Funerals

Dealing with death and bereavement in the context of the Covid-19 Pandemic will present significant challenges for at least the next three months. The current situation does not allow for families andbcommunities to be involved in the process of death in ways in which they would normally hope or expect to be. In addition, mortality rates will disproportionately affect vulnerable households. The government has identified the following communities as being at increased risk: single parent households; multi-generational Black and Minority Ethnic groups; men without degrees in lone households and/or in precarious work; small family business owners in their 50s; and elderlyhouseholds. Our study focused on these groups. This report presents a summary of findings and key recommendations by a team of anthropologists from the London School of Economics who conducted a public survey and 58 cross-community interviews between 3 and 9 April 2020. It explores ways to prepare these communities and...

Summary and Conclusion - In July 2021, the Ministry of Government and Consumer Services tabled a consultation paper seeking feedback to inform potential proposals for changes to the Funeral, Burial and Cremation Services Act, 2002 (FBCSA) and/or its regulations. The FBCSA and its regulations set out certain requirements for Ontario's bereavement sector. The Ministry's consultation paper also seeks to address recommendations made by the Auditor General in a recent report as well as concerns raised by bereavement sector stakeholders. We are pleased to have this opportunity to submit comments as part on consultations on reforming the FBCSA and its regulations and other related legislation and policies.

This brief addresses numerous aspects of the current regime governing cemetery and bereavement operations. However, our focus is on potential use of conservation burial reserves (CBRs) as a means to address neglected or abandoned cemeteries and potential other additional cemetery closure order application requirements, raise funds, provide consumers with a wider range of choices at more affordable prices, increase greenspace in communities for its many physical and mental health benefits, and simultaneously promote conservation of lands for wildlife and plants in urban and rural areas in Ontario.

David McRobert is an environmental lawyer based in southern Ontario, and Adjunct Professor. David served for sixteen years as In-House Counsel and Senior Policy Advisor at the Environmental Commissioner of Ontario. In the past 11 years, he has worked with numerous clients on a range of topics including environmental defence work, wireless radiation safety, air pollution, water pollution and chemical sensitivity. David has a B.Sc. in Biology and a Masters in Environmental Studies in Biological Conservation from York U. He graduated from Osgoode Hall Law School, undertook graduate law studies and was admitted to the Ontario Bar in 1990. David taught law to undergraduate and graduate students at York University, Osgoode Hall Law School, the University of Toronto and Humber College between 1988 and 2012. He has published more than 30 books and reports and dozens of journal articles and articles. Book titles include Risky Business: A Guide to the Use, Handling and Transportation of Asbestos (2012) and My Municipal Recycling System Made Me Fat and Sick (2012).

Angela Dittrich begins her second year as a Masters in Environmental Studies and law (MES/JD) student at York University and Osgoode Hall Law School in Sept. 2021. She also is completing a Business and the Environment graduate diploma from the Schulich School of Business. Angela has a B.Sc. in Integrated Science from McMaster University. Her current research analyzes extended producer responsibility (EPR) approaches across North American jurisdictions with a focus on environmental impacts, economic impacts, and metrics used to determine program efficacy.

Foreword by Isabel Russo, Head of Ceremonies at the British Humanist Association
A unique, hands-on guide to the craft of ritualmaking. Answering the call for new rituals in our secular age, this book recognises the essential importance of rituals to the psychological, physiological and spiritual health of individuals, families, organisations, and society as a whole. The book examines and explains the history, function and place of emerging rituals in different cultures, as well as providing practical guidance for creating your own secular rituals. The author includes examples, risk factors and checklists for the stages of planning new rituals for important life events such as birth, marriage death and public occasions.

Qui organise aujourd'hui des funérailles catholiques à Abomey, dans le sud du Bénin? Comment, pourquoi, et dans quelles conditions? Voici quelques-unes des questions auxquelles ce texte s'efforce de répondre, en replaçant ce cas dans la problématique plus générale de l'articulation entre identités religieuses et divisions sociales dans l'Afrique contemporaine.

Este artigo pretende tratar do uso das flores e de outras plantas na confecção de coroas para os diversos rituais da Antiguidade Clássica, bem como da sua função na preparação do neófito, da noiva, dos mortos, e dos sacrifícios, buscando esclarecer o significado contido nas escolhas e nos usos destas plantas e flores.
This article intends to handle the use of the flowers and other plants in the crowns making for several rituals in the Classic Antiquity, as well as their function in the preparation of the neophyte, the bride, the dead, and the sacrifices, aiming to clarify the meaning of the choices and the uses of these plants and flowers.

For centuries, funeral ceremonies have played an important socio-political role. On the one hand, they constituted the legitimization of power, while on the other, they could contest it, aiming at its delegitimization. The aim of this paper is to present the political aspect of funeral ceremonies and their typology, including the social and political dimension, on the example of post-war Poland. Apart from the course of the ceremony itself (texts of sermons and speeches, official guests and mourners, social scenography of funerals), the article highlights the relations about death and its nature, which significantly influenced the course of funeral ceremonies. Another important element is the social reception of funeral ceremonies and the collective memory of them. The publication proves that funeral ceremonies are an interesting, although still underestimated research issue for both historians and political scientists.

The megalithic phenomenon is one of the most exciting subjects of study in prehistory. The practice of monumentalising places of special significance by erecting large stones started during the Neolithic period, approximately 10.000 years ago. On time, it acquired such a social and ideological depth that it became one of the most geographically and temporally widespread cultural phenomena ever known in Europe. In Andalusia,  megalithic sites and landscapes express themselves with great richness and diversity, representing an exceptional source of scientific information for our understanding of our forebears’ ways of life, as well as a unique and beautiful historical legacy. This book combines the contributions of various university professors, who bring us up to date with their research, with excellent photographic illustrations and, for the first time, reflects the spread of this cultural phenomenon throughout Andalusia. It is suitable for both those who wish to deepen their knowledge of this professional specialisation and those who seek the pleasure of a satisfied interest.

CONTENTS
Obit: Mary Desborough Cra’ster, 1928–2008, John Pickles, Peter Gathercole, and Alison Taylor
A Fen Island in the Neolithic and Bronze Age: Excavations at North Fen, Sutton, Cambridgeshire, Leo Webley and Jonathan Hiller
A fen island burial: excavation of an Early Bronze Age round barrow at North Fen, Sutton, Aileen Connor
The Bartlow Hills in context, Hella Eckardt with Amanda Clarke, Sophie Hay, Stephen Macaulay, Pat Ryan, David Thornley and Jane Timby
Senuna, goddess of the river Rhee or Henney, Stephen Yeates
A Reappraisal of the Evidence for the ‘northern arm’ of the Fleam Dyke at Fen Ditton, Scott Kenney
An excavation at Station Quarry, Steeple Morden, Cambridgeshire, Laura Piper and Andrew Norton
Excavations at Scotland Road/Union Lane, Chesterton, Duncan Mackay
A Curious Object from Firs Farm, Caxton, Aileen Connor
A morphological analysis of Ickleton, Cambridgeshire: An admission of defeat, Christopher Taylor
Funerals, the final consumer choice? Ken Sneath
The ‘Age of the Windmill’ in the Haddenham Level, N James
Upware and Bottisham Sluices, K S G Hinde
Changes in the landscape of west Cambridge, Part V: 1945 to 2000, Philomena Guillebaud
The C.A.S. Collection of Cambridgeshire ‘Sketches’ J.D. Pickles
Fieldwork in Cambridgeshire 2007, Elizabeth Shepherd Popescu and Sarah Poppy
Reviews, Tim Malim and Sue Oosthuizen

This article studies the development of the Vigil for the Deceased in the Order of Christian Funerals (USA) through an examination of the archival documents of the committees entrusted with this work. There follows a discussion of the theological/pastoral foci of the Vigil in light of the diachronic presentation and analysis.

Visual arts maintain a colourful presence at Buddhist funerals in Northern Thailand. These arts are not made for mere decoration but serve an active and essential role in the ceremonies that take place after death. They echo funerary themes of the impermanent nature of life and the importance of a life filled with merit. This article examines cremation structures and funeral banners of Northern Thailand and argues that these arts not only hold significance for the living and the dead, but that in giving form to abstract concepts they have the power to guide observers in their beliefs regarding the dynamics of life and death.

In this paper I analyse the funerary ideology of the communities which occupied the Southwest of the Iberian Peninsula between c. 3300 and 850 cal BC (Copper and Bronze Age). The definition and critical discussion of the funerary patterns and their evolution over this long period is used as the basis for an analysis of the evolution of social inequality. With this aim in mind, three main groups of evidence are used, corresponding to (i) funerary spaces and architectures, (ii) grave goods deposited as part of the funerary ritual, and (iii) symbology associated with the architecture and portable artefacts. As a result, an interpretation of the dialectic evolution of elements of continuity and rupture within the funerary ideology, and its significance in terms of social relationships, is presented.

Charles Le Brun (1619-1690), le Premier peintre de Louis XIV, est resté fameux pour ses grands décors de palais, en particulier, ceux qu’il conduisit à Versailles. Cet ouvrage, consacré à ses décorations de fêtes et de cérémonies, met en lumière une partie encore méconnue de son œuvre. Ces créations extraordinaires du Grand Siècle unissaient les arts dans de savantes mises en scène. Pendant quelques heures, les édifices ou les jardins se trouvaient métamorphosés grâce aux apparats conçus pour l’occasion, réunissant des peintures, des sculptures, des tapisseries ou de grandes structures, telles que des arcs de triomphe. Détruites à la fin des événements qu’elles accompagnaient, ces œuvres ont reçu peu d’attention jusqu’à présent. L’analyse des sources contemporaines et des images des décors permet de restituer ces ouvrages, mais également de les replacer dans leur contexte. La genèse de ces œuvres, leur conception et leur fabrication sont étudiées, redessinant les liens que Le Brun avait tissés avec les hommes d’État (le roi, Séguier, Fouquet et Colbert), avec les hommes de lettres, ainsi qu’avec ses principaux collaborateurs  notamment à la Manufacture des Gobelins. L’une des particularités de Le Brun dans ce domaine fut d’ordonner lui-même des fêtes et des cérémonies, ce qui constitue peut-être un cas unique pour un peintre à cette période. Ces œuvres oubliées complètent donc le portrait d’un des plus grands artistes français du XVIIe  siècle. Plus que tout autre ouvrage, les décorations ordonnées par Le Brun donnent l’image la plus juste de ses recherches et de ses goûts. Enfin, l’étude de ces célébrations et de leur réception offre une meilleure compréhension de ces créations exceptionnelles, tout en leur conférant la pérennité qu’elles méritent.

Ce texte est organisé en deux parties. La première partie remet en perspective historique la rencontre manquée entre les travaux portant sur le changement social africain, dans lesquels va s’inscrire Balandier à partir des années 1950, et la dynamique historique des funérailles africaines de la même période. La seconde partie revient sur l’actualité de l’héritage de Balandier pour penser les dynamiques contemporaines des funérailles africaines, lesquelles sont considérées ici comme des points d’entrée féconds à partir desquels il est possible d’explorer avec profit des dynamiques plus générales du champ social.

Cet article s’efforce de saisir les transformations de la prise en charge de la mort
liées à l’apparition et au développement de morgues dans les zones urbanisées de
plusieurs parties de l’Afrique subsaharienne. Redistribution du travail funéraire, allongement potentiel de l’intervalle entre le décès et l’enterrement, modifications éventuelles des rituels familiaux : la morgue s’impose comme une institution centrale
lorsque l’on cherche à comprendre certains changements des pratiques funéraires au
Sud-Bénin et, plus largement, dans les régions d’Afrique subsaharienne qui connaissent
des évolutions comparables à ce niveau. D’autres aspects du phénomène,
comme ceux qui montrent l’intégration partielle de la morgue à l’ordre rituel des
funérailles, ou qui font de celle-ci un lieu central d’expression de l’idéologie funé-
raire, sont également abordés.

Cet article met en lumière la tension, à l'oeuvre dans les oraisons funèbres catholiques du XVIIe siècle français (Fléchier, Bossuet, Bourdaloue, Fromentières, G. de Roquette, J.B. de Beauvais, G. Buhot, P. de Fénolliet...), entre l'idéal stoïcien de la mort impassible et l'idéal catholique de la mort pénitentielle, impliquant de vives émotions.

This paper explores the ways early modern French Catholic funeral orations (Fléchier, Bossuet, Bourdaloue, Fromentières, G. de Roquette, J.B. de Beauvais, G. Buhot, P. de Fénolliet...) deal with a specific generic tension between the Stoic role-model of serene death, and the Catholic role-model of (highly emotional) penitential death.

Funerals are among the most important life events in Western society, and fashioning a personalized ceremony for yourself or for a loved one is often the most meaningful way to celebrate the life of the deceased. For those wanting non-religious or secular funeral ceremonies, this step-by-step guide begins by identifying what you want from the funeral and showing how you can make it happen.

With sections on society's views of mortality, our need for rituals and crafting the actual ceremony, this guide provides the tools and philosophy to understand, plan and tailor a funeral for individuals. Includes all the tools necessary for the creation of a ceremony, such as a Ritual Profile Questionnaire, checklists, and many other handy resources.

This thesis explores the ritualized gift-giving that occurs at funerals in the Volta Basin. Other studies of hierarchical gift exchange in the region have failed to notice the salience of funeral gifting, which is actually the most prestigious form of reciprocity because it allies the living with the dead, who in turn aid the living and ensure the integrity of all other exchanges in the hierarchy. This paper examines this relationship by analyzing case studies of funerary practice from four different Voltaic societies, with a special focus on the Mossi empire of Burkina Faso. The thesis concludes by exploring how the findings reveal the relevance of religious studies to understanding the economic dimension of ritual behavior and the ritual ends of much economic exchange.

„unFramed 25°“observes the rituals, the gestures and the spaces in the context of funeralsand abdictions. „myFunerals no 1 - no 3“ has delimited the field to a three-part assemblage of site, performance and gesture according to Sheik’s notion of everyday life and public sphere and to Pratt and Clifford’s concept of contact zones as social spaces, in which diverse social and cultural positions come into contact and have to coexist. The artistic strategy requires an appropriated space for framing the performative ritualisation as a special happening with the purpose of intriguing gestures of consolation, grief, pain and memory.
Lefebvre’s trinity of space as spatial practices, representations of space and spaces of representation, and in accordance to Baudrillard’s „Symbolic Exchange and Death“ and De Certeau’s „The Practice of Everyday Life“, „unFramed 25°“ focus on the inconstancies and irregularities, on the unpunctual, on the indifferences in the overspill, in the traction and the accumulation. All practices of the „underdevelopped“ are in the spot. The art practice provides models of appropriation of and participation for the processs of grieving as a socially determined and of mourning as a more individual and personal coping strategy. The process of grief closely tied up with the ritual distinguishes also three phases: the separation, the transgression of thresholds (liminal phase) and the affilination to return. Jan Platvoet defines the ritual as a special happening, at a specific site and/or at a particular time, for a special occasion and gives common space significance through the use of adapted, culturally specific, corresponding constellations of core symbols.
Performance Art, Intervention and Installation Art will be the artistic methods to transform the ritual chain into a frieze of gestures in a contact zone. „unFramed 25°“ purposes a hillslope on La Gomera (Spain) or the Wuhan metro line (China) as specific sites to be modeled through divers media. They will frame the space to implement the gestures which the performance serie has extracted from the everyday practice fragmented ritual chain of grieving and mourning.

La mosaïque funéraire d’Orphée de Jérusalem est la dernière représentation mythologique du chantre parmi les dix-sept exemples connus des mosaïques de l’Est de la Méditerranée de l’Antiquité. Nous ne connaissons que six mosaïques funéraires avec l’image du musicien thrace dans l’art funéraire antique. La mosaïque d’Orphée placée dans une tombe chrétienne au VIe siècle (l’époque de Justinien ?), devait répondre aux attentes des chrétiens pour lesquelles elle a été exécutée. Nous sommes loin (environ 160 ans après l’interdiction des cultes païens) de l’époque ou la réaction païenne s’exprimait dans l’art et il ne s'agit certainement pas ici de ce phénomène de contestation. Selon l’opinion de l’auteur, le personnage mythologique d’Orphée avait un sens universel dans un contexte funéraire à l’époque romaine qui perdurera longtemps à l’époque de l’Antiquité tardive. L’idée d’Orphée est liée d’une part avec celle d’un homme malheureux pleurant la perte de sa bien aimée Eurydice. D’autre part, le jeu de mots, si souvent pratiqué par les Anciens dans le langage courant ainsi que dans l’iconographie (par exemple des mosaïques d’Apamée interprétées par J. et J.-Ch. Balty) et dans les textes pourrait bien expliquer le sens universel de l’image du chantre dans le contexte funéraire. En grec, « orphanos » signifie une personne privée de son père, de sa mère ou de ses enfants, et « Orpheus » Orphée. Le chantre mythologique exprime dans un contexte funéraire, le deuil et la tristesse de la personne privée de l’être le plus cher. Il est probable que le jeu de mots, a la fois graphique et textuel, sous-entendu, s’est établie dans l’image mythologique du Centaure et du Pan. Nous savons que le Chrisme accompagne la majorité des tombes chrétiennes au Ve et VIe siècles. Sous le nom du Centaure Chiron [XIPO(N)] nous pouvons lire « XiPo » et sous le nom de Pan nous lisons le « Pantokrator ». Derrière la représentation graphique du Centaure Chiron et de Pan nous pouvons donc lire « Christo to Pantokrator ». Cette formule correspond bien à l’ambiance de paix crée par Orphée, sa musique et la formule chrétienne de paix en Christ ou en Dieu adressée à deux jeunes femmes mortes et enterrées dans la chapelle funéraire de Jérusalem. L’image d’Orphée est ici utilisée d’une façon inoffensive face à la religion chrétienne et ses dogmes. See also a pdf of M.T. Olszewski, The Orpheus Funerary Mosaic from Jerusalem in the Archaeological Museum at Istanbul, in: the 11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH – 20TH, 2009, BURSA TURKEY: M. Şahin (ed. by), Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era, Bursa 2011 (2012), pp. 655-664.

Dealing with death and bereavement in the context of the Covid-19 Pandemic will present significant challenges for at least the next three months. The current situation does not allow for families andbcommunities to be involved in the process of death in ways in which they would normally hope or expect to be. In addition, mortality rates will disproportionately affect vulnerable households. The government has identified the following communities as being at increased risk: single parent households; multi-generational Black and Minority Ethnic groups; men without degrees in lone households and/or in precarious work; small family business owners in their 50s; and elderlyhouseholds. Our study focused on these groups. This report presents a summary of findings and key recommendations by a team of anthropologists from the London School of Economics who conducted a public survey and 58 cross-community interviews between 3 and 9 April 2020. It explores ways to prepare these communities and households for impending deaths with communications and policy support. More information on the research methodology, data protection and ethical procedures is available in Appendix 1. A summary of relevant existing research can be found in Appendix 2. A list of key contacts across communities for consultation is available on request. Research was focused on “what a good death looks like” for people across all faiths and for vulnerable groups. It examined how communities were already adapting how they dealt with processes of dying, burials, funerals and bereavement during the pandemic, and responding to new government regulations. It specifically focused on five transitions in the process of death, and what consultation processes, policies and communications strategies could be mobilised to support communities through these phases.

Co-authors: Bear, Laura, Simpson, Nikita, Angland, Michael, Bhogal, Jaskiran K., Cannell, Fenella, Gardner, Katy, Lohiya, Anishka, James, Deborah, Jivraj, Naseem, Koch, Insa, Laws, Megan, Lipton, Jonah, Long, Nicholas J. , Vieira, Jordan, Watt, Connor, Whittle, Catherine and Zidaru-Barbulescu, Teo

Funeral homes are known to be so helpful in funeral planning that most families tend to leave the entire burden on them. If you were a business person or among the persons with high societal rankings, there are a couple of additional services that you may need. Also, you may just think it wise to show your sorrow and offer a higher quality funeral to the dead.

Hence, you may want to get in touch with several businesses or agencies that the funeral director will freely help you out with. This is the case with consulting with florists to deliver fresh flowers throughout the occasion or get in touch with newspapers for obituary services. You might need a musician or an organist to propel the funeral service. Also, if you need someone specific to handle the religious service in place of the funeral home, the coordinator will help you reach out to them. You can choose a place for burial especially at a cemetery and have the funeral home reach out with the relevant authorities to pay for the space and have it certified.

Nonetheless, you should know that even though they will be willing to help you out, there is a price that you will pay. So, find out the corresponding costs in order to clear the debt in time. Certain funeral homes will demand for the actual fees while others will request more amounts because of being entrusted to care for the needs.

Financial aid

Funeral services are generally costly and you may not be able to afford the simplest of funerals because they sum up to a couple thousands of dollars. You will want to consult with your territory or province to find out if they will be willing and able to offer assistance. Note that most jurisdictions provide for the right to a decent funeral at their death. .Nonetheless, you will want to find out their Last Post Fund in case they were war veterans. This is a nonprofit making institution financed by veteran affairs of a given state. The sole purpose of the fund is to ensure that war experts are not denied the opportunity to a decorous funeral as well as burial due to insufficient funds.

Parties to notify concerning a death

It is obvious that friends and family always receive the information related to the death of their favorite persons in time. This is often not the case with other parties that secure the right to this vital information. For example, their employer if they were employed and relevant insurance companies have to be notified about the death. Some insurance institutions offer life assurance while others provide covers to be inherited by heirs of the deceased. This is essential whether or not claims have to be made! Doctors, spiritual leaders and other organizations to which they were members should also be told of the sad news. You will also want to get in touch with provincial agencies that cater for funeral expenses.
Once all procedures are completed, it is recommended that you get in touch with the authorities to process their death certificate.

Funeral homes are the best friends and people to count on upon the death of your precious ones. If you need to get in touch with newspapers, florists and other business agencies, feel free to ask for support and guidance from the funeral home. This will come at a cost but you can ask territorial authorities for financial support for the funeral. Also, inform relevant associates of the deceased about his/her death.

Designers see culture as a starting point for designing meaningful products that appeal to users. Culture has a dynamic structure that is constantly affected by social changes. This research examines how socio-cultural factors are perceived, analysed and transferred by design students. The design process is aimed to identify the complex or challenging and on the contrary clearly understandable aspects. In the first stage of the research, the ideas of the established cultural images, culturally influential designs and designers who use culture as a starting point were determined through 24 industrial design students. The ideas of the students were asked about design and identity in a particular geographic area, they were also asked to explain their ideas about traditional forms and draw forms of them by sketches. The results are presented together with visual examples. The common points of how the culture-oriented design approach is used by designers in the product design process and...

The author traces the transition of the royal court of the Polish-Lithuanian Commonwealth to the Western European model of court ceremonies, which lasted for almost two centuries, from the sixteenth to the eighteenth centuries. Initially, they followed the ceremonial models of the House of Habsburg and, starting in the 1640s, the French ceremonial, refined at the Versailles of Louis XIV. Meant to extol the monarch in the eyes of subjects, such ceremonies became widespread under kings of the House of Vasa, Michał Korybut Wiśniowiecki, Jan III Sobieski, and the House of Wettin. Many etiquette elements and ceremonial patterns were borrowed and adapted to the needs of the wealthy Polish and Lithuanian nobility, who followed the example of the royal court in Krakow and Warsaw. The author concludes that the borrowed cultural models had a significant influence on the everyday life of residences and palaces and on the theatricalisation of private aristocratic ceremonies, which was reflected in the way nobles dressed, moved, the style of music they played, and in illumination and the use of fireworks. Balls grew considerably more important; in the eighteenth century, opera and play productions attracted more interest. These elements are the most significant borrowings from the ceremonial practices of the Western European and local royal courts of the Warsaw-Dresden House of Wettin. However, the ceremonial culture of the Polish-Lithuanian aristocracy retained a number of traditional elements, which is especially noticeable in the organisation of weddings, funerals, and religious rituals. The author maintains that in magnate and aristocratic courts, they followed a ceremonial pattern which united elements of both traditional and new types of ceremonies. A similar tendency was characteristic of Russia, where in the eighteenth century, traditional customs were integrated into a new system of organising celebrations borrowed from Western Europe while retaining a number of unique elements.

Автор прослеживает процесс перехода королевского двора Речи Посполитой к модели организации придворных церемоний по западноевропейскому образцу, длившийся почти два столетия (с XVI по XVIII в.). Первоначально они были созданы по аналогии дворов правителей династии Габсбургов, а с 1640‑х гг. – французских церемоний, доведенных до совершенства при версальском дворе Людовика XIV. Направленные на восхваление монарха в глазах подданных, они получили распространение при дворах королей династии Васа, Михаила-Корибута Вишневецкого, Яна III Собеского и двух монархов династии Веттинов. Множество этикетных элементов и схемы организации придворных церемоний оказались востребованы и приспособлены магнатами и богатым польско-литовским шляхетством, для которых королевский двор в Кракове и Варшаве стал образцом. Автор приходит к выводу о том, что заимствованные культурные модели оказали очень сильное влияние на повседневную жизнь в резиденциях и дворцах, а также на театрализацию частных церемоний знати, проявившуюся в манере одеваться, в движениях, жестах, в стиле исполнявшейся музыки, в иллюминации и фейерверках. Все большее значение приобретали балы, а в XVIII в. – постановки опер и театральных пьес. В этих элементах наиболее отчетливо видны заимствования из практики королевских западноевропейских и местных дворов XVIII в. варшавско-дрезденской династии Веттинов. Тем не менее, в церемониальной культуре польско-литовской знати были сохранены некоторые из традиционных элементов, что особенно заметно в организации свадеб, похорон, а также в религиозных обрядах. Автор утверждает, что в Речи Посполитой при магнатских и шляхетских дворах была создана собственная схема празднования важных семейных торжеств, соединившая в себе элементы как традиционных, так и новых видов церемоний. Аналогичный процесс имел место и в России, где в XVIII в. традиционные обычаи также оказались интегрированы в новую систему организации праздников, заимствованную из Западной Европы, при сохранении ряда самобытных черт.

Resumo Este estudo relaciona duas iluminuras da Crónica Geral de Espanha de 1344 (Ms. A 1, Academia das Ciências, Lisboa) com discursos monárquicos tardo-medievais centrados nos conceitos de corporação e dinastia. As duas imagens representam dois funerais reais que constroem um discurso triunfalista sobre o tempo e a morte. Abstract The following study aims to relate two illuminations from the Crónica Geral de Espanha de 1344 (Ms. A 1, Academia das Ciências, Lisboa) to late medieval royal discourses, focusing on the concepts of corporation and dynasty. Both images represent royal funerals, constructing a triumphal discourse over time and death. Palavras-chave: Manuscritos iluminados, discurso monárquico, iconografia, século XV.

After the October Revolution and the Civil War, funerals became a distinct element of daily Soviet life. As a response to the traumatic moral situations, the filming of funerals fulfilled a documentary and didactic function as it formalized changes that were occurring within society, demonstrated appropriate ways to mourn, and performed a commemorative function. This article contributes to the ongoing study of Sergei Tretiakov’s oeuvre by focusing on representations of funeral rights in his Georgian screenplays and films: Eliso (1928), Slepaia (1930), Sol’ Svanetii (1930), and Khabarda (1931). It argues that the cinematic representations of funerals in Tretiakov’s Georgian screenplays reflect several competing paradigms at work: the funeral rebellion in Eliso, the private funeral in Slepaia, the ethnographic funeral in Sol’ Svanetii, and the political funeral in Khabarda. Within each of these scenes, the viewers’ emotions are being rerouted and manipulated to align with the film’s ideological message. This article further casts a light on a time when manipulating viewers’ emotions was at its formative stages, while the contradictions between facts and emotions were being negotiated in LEF’s cine-theory and on screen.

Understandings of death and the practises that surround it have changed. The nature of and reasons for these changes can be attributed to a variety of factors, one of them being, it will be argued, is the increasing mediation of death and grief through the digital. This study, part of an intended larger work, examines some of the ways and attempts to establish the degree to which online engagement in Ireland is reflected in changing commercial practises of the funeral industry. It also attempts to gauge public opinion on a new and specific use of digital technology in the graveyard.

Examining two phenomena in order to lay the groundwork for a deeper investigation and to understand more clearly the current state of play in the country permits some preliminary conclusions to be drawn. Commercial activity is understood to be indicative of prevailing public opinion; it is both responsive to and implicated in shaping it. Online trade in the funeral industry, as in many others, is a growing area of interest to those who seek to enhance their business. Considered through this lens, this study seeks to situate this aspect in wider questions about cultural change, as evinced by funerary practises, brought about by increasing online engagement.

In Cao Xueqin's Dream of the Red Chamber (1791), a famous scene depicts Lin Daiyu performing a mock funeral for cherry blossoms that have fallen from the trees. She mourns the loss of their beauty and the transience of life. In Theodor Fontane's  novel Effi Briest (1895) a similar mock funeral is performed for gooseberry hulls. These scenes foreshadow a tragic end for Daiyu and Effi, respectively.

Die umfangreichen Untersuchungen zur Siedlungs- und Kulturgeschichte im Raum Palpa,
an der Südküste Perus, wurden im Jahr 2007
zu Ende geführt. Im Rahmen eines vom Bundesministerium für Bildung und Forschung
geförderten Projektverbundes waren in Zusammenarbeit mit Partnern aus Natur- und
Ingenieurwissenschaft neue Technologien und
Methoden für die archäologische Forschung
entwickelt worden. Durch deren Einsatz in der
Forschung konnten vielfältige Erkenntnissen zur
Kultur- und Landschaftsgeschichte gewonnen
werden. Die Ergebnisse dieser Arbeiten wurden
inzwischen in einem umfangreichen Sammelband
veröffentlicht.

Funeral rituals are an ancient issue that concerns all people. As each era and race are a constant phenomenon, rituals related to death have been formed. The Turkish society also has its death ceremonies. This is different from the death ceremonies of other Muslims. However, it varies according to the region's celebration in Turkey. Again, death ceremonies in Turkey also vary according to different faiths and cultures. However, the dominant character in every culture has been the ancient Turkish culture. Death ceremonies are practices that will contribute to moral teaching for spouses, friends and relatives.

This specialized text deals with the increase of reading performance of adults and elderly adults with low vision in the Czech Republic. The aim of the research is to contribute to the verification of effectiveness of the rehabilitation programme ‘Increasing visual performance in reading’. Evaluation of research data brings findings of verification of effectiveness of the adaptation of external conditions, which was used during the program. Measurable data are compared to the level of impact of the first part of the programme environmental adaptation and modification of conditions for reading to improve rehabilitation programme effectiveness. Based on the research results in the category of reading rate, environmental adaptation represented 42.8 % of overall increase in performance. In the category of linearity of reading, the proportion of increase within the observed part was 46.2 % of the overall increase in performance. In the category of reading comprehension, 14.3 % were achie...