Premature burial : fact or fiction?

Mode of access: Internet.

The whole works of the Right Rev. Jeremy Taylor /

v.1. The life of Taylor. Funeral sermon / by Bishop Rust. Correspondence with Mr. Henry Jeanes. Christian consolations. Indexes -- v.2. The history of the life and death of the Holy Jesus -- v.3. The history of the life and death of the Holy Jesus (cont.) Contemplations of the state of man -- v.4. The rule and exercises of holy living and dying -- v.5-6. Sermons -- v.7. Episcopacy asserted. An apology for authorized and set forms of liturgy. A discourse on the liberty of prophesying -- v.8. A discourse on the liberty of prophesying (cont.) The doctrine and practice of repentance -- v.9. The doctrine and practice of repentance (cont.) Deus justificatus. The real presence of Christ in the holy sacrament -- v.10. The real presence of Christ in the holy sacrament (cont.) A dissuassive from popery -- v.11. A dissuasive from popery (cont.) Letters. A discourse of confimation. A discourse of friendship. Ductor dubitantium; or, The rule of conscience -- v.12-13. The rule of conscience (cont.) -- v.14. The conclusion of the rule of conscience. The divine institution and necessity of the office ministerial. Rules and advices to the clergy -- v.15. The golden grove. The psalter. A collection of offices, or forms of prayer. Devotions for various occasions. The worthy communicant.

Una scena commovente.

University of Illinois bookplate: "From the library of Conte Antonio Cavagna Sangiuliani di Gualdana Lazelada di Bereguardo, purchased 1921".

La tentacion del abismo en armonia Somers: Entre el expresionismo de vanguardia y el gotico postmoderno

Armonía Somers (Uruguay 1917 - 1994) ha sido clasificada dentro de la llamada Generación del 45 de Uruguay, sin embargo, muchos críticos aseguran que su obra difiere de la estética del período en que escribió. Mientras Ángel Rama sugiere que la narrativa de Somers pertenece a la tradición de los raros y malditos, que desciende del extraño linaje del Conde franco-uruguayo y poeta Lautréamont, otros la colocan en el ámbito de la narrativa imaginativa y de lo fantástico. La crítica contemporánea se aproxima a la obra de Somers a partir del concepto de lo extraño o "Unheimlich", abordando las novelas de la autora desde una perspectiva freudiana, lacaniana o heideggeriana. No obstante, ninguna de estas investigaciones ha determinado a qué género u orientación literaria se aviene, ni han indagado en profundidad sobre su contribución a los estudios metaficcionales. ^ En esta tesis propongo que las novelas de Armonía Somers, "La mujer desnuda" (1950), "De miedo en miedo. Los manuscritos del río" (1965), "Un retrato para Dickens" (1969), "Viaje al corazón del día. Elegía por un amor secreto" (1986), y "Solo los elefantes encuentran mandrágora" (1986), transgreden los géneros y tendencias literarias dominantes en su época por medio de una imaginación excesiva y de una trama anti-dramática, asociada primordialmente con la experiencia del terror sublime y la representación de lo inexpresable o irrepresentable, ambas nociones correspondientes a la poética expresionista de vanguardia y al gótico postmoderno. Las novelas analizadas en este trabajo presentan en su estructura una amplia gama de formas ambiguas e inorgánicas, cuya función desestabiliza los aspectos formales del realismo y subvierte los postulados epistemológicos e ideológicos en que se apoyan las culturas afirmativas, las cuales legitiman solo cierto concepto de realidad, desentendiéndose del resto de las experiencia humanas que no encajan en sus esquemas. La desacralización, la disolución moral, la muerte simbólica y la naturaleza fluida de la identidad junto con una marcada autorreflexividad, son algunos de los temas más relevantes de este conjunto de obras, que he categorizado como un ejemplo del expresionismo gótico postmoderno del siglo XX.^

La tentación del abismo en Armonía Somers: entre el expresionismo de vanguardia y el gótico postmoderno

Armonía Somers (Uruguay 1917 – 1994) ha sido clasificada dentro de la llamada Generación del 45 de Uruguay, sin embargo, muchos críticos aseguran que su obra difiere de la estética del período en que escribió. Mientras Ángel Rama sugiere que la narrativa de Somers pertenece a la tradición de los raros y malditos, que desciende del extraño linaje del Conde franco-uruguayo y poeta Lautréamont, otros la colocan en el ámbito de la narrativa imaginativa y de lo fantástico. La crítica contemporánea se aproxima a la obra de Somers a partir del concepto de lo extraño o “Unheimlich”, abordando las novelas de la autora desde una perspectiva freudiana, lacaniana o heideggeriana. No obstante, ninguna de estas investigaciones ha determinado a qué género u orientación literaria se aviene, ni han indagado en profundidad sobre su contribución a los estudios metaficcionales. En esta tesis propongo que las novelas de Armonía Somers, “La mujer desnuda” (1950), “De miedo en miedo. Los manuscritos del río” (1965), “Un retrato para Dickens” (1969), “Viaje al corazón del día. Elegía por un amor secreto” (1986), y “Solo los elefantes encuentran mandrágora” (1986), transgreden los géneros y tendencias literarias dominantes en su época por medio de una imaginación excesiva y de una trama anti-dramática, asociada primordialmente con la experiencia del terror sublime y la representación de lo inexpresable o irrepresentable, ambas nociones correspondientes a la poética expresionista de vanguardia y al gótico postmoderno. Las novelas analizadas en este trabajo presentan en su estructura una amplia gama de formas ambiguas e inorgánicas, cuya función desestabiliza los aspectos formales del realismo y subvierte los postulados epistemológicos e ideológicos en que se apoyan las culturas afirmativas, las cuales legitiman solo cierto concepto de realidad, desentendiéndose del resto de las experiencia humanas que no encajan en sus esquemas. La desacralización, la disolución moral, la muerte simbólica y la naturaleza fluida de la identidad junto con una marcada autorreflexividad, son algunos de los temas más relevantes de este conjunto de obras, que he categorizado como un ejemplo del expresionismo gótico postmoderno del siglo XX.

Imaginários da morte: poética das imagens em cemitérios brasileiros

The thesis presented is committed to a poetic reading that results in the creation of meaning and images of the death from the various cultural practices and symbolic representations exposed in urban cemeteries in some Brazilian cities, aiming to give visibility to new understandings about the imaginary of the in the contemporary scene. Death, therefore, will be seen as a imagining condition of anthroposwhen starts itself from the prerogative of the human consciousness of death (MORIN, 1970), in other words, this awareness that man has he will die and that triggers reflections about their existence allows the emergence of a number of practices such as: mourning, funeral rituals and the creation of several impregnated representations of human emotions emerged from the death facing the man and present, in a more evident form in cemeterial spaces. For this, it focuses on the conflictuous dimension that man establishes with death, because the cultural practices and symbolic representations observed in the research field are the result of this conflict and allow the expansion of the senses about this issue, to the extent that these are coated with a fantastic aura, mystical, secret, spooky, fearful, religious, building a complex imagination. The general plan of this study is to discuss and create, from a phenomenology of imagination and materials / dynamics imagination, as well as along the lines treated by Gaston Bachelard, images of death, from a field experience in cemeteries in Brazil. For this, it is assumed, to observe the cultural practices and symbolic representations in these spaces, a posture able to make the experience into the search field a moment of symbolic exchanges and creation. Thus, it was used observation, conversations with visitors and employees of the cemeteries and the capture of photographic records. The data produced as a fragment of a conversation, a tearful outburst about the loss of a relative, a melancholic epitaph, a flower on the grave or a cry captured by photography were seen as detonators of meanings and a poetic of the imagination.

Imaginários da morte: poética das imagens em cemitérios brasileiros

The thesis presented is committed to a poetic reading that results in the creation of meaning and images of the death from the various cultural practices and symbolic representations exposed in urban cemeteries in some Brazilian cities, aiming to give visibility to new understandings about the imaginary of the in the contemporary scene. Death, therefore, will be seen as a imagining condition of anthroposwhen starts itself from the prerogative of the human consciousness of death (MORIN, 1970), in other words, this awareness that man has he will die and that triggers reflections about their existence allows the emergence of a number of practices such as: mourning, funeral rituals and the creation of several impregnated representations of human emotions emerged from the death facing the man and present, in a more evident form in cemeterial spaces. For this, it focuses on the conflictuous dimension that man establishes with death, because the cultural practices and symbolic representations observed in the research field are the result of this conflict and allow the expansion of the senses about this issue, to the extent that these are coated with a fantastic aura, mystical, secret, spooky, fearful, religious, building a complex imagination. The general plan of this study is to discuss and create, from a phenomenology of imagination and materials / dynamics imagination, as well as along the lines treated by Gaston Bachelard, images of death, from a field experience in cemeteries in Brazil. For this, it is assumed, to observe the cultural practices and symbolic representations in these spaces, a posture able to make the experience into the search field a moment of symbolic exchanges and creation. Thus, it was used observation, conversations with visitors and employees of the cemeteries and the capture of photographic records. The data produced as a fragment of a conversation, a tearful outburst about the loss of a relative, a melancholic epitaph, a flower on the grave or a cry captured by photography were seen as detonators of meanings and a poetic of the imagination.

Late Bronze Age in Eastern Iberian Peninsula: Archaeological Bases and Periodization

Research surrounding the transition from II to I millennium cal BC in Eastern Iberian Peninsula has a large and extensive tradition of investigation. However, the chances to do research on this historical process have been limited by the lack of a well contextualized and dated stratigraphic sequence. For this reason, recent studies in this topic have followed the periodic proposals which were developed in closer regions and areas, especially in the South East and North East of the Peninsula. The investigation perspective about the Late Bronze in Eastern Iberian has however now improved, with the development of several archaeological investigations, the increase in the number of sites being dated and more recent studies into the region helping to bring about this change. As such, it is now in the correct state to be able to propose a new periodization and delve into the changes which occurred in the transition between 1500 and 725 cal BC.

Adesp. fr. 700 K.-Sn. y "Andrómeda" de Eurípides

adesp. fr. 700 Kn.-Sn. podría proceder de Andrómeda de Eurípides y no de una Níobe. Los siguientes elementos de los frs. (a) y (b) pueden responder a lo que se conoce de la tragedia de Eurípides: (a) la semejanza con una estatua; (b) la novia de Hades; (c) el silencio del personaje; (d) la colaboración con las Moiras; (e) el contraste entre la fortuna regia y la desgracia y el sufrimiento de los padres. No es, por tanto, necesario modificar el texto recibido para eliminar μάγους πάγας y la referencia a las trampas mágicas en el v. 5, que cuadra bien con Medusa y Perseo.

Profesionales de la educación en la Hispania romana

La epigrafía latina nos ha legado el recuerdo de doce docentes y un grupo de maestros de escuela en Hispania. Los diferentes textos, la mayoría de carácter funerario y procedente del ámbito urbano, nos aportan información acerca de las funciones que estos profesionales desempeñaron en la sociedad hispana, así como del contexto socio-jurídico del que provenían. En este sentido, la pieza más valiosa es la inscripción dedicada a un gramático llamado L. Memmius Probus en la antigua Tritium Magallum, gracias a la cual conocemos las circunstancias concretas en las que trabajó este educador.

El ritual en los "Textos de las Pirámides": sintaxis, texto y significado

Este trabajo pretende explorar la dimensión ritual en los Textos de las Pirámides, el corpus de literatura religiosa extensa más antiguo de la humanidad. La naturaleza variada de sus componentes textuales ha impedido que los egiptólogos comprendan en profundidad las complejidades de la colección y los contextos originales en los que estos textos (ritos) aparecieron. La aplicación de la teoría del ritual, principalmente la aproximación de la sintaxis ritual, ofrece a los investigadores un marco excelente de análisis e interpretación del corpus, su estructura y función. Sujeto a las reglas de la sintaxis ritual es posible exponer los múltiples niveles de significado en el corpus para la resurrección y salvación del difunto.

Ansiedade em face da morte em Agentes Funerários

Ao pensar na morte há um reconhecimento da vulnerabilidade humana e da própria fragilidade da vida. A morte é universal, mas experienciada de uma forma individualizada por cada um de nós, a partir da personalidade, experiências de vida, variáveis pessoais, idade, sexo, religião. Vivenciar a morte e o morrer poderá conduzir a sensações de medo e ansiedade. Os agentes funerários que lidam diariamente com a morte e com o “luto” (do corpo morto e dos familiares em relação ao ente querido que perderam) poderão estar expostos a sentimentos de ansiedade depressiva pela ativação diária do confronto com a própria morte, ou com a morte de pessoas a quem estão intimamente ligados. É objetivo deste estudo avaliar os níveis de ansiedade em face da morte em agentes funerários, e ainda explorar a eventual associação entre fatores sociodemográficos e profissionais selecionados e esta variável. A amostra é composta por 60 sujeitos de uma empresa funerária em Portugal. Os instrumentos psicométricos utilizados foram a Escala de Ansiedade face à Morte (DAQ), e um questionário sociodemográfico desenhado para o presente estudo. Os resultados globais mostram que os Agentes Funerários apresentam níveis de ansiedade face à morte estatisticamente significativos (M = 35,88; DP = 9,02). O género, a idade, religião, anos de experiência, estado civil, terem filhos, ter morrido alguém próximo ou significativo, especificidade de trabalho: ser comercial ou operacional o número de contatos, não marcam significativamente a forma como os sujeitos em estudo percecionam a sua ansiedade em face da morte. Os níveis de ansiedade aumentam entre aqueles que não tiveram formação específica para lidar com estas situações. / When thinking about death there is recognition of human vulnerability and fragility of life itself. Death is universal but experienced individually by each of us, through personality, life experiences, personal variables, age, sex, religion. Experiencing death and dying can lead to feelings of fear and anxiety. Funeral Agents who daily deal with death and with the "mourning" (the dead body and the family of the deceased) may be exposed to feelings of depressive anxiety activated by the daily confrontation with death itself or death of people who are close to them. The aim of this study is to assess the levels of anxiety in Funeral Agents when facing death, and also explore the eventual association of social-demographic and professional factors with this variable. The sample consisted of 60 subjects of a Portuguese Funeral company. The instruments used were the Death Anxiety Questionnaire (DAQ) and a socialdemographic questionnaire designed for the present study. The overall results show that Funeral Agents present anxiety levels statistically significant when facing death (M = 35.88, SD = 9.02). Gender, age, religion, years of experience, marital status, having children, the death of someone close or important, and the specificity of the job (commercial or operational agent), the number of contacts, show no statistically significant association with anxiety when facing death. However, the levels of anxiety increase among those who had had no specific formation to deal with these situations.

The Shrine of ʿAbd al-Qādir al-Jīlānī in Baghdad & the Shrine of ʿAbd al-ʿAzīz al-Jīlānī in ʿAqra: Mapping the multiple orientations of two Qādirī Sufi shrines in Iraq

This thesis charts the stakeholder communities, physical environment and daily life of two little studied Qādiriyya Sufi shrines associated with Shaikh ʿAbd al-Qādir al-Jīlānī (1077 – 1165 AD), a 12th century Ḥanbalī Muslim theologian and the posthumous founder of one of the oldest Sufi orders in Islam. The first shrine is based in Baghdad and houses his burial chamber; and the second shrine, on the outskirts of the city of ‘Aqra in the Kurdish region of northern Iraq, is that of his son Shaikh ʿAbd al-ʿAzīz (died 1206 AD). The latter was also known for lecturing in Ḥanbalī theology in the region, and venerated for this as well as his association with Shaikh ʿAbd al-Qādir. Driven by the research question “What shapes the identity orientations of these two Qādiriyya Sufi shrines in modern times?” the findings presented here are the result of field research carried out between November 2009 and February 2014. This field research revealed a complex context in which the two shrines existed and interacted, influenced by both Sufi and non-Sufi stakeholders who identified with and accessed these shrines to satisfy a variety of spiritual and practical needs, which in turn influenced the way each considered and viewed the two shrines from a number of orientations. These overlapping orientations include the Qādirī Sufi entity and the resting place of its patron saint; the orthodox Sunnī mosque with its muftī-imams, who are employed by the Iraqi government; the local Shīʿa community’s neighbourhood saint’s shrine and its destination for spiritual and practical aid; and the local provider of welfare to the poor of the city (soup kitchen, funeral parlour and electricity-generation amongst other services). The research findings also revealed a continuously changing and adapting Qādirī Sufi scene not immune from the national and regional socio-religio-political environments in which the two shrines exist: a non-Sufi national political class vying to influence and manipulate these shrines for their own purposes; and powerful national sectarian factions jostling to do the same. The mixture of stakeholders using and associating with the two shrines were found to be influential shapers of these entities, both physically and spiritually. Through encountering and interacting with each other, most stakeholders contributed to maintaining and rejuvenating the two shrines, but some also sought to adapt and change them driven by their particular orientation’s perspective.

ENEOLITHIC, YAMNAYA AND NOUA CULTURE CEMETERIES FROM THE FIRST HALF OF THE 3RD AND THE MIDDLE OF THE 2ND MILLENNIUM BC, POROHY, SITE 3A, YAMPIL REGION, VINNITSA OBLAST: ARCHAEOMETRIC AND CHRONOMETRIC DESCRIPTION, RITUAL AND TAXONOMIC-TOPOGENETIC IDENTIFICATION

The paper presents the results of excavations and analytical studies regarding the taxonomic classification of a funeral site associated with the societies of ‘barrow cultures’ of the north-western Black Sea Coast in the first half of the 3rd and the middle of the 2nd millennium BC. The study discusses the ceremonial centres of the Eneolithic, Yamnaya and Noua cultures.

An Acrostic Elegy by a Maronite Priest-Monk on the sorrow of the Virgin Mary at her separation from her Son

El propósito de este artículo es llamar la atención de los especialistas de la existencia de un hasta ahora desconocido e inédito poema acróstico árabe, que describe la aflicción y el dolor de la Virgen María en la separación de su amado Hijo. El texto de esta interesante pieza que se presenta aquí fue compuesta por un sacerdote maronita que residía en Roma.