenous peoples ancestral territories from indigenous
authority that would inhibit Canadian and global market penetration. I rely on theoretical literature in the fields of legal pluralism and postcolonialism to develop this argument. A deep conception of legal pluralism allows us, as researchers, to think of state law as developed by a single legal tradition that co-exists with indigenous legal traditions.
Postcolonial theory aids us in analyzing the particular manner in which power works in
situations of colonialism and imperialism to privilege certain legal orders over others. I
suggest that indigenous life is not fully enclosed by imperialism, and that as indigenous peoples we should engage those non-imperial sites and practices deeply to thicken our capacity to live freely. I suggest indigenous practices of totemism represent one such site.
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Huang, Shin-Yi, and 黃馨儀. "「Vulung」─The arts of Paiwan Totems." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/g85e63.
Full textAbstract:
碩士國立臺中科技大學
商業設計系碩士班
102
In the age of dramatic metropolization, tribe members move to cities and have lost their cultural treasures. Aborigines in cities gradually forget the abundance in their original culture. Paiwanese are well bred in art and have created numerous beautiful totems. The totems are full of creativity and the meaning of life. They are deeply related to customs and the social class system including the nobility. Totems on clothing, accessories and daily wares represent the social class of the owner. The artist reconstructed and redesigned traditional totems originally on potteries, clothing and sculptures in houses, and drew these new totems on human body photographs with specific gestures she took. There were 11 artworks she presented in this way. Then she grabbed basic geometric shapes out of the new totems and deconstructed them to 4 or 5 groups, and printed those shapes out on transparent celluloid sheets which were placed in stacks with some distance between each other in front of 2 human body photographs in a smaller size. The 3 dimensional totems created a new appearance out of the tradition and explained further about the content of totems and the noble class. Besides, the artist made plaster hands as carriers which were arranged to show diverse gestures and applied patterns from glass beads on nails. With the combination of different gestures, the audience would realize more about the cultural contents represented by these totems and colors on glass beads.
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Liou, Su-Guan, and 劉淑冠. "Creation and Application of the Orchid Island Tao Totemic Signs." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/07621657121941755811.
Full textAbstract:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
92
The creativity of the Tao totem signs in Orchid Island versus visual communication design and the application of Taiwanese aboriginals’ art and culture rooted in the native land are precious cultural resources in Taiwan, which represents human behavioral performances and the pursuit of the instincts of beauty and primitive impetus. Cultural abstract conception and deep meanings are embedded within the material form and activities of art and behaviors and are formed into racial totem signs. This creation is trying to represent individual visual communication design creativity with the application of the Tao totem signs through exploring the Tao totem signs in Orchid Island in the attitude of understanding cultures and concern. Furthermore, it wishes to try to convey the possibility of Tao’s visual culture in new modern times. The method of creation is by both literature research and by experimental creation. First of all, the Tao racial history in Orchid Island is explored, and interviews and photography are used in order to understand its racial culture and the insight into Tao totem signs and further to strengthen individual understanding and identifying heterogeneous cultures. The experimental creation consists of two stages: the first one is to transform and organize in the Theory of Forms after analyzing and decoding Tao totem forms; the other is to design visual communication which synthesizes images in a modern-designing way by means of using Tao culture symbols through the conception of Semiotics that is applied to visual communication. However, the primitive art in Taiwan is fading away little by little, but under the circumstances of the flourishing development of modern design and technological media, to create well-timed works for aboriginals’ cultural arts in a concerned and appreciative respect of heterogeneous cultures is expected.
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TIM-YAU, LU, and 呂鼎堯. "A Creative Combination of Taiwan’s Temple Totems and Pens." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/3uky45.
Full text
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SYU, BO-YAO, and 許博堯. "Mythical Creature Totems－Hsu Bo-Yao Metalwork Design & Creation Thesis." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/nx62gs.
Full textAbstract:
碩士國立臺北教育大學
藝術與造形設計學系碩士班
104
The series of “Mythical Creature Totems” artworks explore the formation of Nuo culture by addressing our ancestors’ admiration towards mythical creature totems generated from the yearnings for sustainability. The dependence on religious beliefs resulted from the aspiration for protection is also demonstrated within the art pieces. With substantial training in metal works for almost a decade, the author utilizes both traditional and modern artistry in bronze element, along with mixed media, to delve into the meanings of each mythical creature for our ancestors. These totems are reflections of the creativity and imagination engendered by the pursuit of spiritual and religious beliefs in ancient times. Enriched with attitude of various tastes in modern life, the culture of Chinese ancient mythical creature is presented through metal work craftsmanship. Each mythical creature totem is then rendered further visual beauty and glamour, in hope of brining the luxury of mythical creature goods into present day lifestyle.
30
Pretorius, Casper Francois. "Totemistiese aspekte in die primitivistiese kuns van Battiss en Bedia / Casper Francois Pretorius." Thesis, 2014. http://hdl.handle.net/10394/15509.
Full textAbstract:
Hierdie verhandeling bied ʼn vergelykende ondersoek na ʼn aantal sogenaamde totemistiese
aspekte in geselekteerde kunswerke van twee kunstenaars, Walter Battiss (1906-1982) en José
Bedia (geb. 1959). Hierdie kunstenaars maak albei gebruik van ʼn benadering wat as
primitivisties getipeer kan word. Die klem berus op hul soeke na unieke visuele tale deur die
inkorporering van visuele en inhoudelike invloede uit primitiewe kunstradisies. Die ondersoek
geskied aan die hand van ʼn metodologiese ontleding en interpretasie van Battiss se Symbols of
life (1967) en José Bedia se Aquel lugar del fin del mundo (1999). Die ontledingsmetode is
saamgestel vanuit ‘n besinning oor primitivisme en totemisme as teoretiese begronding en is op
so ‘n wyse gerig om die hibridiese figure, oftewel teriantrope, in die onderskeie werke as totems
te interpretasie met die doel om meer insig te bekom met betrekking tot die aard van hierdie
figure asook die funksies waarvoor hierdie figure deur die kunstenaars gebruik is.
Die gevolgtrekkings wat deur die ontleding en interpretasie van die geselekteerde kunswerke in
hierdie studie gemaak word, behels dat die “lees” van die hibridiese figure in die onderskeie
kunswerke as totems daarop dui dat alhoewel die aard en funksies van hierdie figure van
mekaar verskil, daar wel noemenswaardige ooreenkomste is. Wat die aard van die hibridiese
figure in Symbols of life (1967) betref, is hierdie figure geïdentifiseer as ‘n spesie van
onbekende saamgestelde karakters waarvan die voorstellings gesamentlik ‘n bepaalde groep
mense impliseer, naamlik die Boesmans, en dat die uitbeelding van hierdie figure mitiese en
spirituele aspekte oproep van die Boesmans se wêreldbeskouings. Daarenteen is die hibridiese
figuur in Bedia se Aquel lugar del fin del mundo (1999) geïdentifiseer as ‘n Cimarron wat as ‘n
apikale totem op twee ontologiese vlakke figureer. Dit behels dat die uitbeelding van die
Cimarron ‘n spesifieke wese voorstel wat beide ‘n groep mense oproep, naamlik lede van
Sentraal-Amerikaanse Kreoolse kulture, en dat dit ook ‘n spesifieke individu oproep, naamlik
Bedia self.
Met betrekking tot die funksies wat die hibridiese figure in die geselekteerde kunswerke vervul,
plaas Battiss doelbewus die aanskouer in kontak met ‘n onbekende mitiese andersheid wat as
katalisator die aanskouer konfronteer met aspekte rakende die menslike kondisie. In
teenstelling hiermee, betrek Bedia met die uitbeelding van die Cimarron ‘n spesifieke en hoogs
gelade konteks wat bepaalde emosionele reaksies by die aanskouer kan ontlok.
Die interpretasie van die hibridiese figure in die geselekteerde kunswerke as totems dui in beide
gevalle daarop dat die kunstenaars deur hul onderskeie kunswerke van die die aanskouer
vereis om epistemologiese en ontologiese besinnings te maak oor wat dit beteken om mens te
wees, veral in ‘n eietydse omgewing, en noop verder van die aanskouer om te reflekteer oor
waarheen die menslike kondisie ontwikkel met inagname ook van wat in die proses verlore mag
gaan.
Hierdie verhandeling behels ʼn interdissiplinêre studie waarin die klem op die kunsgeskiedenis
berus, en waarin ter wille van die interpretasie van totems, ook gefokus word op die
antropologiese studies rakende totemisme.MA (History of Art), North-West University, Potchefstroom Campus, 2015
31
Lin, Jih-Hsiang, and 林日香. "A Study on the Theory & Creation of Chinese Auspicious Totems & Symbols." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27918847659760604862.
Full textAbstract:
碩士華梵大學
工業設計系碩士班
94
Abstract Today’s references on Chinese auspicious totems and symbols, which date back to the period before the Ching dynasty, are passed down mostly from the Ming and the Ching dynasties, as such totems and symbols were widely applied in every aspect of life and they became so popular that not even the emperors but also the civilians favored artwork with these auspicious decorations. Totems and symbols were employed everywhere, ranging from clothing and accessories to utensils used in daily life. The ornate details in the design of totems and symbols were intended to beckon blessings of wealth and prosperity for generations to come. The design of auspicious totem and symbol changes from time to time. Every dynasty in the Chinese history has its own symbolic totems and design motifs, including insects, fish, birds and animals, to decorate the art ware and the furniture. Behind each piece of art ware is a unique story of blessings to celebrate life. Culture is embedded in life. Life manifests culture. The symbols of blessings, which were designed with the aim to fend off evil spirits, have continued to develop with the evolution of techniques and the improvement of materials and become the tool to beckon luck, wealth and prosperity. Now businesses have resorted to the integration of traditional Chinese totems and symbols with innovative contemporary designs in order to gain a competitive advantage in the increasingly fierce competition resulting from the supply of the cheap labor of the emerging economies. This project is significant to me in two ways: 1) to diffuse the Chinese culture, which is the bedrock of all forms of Chinese art; 2) to pursue my own interests in jewelry design. In a field where the western societies dominate, resorting to western applications on the basis of Chinese culture by leveraging my own cultural origins is the advantage to survive the competition. The power of the unique style presented by a piece of western-style jewelry embedded in traditional Chinese cultural spirits will continue to grow. .Keywords: auspicious、design、totems and symbols、jewelry design
32
Lu, Ying-Yin, and 盧映吟. "Research in The Totems of Payuan Glass Beads Application toModern Fabric Pattern Design." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/jpx767.
Full textAbstract:
碩士國立屏東科技大學
時尚設計與管理系所
105
Abstract Student ID：M10376016 Title of thesis：Research in The Totems of Payuan Glass Beads Application to Modern Fabric Pattern Design Total pages：146 Name of Institute：Department of Fashion Design and Management,National Pingtung University of Science and Technology Graduate date：January,2017 Degree Conferred：Master Name of student：Ying-Yin Lu Adviser：Dr.Sang-Song Lai The contents of abstract in this thesis： In view of the advent of "globalization", Taiwan's cultural creativity has been gaining momentum and enhancing the aestheticization of everyday life. As the rise of cultural and creative industries, with the cultural story of the goods, more likely to get consumers love. Therefore, in this study, we try to draw the five patterns of eye pattern, warrior pattern, teardrop pattern, crescent pattern and daylight pattern as the creative elements, which are the elements of the aboriginal culture elements of Taiwan - Paiwan ancient glazed beads pattern. 20 kinds of popular fabrics, and the basis of perceptual engineering, image analysis, to explore the different backgrounds of the image perception and preferences; understanding of consumers for the Paiwan cultural transformation of the new image perception, expect the future to provide fabrics for the designer Creation of reference, but also to Paiwan culture have more application-oriented. In the research method, 385 questionnaires were collected by means of semantic difference analysis, and four questionnaires were designed for students of design department, aboriginal industrial workers, apparel industry and general consumers. The results showed that: (1) The image cognition of influencing factors of the popular cloths mainly consisted of heart perception factors, visual communication factors and visual perception factors. (2) to distinguish between the image of gender differences in perception: the image of men for the fabric pattern biased in favor of three-dimensional, concrete, while women are more biased in favor of the dream of the real and abstract; to distinguish between ethnic image differences in perception: Aborigines for Paiwan Image perception, tend to eye-catching, eye-catching, on the contrary, non-aboriginal status are more biased in favor of fantasy and gorgeous. (3) consumers tend to eye-catching, eye-catching, fantasy, gorgeous, three-dimensional, fashion and other images of popular fabrics. Key words: Paiwan people, glass beads, cloth pattern, image analysis
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Zong, Ju-Xiang, and 宗菊香. "Study on the Effects of Atayal Totems applied to the Marketing of Overall Shape." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/02994919913766785943.
Full textAbstract:
碩士萬能科技大學
化妝品應用與管理研究所
104
Recently, the aesthetic culture of Taiwanese aborigines mixed modern makeup, modeling, apparels, life and cultural & creative goods and so on. People set many related elements like totems, texture of textiles and symbols into modeling and apparels. It showed different fashion trend and not only promoted creative developments of aboriginal traditional industries but also expanded the visibility of Taiwanese aborigines on global. If we can combine the characteristics of imagery of traditional culture of aborigines with modern aesthetic arts and study and use them, which would have positive benefits to the conservation of aboriginal culture and the developments of related industries. Now the major fashion industry is full of modern western culture in Taiwan. In recent, the " Korean Wave " conquered new territories aggressively around the world by the support of Korean government. And then they are widely popular in the market and make huge influences to the local popular trend. Therefore, this research tries to fuse elements of aboriginal totems with western elements and use it in marketing research. And survey related attitudes and Intention to the elements of Atayal (one of Taiwanese aborigines) totems assimilated into fashionable ideas from consumers. Finally, through it to analyze the influences of the elements of Atayal totems applied to the hole modeling to the relationship marketing. The cognition in behavior of consumers and their lifestyles are all related factors to distinguish and define the demographics of consumers. Thence, this research takes consumer behaviors as research direction which imported the whole modeling, the cultural & creative and the designs of Atayal totems. And assimilate Atayal totems into many products of the hole modeling like clothes, skirts, pants, fittings, accessories and so on. Then it manly deconstructs the product marketing of the whole modeling, including: headwear, clothing accessories,jewelries and cosmetics. And then, for marketing, it depends in products, channels, pricing, and promotions these four projects. The contents in this research emphasize products and promotions these two facets. So it especially research lifestyles in consuming behavior, and do deeper analysis and research to understand the key marketing in lifestyles and the demographics of consumers. This research assimilate modern elements into the Atayal totems, and show all kinds of design styles by the whole modeling. After that it analyzes consumer behavior, and transforms it into promotions of products. And also formulate related marketing strategy and then implement the foundational of the elements of Atayal totems by the analysis of the contents. The results of this research shows that the point of the marketing strategy should predominantly base on culture-type participants. For the whole modeling, it should add attractive, creative culture elements goods. That could think of some kind of cultural traits or symbols . And it will have richer and stories than the reports related with culture on the news, the magazines and the internet. So that it could promote the enhancement of value and the capacity of market of the elements of Atayal totems applied to the whole modeling. In the end, it will bring new vitality and create a win-win situation for the creativity of indigenous culture and the whole modeling.
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Lee, Li-chun, and 李麗君. "A Study of Applying Indigenous People’s Totems to Paintings and to Cultural and Creative Products." Thesis, 2016. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22104NTTU5233004%22.&searchmode=basic.
Full textAbstract:
碩士國立臺東大學
進修部美術產業發展碩專(夜間班)
104
Abstract In this study, the totemic cultures observed by Taiwan’s indigenous tribes of Amis, Rukai, and Yami were examined in an attempt to find out painters’ notions of creativity as well as their representations of indigenous people’s totemic cultures. With her understanding of the totemic cultures observed by the indigenous people residing in Taitung and Hualien, the author incorporated totemic cultures into her paintings in which totemic cultures were presented as cultural creations, signifying totemic cultures integrated into art industry. This study is intended for the purposes set forth as follows: 1. To find out the original form of indigenous totems as well as their symbolic meanings and spiritual values, 2. To examine the painters’ notions of creativity as well as their representations of totemic cultures, and 3. To integrate art creations into art industry. Now, indigenous arts are becoming more important than ever. In an attempt to reflect the spiritual significance of indigenous cultures, the author has completed six series of artworks using oil paintings, watercolors, cartoons, and lithographs. The author incorporated indigenous people’s totemic cultures into her artworks, and then integrated her artworks into tangible objects, allowing indigenous cultural values to pass down and to create a localized culture at the same time. Artworks have to be accomplished by multidisciplinary talents. Up until now, cultural and creative industry has become an important economic activity across the world. With more and more cultural creations introduced to the market, people will understand various groups of indigenous people as well as their totemic cultures better than ever.
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Ciou, Sin Yi, and 邱馨儀. "Application of Traditional Celebration Totems and Vocabularies on the Experimental Creation of Wedding Invitation Cards." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/y8cgya.
Full textAbstract:
碩士臺中技術學院
商業設計系碩士班
98
Traditional wedding invitation cards are designed with convenience of delivery in mind; hence, most cards are flat and simple. The main styles are either Chinese or Western. In terms of color, Chinese wedding invitation cards are usually bright red. Besides congratulatory words, the cards have a few signature designs. Designs consist of the Chinese character for joy, pictures of a dragon and phoenix, flowers and plants, as well as floral and cloud-like patterns. Western style cards employ lighter and plainer colors. Classical designs of this style include the bow ribbon, lace and other elegant patterns. This research compiled elements of existing styles, and further improved the designs by stressing their sensibility. The researchers considered how the cards can be integrated with contemporary trends when customizing them. The primary focus of the research and analysis is to develop wedding invitation cards through numerous design possibilities. The goal is to enhance the feelings conveyed by the cards through the sensation of handwork. Whereas machines cannot detect feeling, human hands can touch and appreciate the complexity, quality, elegance, and emotions imbued from these creations. Unlike traditional wedding invitation cards, the cards are incorporated with different materials and designs to enrich the visual experience. Although the designs are still in development, it is hoped that this research could create a new trend in wedding invitation card designs, contribute to inspire the creations in related industries.
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Huang, Wei-wen, and 黃衛文. "Application of Traditional Totem Arts of Taiwan’s Native Inhabitants in Wood Carving Creative Design–A Case Study on Taitung Puyuma Tribe Totems." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27388075083717698184.
Full textAbstract:
碩士國立屏東科技大學
熱帶農業暨國際合作研究所
94
This is an applicable research on creative design of wood art dedicated to native inhabitant traditional totem art, taking “totem of Taitung Puyuma” as an example. Totem art of Puyuma is a commonly-seen decoration technique in traditional native inhabitant life, demonstrating the practical functional of totem art in living decoration. The traditional wood art of “totem of Taitung Puyuma”is a big feature of living decoration art. However, due to the fast development of information globalization and visualization, application of this totem to traditional decoration art has been eclipsed because of negligence. Similarly, the number of the craftsmen and artisans of native inhabitants is decreasing. If the creativity can be added to the decoration art of tradition totem in terms of design, shape and production, not only people can be aware of the transformational traces left over time, but also the totem style of traditional native inhabitant cultures can be reserved. By exploring the creative design on wood art of traditional native inhabitant totem, a complete study on the producing techniques and creative patterns has been achieved. With the literature review and field research method, the status of current craftsmen and artisans and the process of passing down the art are profoundly discussed. Furthermore, this study also discusses the status that totem has been practically applied to the traditional decoration art of wood and modern architecture arts. With those works, the characteristics and style of the traditional totem are also revealed. To attain this purpose, a descriptive statistical method is used to compare and analyze data. This study is expected to promote the development of traditional totem culture. Increase the additional values of traditional art and enhance the selling point of this valuable heritage. In this way, the inheritance of the “totem Taitung Puyuma” can be really guaranteed.
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Mathevula, Delvah. "Nkanelo wa Swin'wana swa Swithopho swa Swivongo na Nkacetelo wa Swona eka Vatsonga." Diss., 2018. http://hdl.handle.net/11602/1483.
Full textAbstract:
MA (Xitsonga)Eka Senthara ya M. E. R. Mathivha ya Tindzumi ta Xiafrika, Vutshila na Mfuwo
Ndzavisiso lowu wu kanela hilaha swithopo swi nga na nkucetelo hakona eka mahanyelo ya Vatsonga. Nkoka wa dyondzo leyi i ku komba Vatsonga laha va humaka kona na mahanyelo lama hlohloteriwaka hi swithopo swa swivongo swa vona. Xikongomelonkulu xa ndzavisiso lowu i ku lavisisa swin’wana swa swithopo swa swivongo swa Vatsonga na nkucetelo wa swona evuton’wini bya vanhu lava. Ntirho lowu wu ta languta swithopo swa makumembirhin’we leswi nga kona eka swivongo swa Vatsonga. Mulavisisi u hlawurile swivongo handle ko landzelela maendlelo yo karhi, kambe u ta hlawula ngopfu swivongo leswi kumekaka hi xitalo kumbe leswi taleleke hi vavulavuri eka Vatsonga. Nkanelo wa mahungu wu langute eka swihlawulekisi swa swithopo swa swivongo na nkucetelo eka vinyi va swona. Vakhegula na vakhalabye vo ringana ntlhanu eka xivongo xin’wana na xin’wana lava nga na vutivi bya matimu ya swivongo va hlokohlisiwile ku kuma swithopo na matimu ya swona eka xivongo xin’wana na xin’wana.
NRF