Ritual

Abstract: Patients and their families are often concerned to find a material cause for suffering rather than to accept the mystery of its ontological necessity. In modern healthcare settings, in which medicine is rightly based upon the reductionist empirical scientific method, ...

By following the sectional structure of this volume, these afterthoughts explore a multitude of venues for approaching aesthetics as a means to study the dynamics of religious narratives and their reception. They not only elaborate on the theoretical and methodological potential of the aesthetics of religion for the study of narrative cultures in diverse religious contexts, but also explore the main insights of this volume’s contributions by applying it to a case study. The afterthoughts follow the sectional structure of this volume and engage in methodological and theoretical reflections on issues central to the aesthetics of religion. To demonstrate how the theoretical and methodological approach as proposed in this volume could be put into practice and work within the context of a single case study, these afterthoughts illustrate how the aesthetics approach can be used to elucidate less obvious forms of narrative cultures and the different aesthetic means of their transmission within different religious and cultural contexts. By presenting a case study in which different narrative cultures are intertwined through lines of socially and culturally interconnected storyworlds, the most significant insights of these afterthoughts outline the potential framework for future analysis that emerges through the assemblage of the individual contributions. With the aim to highlight unrecognized connections and expand on the aesthetic junctures of sensation and imagination, a nuanced consideration of all dimensions and aspects promises to exemplify the theoretical and methodological relevance of the aesthetic frame and narrative focus as integral to the makeup of this volume and the study of religion as a whole.

This paper explores an ecological approach to the perception of musical meaning. Ethnographically informed by a Yoreme understanding of seeing and hearing as interrelated perceptual activities, this paper critically evaluates the concept of soundscape and the dichotomization and hierarchization of our (Western) perception faculties. It is a contribution to the growing number of
publications with an integrative humanistic-scientific theoretical approach to ethnomusicology, based on insights gained from indigenous cosmovision, perception of sound, and human-animal-environment relationships.

¿Cuánto puede contribuir el estudio de las imágenes y representaciones, ya sea como arte, ritos o simulacros, a comprender relaciones de poder y de agencia? Ésta es la pregunta que replantea el conjunto de estudios etnográficos en Calabria y Lombardía seguidos durante décadas por Francesco Faeta. Su prolija descripción etnográfica se potencia, una y otra vez, con revisiones de la antropología religiosa de Ernesto de Martino y sus herederos, y en diálogo con Arjun Appadurai, Georges Didi-Huberman y Alfred Gell, entre otros. Genera, así, una mirada de densidad histórica y novedosa reinterpretación contemporánea de lo sagrado y lo local, en intercambio con lo nacional y global, que va más allá de la iluminación rigurosa de las culturas del sur de Europa. Una obra que sitúa en el siglo XXI el significativo aporte crítico del pensamiento postgramsciano en el trabajo científico latinoamericano.

This case study examines the importance of rituals in understanding illegal behavior. Particular attention is given to the impact of stress-based symbolically ritualized events on individuals which may lead to mass homicide.

For a more lengthy abstract see the paper, i.e., Chapter.

The local festival dedicated to the Anniversary of the Vision of Agia (Saint) or Osia (venerable, blessed, saint) Pelagia is celebrated on the Greek island of Tinos and is dedicated to one of the most recent Orthodox saints, Agia Pelagia, a nun who was sanctified in 1971. After the great Greek War of Liberation (1821) broke out, the pious nun Pelagia had several mystical visions which lead to the finding of the miraculous icon of the Annunciation. According to the tradition, Pelagia repeatedly saw, in her visions, the Panagia (Virgin Mary), who ordered her to start digging to find her icon. In 1823, the icon was unearthed in the field where it had remained for about 850 years. “Pelagia’s Vision” is celebrated annually on 23 July. During the festival the church housing her skull next to her cell in the monastery of Kekhrovouno, where she had the visions, is particularly important.
Based on a presentation of this festival and some other relevant rituals from Greece where I have conducted fieldwork, the article will explore some aspects of the way myths are important when re-presenting the past in the Greek context both, earlier and today.

Keywords: Method, Myth/s, Gender, Greece, Festivals

上海所处的江南苏松地区，自宋代以来便与“正一教主”张天师所在的龙虎山保持着密切的联系与互动。明清以来，上海籍（松江）道士多于北京内廷供奉，为皇室举行斋醮道场。民国时期，六十二代天师在上海发起成立“道教总会”，六十三代天师又常住于此，上海因此有着一批“天师门生”的老道长。由此，上海正一派道教的科仪道法尽得龙虎山真传。但与全国其他地区一样，上海道教的科仪传统也面临着传承上的问题，随着许多老道长相继羽化，大量科仪后继无人。早在1983年，时任上海市道教协会会长的陈莲笙道长，便与上海音乐学院合作，拍摄录制了上海、常熟、茅山等地区的部分道教科仪，但由于条件所限，这项工作并未完全展开。作为陈莲笙道长的弟子，现任上海市道教协会会长的吉宏忠道长不仅是一名深谙科法的高功法师，也深刻地意识到对道教科仪作为文化遗产保护的重要性和紧迫性，因此在2011年冬，“上海道教科仪数字化保存项目”在刘巧林道长的带领下正式启动。

Un misterioso rito, retaggio vivente di epoche remotissime, si rinnova ogni anno all’interno delle celebrazioni del carnevale di Castelnuovo a Volturno, in Molise. Un essere fantastico, Gl’ Cierv, furioso e selvatico Uomo Cervo, muore e rinasce ciclicamente, simbolo solare e della rigenerazione della natura, testimonianza viva di un antico mito cosmico-agrario. Seguendo le sue orme, un viaggio lunghissimo attraverso il tempo e lo spazio ci conduce in un reame magico nel quale sciamani in estasi, contadini e cacciatori sono i custodi dell’arcaico culto del dio cervo.

ENG: A mysterious ritual, a living legacy of ancient times, is renewed every year within the celebrations of the Castelnuovo a Volturno carnival, in Molise (Italy). A fantastic being, Gl ’Cierv, furious and wild Deer Man, dies and reborn cyclically, a solar symbol and the regeneration of nature, living testimony of an ancient cosmic-agrarian myth. Following in his footsteps, a very long journey through time and space leads us to a magical realm in which ecstatic shamans, farmers and hunters are the keepers of the archaic cult of the deer god.

Link per l'acquisto:
https://www.stamperiadelvalentino.it/product/luomo-cervo/

ISBN: 979-12-80721-08-2

This paper explores the ritual function of horror movie villains from multiple perspectives within ritual studies, with particular emphasis on the functionalist branch and Roy Rappaport’s definition that ritual is “the per- formance of more or less invariant sequences of formal acts and utterances not entirely encoded by performers.” 1 First, the paper considers the ways in which horror movie villains are hybrid collective representations in the sense of French sociologist Emile Durkheim and uncanny metaphors mobilised through media as described by Steven Schneider. Second, a Neo-functionalist analysis of ritual defines the reinforcement of binary categories as a fundamental aspect of rituals. We can elaborate the notion of the ritual binary to then demonstrate the multiple ways in which the horror movie villain transgresses these to fulfill his or her ritual role. Third, the paper elaborates six specific ways in which horror movie villains transgress social binaries, such as those of gender, the space of the body, and life and death. The function of horror villains as transgressors gives them a critical, ritual role in horror movies from a functionalist ritual perspective: to reconstitute binaries. Fourth, according to Carolyn Marvin and David Ingle it is the job of media to perform ritual re-presentation of the original blood sacrifice of soldiers who died for the nation, a blood sacrifice that replenishes the Durkheimian totem of the US flag. Horror villains could be perceived as one such media re-presentation. This section builds further evidence for horror villains as both collective representations and ritual transgressors. The paper concludes with a comparison of the fates of anti-heroes in two films from the new ultra-violent genre of horror with two recent Academy Award-winning films to understand how the villain as construction for ritualised punishment may be changing

Once viewed as an embarrassing superstition, the theatrical religious performances of Korean shamans—who communicate with the dead, divine the future, and become possessed—are going mainstream. Attitudes toward Korean shamanism are changing as shamanic traditions appear in staged rituals, museums, films, and television programs, as well as on the internet.

Contemporary Korean Shamanism explores this vernacular religion and practice, which includes sensory rituals using laden altars, ecstatic dance, and animal sacrifice, within South Korea's hypertechnologized society, where over 200,000 shamans are listed in professional organizations. Liora Sarfati reveals how representations of shamanism in national, commercialized, and screen-mediated settings have transformed opinions of these religious practitioners and their rituals.

Applying ethnography and folklore research, Contemporary Korean Shamanism maps this shift in perception about shamanism—from a sign of a backward, undeveloped Korea to a valuable, indigenous cultural asset.
https://iupress.org/9780253057174/contemporary-korean-shamanism/

This extremely well-researched book deals with one of the most important topics of medieval Esoteric Buddhism in Japan: rainmaking rituals. In early and medieval Japan, the success or failure of such ceremonies could easily make or break a monastic career. This book provides a comprehensive account of the history of this ritual tradition, which can be traced back to the Indian origins of Tantric Buddhism, in Japan, in particular in relation to the Shingon school.

Söz konusu Hatay olunca yediden yetmiş yediye herkesin kentle ve kentin geçmişi ile ilgili size anlatacakları mutlaka vardır. Kentin bilinmeyen uzak geçmişinden yakın tarihine kadar uzanan anlatılar bunlar. Hem doktora tez çalışmam Antakya ve periferisinde saha çalışmaları ile geçtiğinden hem de 20 yılı aşkın bir zamandır bu kentte yaşadığım için bu anlatılara bizzat şahitlik ettiğimi de söyleyebilirim. Anlatıların çeşitliliği konusunda bu kadar zengin bir kent de Türkiye’de oldukça azdır sanırım.

Alevi inanç sisteminde dem, dolu gibi isimlerle adlandırılan ve Alevi cemlerinde önemli bir yere olan içki kültü üzerine oluşturulan ritüeller ve inanç pratikleri mevcuttur. Alevi inanç sistemindeki içki kültüne bazı yayınlarda değinilmiştir. Fakat bu yayınlar doğrudan konuya odaklanmadıkları için geneli ortaya koymaktan uzak bir tablo çizmektedir. Mevcut yayınların temel eksikliklerinden biri de görsel unsurlarla desteklenememiş olmasıdır. Bu çalışmada Anadolu ve Balkan coğrafyasında yerleşik Alevi topluluklarında yaşamaya devam eden dem merkezli ritüellerden tespit edilenler farklılıkları ile birlikte analiz edilerek sunulacaktır. Dem kültü merkezli icra edilen ritüellerden biri olan “Dem Geldi Semahları” makalede farklı yörelerden örneklerle görsel unsurlarla desteklenerek analiz edilecektir. Dem Geldi Semahları farklı yerleşim birimlerinde cem ritüeli içerisinde dem hizmeti ile birlikte icra edilen semah ritüellerinden birisidir. Çalışmada Türkiye’nin muhtelif yerleşim birimlerinde yaptığımız alan araştırmalarında kayıt altına aldığımız Dem Geldi Semahları, semahların icra şekilleri, ritüel içerisindeki yeri, icra edilen eserler ve notaları ile mukayeseli bir şekilde verilecektir. Analizlerde, sadece semah merkezli bir bakış açısı ile odaklanılmadan inanç zümresinin içki kültüne bakışı da gerekli yerlerde içki ile ilgili diğer inanç pratiklerine atıflar yapılarak ortaya konulmaya çalışılacaktır.

In the Alevi belief system, there are rituals and belief activities known as dem or dolu formed around the cult of drink which has an important place in the Alevi cems. Some publications have mentioned this cult within the Alevi belief system. However, those publications are far from revealing the overall of this subject because they aren’t focusing directly on the subject. Also, one of the basic lacks of available publications is that they don’t include visual elements. In this paper, determinations from dem based rituals that are continuing to live in the Alevi communities in Anatolia and Balkans, together with differences between them will be analyzed and presented. It will be made an analysis of “Dem Geldi Semahs”, one of the rituals that are dem based practiced, supported with examples from different regions and visual elements. “Dem Geldi Semahs” is one of semah rituals which are performed together with dem service within cem ritual on different locations. In the study, “Dem Geldi Semahs” which we recorded during our fieldwork on the various locations in Turkey, and the forms of semahs performance, its place in the ritual, musical works with notes will be presented comparatively. In the analyses, without just focusing on the semah basic aspect, it will be also presented the view of the belief community on the cult of drink by referring, when it is necessary, to other belief activities related to drink.

The color blue is thought to protect against the evil eye in Mediterranean cultures. This article unfolds the yet-unstudied role played by kabbalistic theology, symbolism, and myth in the construction of the color blue as a protective color for Jews. It traces particularly the development of a medieval kabbalistic myth of a dazzling blue garment of the feminine aspect of the godhead, protecting her from contact with evil forces. The article shows how this myth became the foundation for various practices against the evil eye among Jews in the modern period and contextualizes this myth within theories about the evil eye.

Nineteenth-century philologist and Biblical critic William Robertson Smith famously concluded that the sacred status of holy places derives not from their intrinsic nature but from their social character. Building upon this insight, Mecca and Eden uses Islamic exegetical and legal texts to analyze the rituals and objects associated with the sanctuary at Mecca.

Integrating Islamic examples into the comparative study of religion, Brannon Wheeler shows how the treatment of rituals, relics, and territory is related to the more general mythological depiction of the origins of Islamic civilization. Along the way, Wheeler considers the contrast between Mecca and Eden in Muslim rituals, the dispersal and collection of relics of the prophet Muhammad, their relationship to the sanctuary at Mecca, and long tombs associated with the gigantic size of certain prophets mentioned in the Quran.

This paper examines the Dyonisian and Orphic symbolic and ritual iconographical aspects of a Centuripe vase from Southern Italy from the Montreal Museum of Fine Arts. Measuring 70.5 by 34.5 centimeters, the basic form of the vase is that of a bell krater without handles set on a high foot and surmounted by a domed lid ending in an egg-shaped finial (Richter 188), formed of separate sections that have been assembled in production. The vase has been assembled from broken pieces, showing little surface damage. In order to facilitate description and analysis, two very similar Centuripe vases, one in New York, the other in Princeton, are  referred to.
A.Description of the iconographic and decorative aspects of the vase, which depicts a scene of three woman and a man in a ritual scene. One woman holds a thyrsus and tympaneum and there is a tripod.
B. Analysis of the elements in relation to the history and development of Greek vase art. Mayo has observed that ‘’death, marriage, and the mysteries is a frequent triad in South Italian and Sicilian vase-painting’’ (283). These aspects will be examined, in the context of feminine themes, to see if they can shed light on the imagery and function of the vase.
1. Feminine aspects
2. Marriage aspects
3. Funerary aspects
4. Dyonisian aspects
5. Orphic aspects
C. Interpretation.  Ariadne has often been linked  with Aphrodite (Otto 182-85).  Figure 29 (de Grummond 92)  is a wall painting from Pompeii depicting Dionysus and Ariadne watching a contest between Pan and Eros, aptly illustrating the combination of the worlds of Dionysus and Aphrodite. Figure 30 (Lissarague in Masks 21),  from a fifth century Bell krater, depicting what could be a puberty initiation scene,  illustrates  Dionysus and Ariadne in a ritual context. The Maenad holding the rabbit, a well-known fertility symbol could be an aspect linking Ariadne to Aphrodite. 
The portrait on the Montreal Centuripe vase could serve to indicate that the deceased identified herself with Ariadne, as her features resembles the Ariadne figure on the body. The head can be related to the ascension of Aphrodite in a  role of chthonian goddess (Calinescu in Mayo 143), and possibly related to Ariadne’s divinization after her revival  by Dionysus, where Zeus placed her crown in the heavens (Seyffert 64). As shown in figures 11-14, Centuripe imagery has been related to the Dionysus and Ariadne figures of the frieze of the Villa of Mysteries.

Powerful historical artefacts vitalize their potential agencies in specific historical moments and cause fractures in our perspectives. In this thesis, I argue that objects' power can be examined by looking at their supernatural, political, cultural, practical, and economic agencies. The thesis is based on a case study of looting in Turkey and archival research on nineteenth-century travelogues of Asia Minor. Rituals of looting attest to the supernatural agency. Rituals challenge the common perception of time and space. The contradictions between European travelers' approach to and the Ottoman locals' interpretations of historical artefacts signify objects' cultural agency. Locals' multitemporal framing of antiquities and travelers' perception of time as linear has resulted in an epistemic antinomy that defined the Ottoman experience of modernity from below. Such encounters in the Mediterranean conjuncture often necessitated the Ottoman state to fill in the power gap. I argue that this involvement sutured the antiquities' political agency in designing the Ottoman's modern statecraft and perception of cultural heritage. Besides these three agencies, antiquities have a practical agency that locals attached to their everyday lives. The economic agency of antiquities is relevant in the global market of the illicit antiquities trade. In the sphere of the antiquities market, the exchange value subsumes the antiquities' other agencies. Through in-depth case studies from Laodicea in Turkey to Heraklion in Crete, the thesis demonstrates how artefacts' times have undergone singularization. As their historical and social context unfolded, the shared sense of space within eclectic temporality has come to a halt. I contend that attempts to singularize the past narrow the culturally effective possibilities of conviviality between diverse social groups. The thesis argues that archaeologists, heritage scholars, and policymakers can contribute to the culturally viable and socially equitable ways to organize cultural heritage, should a holistic analysis, involving all the five types of agencies, be applied to the cases of looting of antiquities.

First published in 1988, this volume redefined the anthropological study of menstrual customs. Examining cultures as diverse as long-house dwellers in North Borneo, African farmers, Welsh housewives, and postindustrial American workers, it challenged the previously widespread image of a universal "menstrual taboo" as well as the common assumption of universal female subordination that underlay it. Offering feminist perspectives on comparative gender politics and symbolism, the book has interested students and scholars in anthropology, women's studies, religion, and comparative health systems. Originally listed as a “Notable” book in Choice, it later won the first Most Enduring Edited Collection Prize, awarded by the Council for the Anthropology of Reproduction (a unit of the American Anthropological Association.). The book continues to be taught regularly around the world.

Liber antiphonarium
Ms. 8, Archivo Capitular de León
Copistas: Totmundo y Arias.
Procedente del Monasterio de San Cipriano de las Riberas del Porma.
s. X, aunque varios folios añadidos del s. XI.
Pergamino, 306 f., 330 x 240 mm.

Realizado entre los siglos X y XII, el Antifonario de León es un libro litúrgico musical que contiene más de una centena de oficios del rito hispánico, con sus correspondientes cantos particulares variables en cada fiesta y solemnidad atendiendo tanto a las horas canónicas como a las partes cantadas de la misa. El manuscrito, conservado actualmente en el Archivo Capitular de la Catedral de León, se atribuye al copista Totmundo del Monasterio de San Cipriano de las Riberas del Porma, gracias a una dedicatoria al comienzo del libro. El calendario de las primeras páginas, así como la ordenación interna de los oficios son un rico ejemplo del santoral hispano-visigodo de la época. La notación que acompaña a los textos, llamada visigótoca, ha despertado gran interés entre los musicólogos medievalistas, aunque no puede leerse en la actualidad por la ausencia de referentes en la altura de los sonidos. El manuscrito es el mejor ejemplo conservado de los antifonarios de la liturgia hispánica y una de las fuentes que más información nos aporta en la actualidad para comprender esta forma ritual, que fue sustituida por el rito romano desde el siglo XII y que era fruto de la riqueza cultural hispana en la Antigüedad Tardía y Alta Edad Media.

A deep study of the magical aspects of ritual, both anthropological, social as wel a psychological. Various models about how rituals works, how the mind deals with magic, how rituals help to overcome time and space limitations, can help in transformation. The importance of rituals as social, transformational, but also as magical acts. New theories about ritual efficacy, the nature of time, and how the mind deals with rituals. Endorsed by prof. Stan Krippner and Prof. Cees Hamelink. 820 pages, totally original vision on ritual.

While the Norwegian material has rarely been taken into consideration when discussing chamber graves from the Roman and Migration periods in a European context, there are indeed a great number of ‘oversized’ graves in Norway which should be very relevant to the chamber grave discussion. Among the 152 graves included in the present study, are both timbered chamber graves of types known from both South Scandinavia and the Germanic areas further south, but also some types that are particular to Norway. The latter includes the so-called hellekister; long, but relatively narrow stone cists, some of which are 7m long. It seems reasonable to regard the larger hellekister as a type of chamber grave, and any definition of what constitutes a chamber grave that starts off with excluding constructions made purely from stone, should be amended. Interestingly, some of the hellekister seems to be ‘hybrids’ incorporating elements of chamber graves of South Scandinavian type, first and foremost by having an inner timber construction. As is the case with the ‘normal’ chamber graves, the big hellekister are much more richly furnished than the average inhumation graves in the country. This points to the ‘oversized’ graves, whether they are made from stone or wood, or both, as being part of elite burial traditions in Roman and Migration period Norway.

The present paper deals with a minority of burials in Roman (B-C) and Migration period (D) Norway, namely the ones containing weapons. Its aim is two-folded: 1) to present an overview of this material to non-Norwegian colleagues, and 2) to discuss the significance of the weapon burial rite in its Scandinavian and North European context. Regarding the first, I intend to focus on the chronology, regional distribution and typology of burials with weapons. As for the latter, the emphasis will be on weapon graves as evidence both of the militarisation of barbarian society in general and more specific of warlike relations between the Roman Empire and the northern Germans, particularly the question of Scandinavian auxiliaries in the Roman army.

Winner – 2021 Manfred Lautenschlaeger Award for Theological Promise. Reviewed in:
Vetus Testamentum, 72, no. 2 (2022): 348–350.
https://brill.com/view/journals/vt/72/2/article-p348_13.xml
Review of Biblical Literature (05/2022):
https://www.sblcentral.org/API/Reviews/13524_72038.pdf
Review of Biblical Literature (03/2022):
https://www.sblcentral.org/home/bookDetails/13524
Journal for the Study of the Old Testament, 45, no. 5 (Book List 2021) :
https://doi-org.ezp-prod1.hul.harvard.edu/10.1177/030908922110017
Rivista Biblica Italiana 69, no. 2 (2021), 277–82
https://www.academia.edu/77359238/Recensioni_03_Bianchi_J_Rhyder_Centralizing_the_Cult_The_Holiness_Legislation_in_Leviticus_17_26_FAT_134_Mohr_Siebeck_T%C3%BCbingen_2019_
Catholic Biblical Quarterly, 83, no. 1 (2021): 131–33.
https://muse.jhu.edu/article/781558
Zeitschrift für die alttestamentliche Wissenschaft, 133, no. 2 (2021): 288–89.
https://doi-org.ezp-prod1.hul.harvard.edu/10.1515/zaw-2021-2007
AJS Review, 44, no. 2 (2020): 414–16.
https://doi.org/10.1017/S0364009420000148
Old Testament Abstracts, 43 (2020): 885–86.
Zeitschrift für altorientalische und biblische Rechtgeschichte 26 (2020): 321–24.
https://doi-org.ezp-prod1.hul.harvard.edu/10.13173/zeitaltobiblrech.26.2020.0321

This work provides new insights into the relationship between the Holiness legislation in Leviticus 17–26 and processes of cultic centralization in the Persian period. The author departs from the classical theory that Leviticus 17–26 merely presume, with minor modifications, a concept of centralization articulated in Deuteronomy. She shows how Leviticus 17–26 use ritual legislation to make a new, and distinctive case as to why the Israelites must defer to a central sanctuary, standardized ritual processes, and a hegemonic priesthood. This discourse of centralization reflects the historical challenges that faced priests in Jerusalem during the Persian era: in particular, the need to compensate for the loss of a royal sponsor, to pool communal resources in order to meet socio-economic pressures, and to find new means of negotiating with the sanctuary at Mount Gerizim and with a growing diaspora.

https://books.google.ch/books?id=h_u1DwAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

Türk tarihi ve tasavvuf tarihi bakımından önemli bir yere sahip olan Halvetilik, Anadolu’da ilk defa Amasya’da ortaya çıkmıştır. Halvetilik, her zümreden insana hitap etmesiyle pek çok coğrafyada etkinliğini sürdürmüştür. Mevlevilik ya da Nakşibendilik gibi belli kesimlere hitap etmeyen Halvetilik, pek çok kola ayrılmış olmasıyla Türk tasavvuf tarihinde dikkat çekmiş ve “tarikat fabrikası” olarak adlandırılmıştır. Tekke sayısının diğer tarikatlardan fazla olması da onun etkinlik alanını
göstermesi bakımından dikkate değer bir özelliğidir. Yoğun ilgi gören bir tarikat olarak Halvetilik birçok araştırmaya konu olmasına rağmen tarikatın adap ve ritüellerinin tam olarak ortaya koyulmadığı, tarikat adabıyla ilgili yazılmış eserlerin incelenerek henüz literatüre kazandırılmadığı görülmektedir. Bu çalışmada, Halvetiliğin İstanbul’a taşınmasında önemli rolü olan 17. yüzyıl Halvetî şeyhlerinden Abdülmecid Sivasî’nin tarikatın adap ve ritüellerinden bahseden eseri Mi’yâr-ı Tarîk tanıtılacaktır. Çalışmada Halvetiliğin Türk tasavvuf tarihindeki yerine kısaca değinildikten sonra konuyla ilgili bilimsel çalışmalara yer verilecektir. Sonrasında ise eserin muhtevası ve tespit edilen iki nüshası incelenecektir

In her book, "Indian Classical dance", Kapila Vatsyayan describes dance as the highest order of spiritual discipline, the enactment of which is symbolic of a ritual sacrifice of one's being to a transcendental order. The Natya-Shashtra, a treatise on drama and dance, reveals the status of the performing arts as equal to prayer and sacrificial rites in the pursuit of moksha, the release form cycles of rebirth. Both dance and dancer function as a vehicle for divine invocation and are mirrored in the architectural surroundings. To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. the Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of a south Indian aesthetic. The Vastu-purusha mandala is a philosophical diagram that provides a foundation for Hindu aesthetics, linking physical distance, religious position and universal scale in both time and space. Used as an architectural diagram, it becomes a mediator between the human body and the cosmos. The temple, as a setting for dance performances, and constructed based on the mandala, shares this quality of immersing its participants into a multi-sensory spatial experience. However, while the link between architecture and dance culture was explicit up to the 18th century, it is less compelling in the context of modern south Indian architecture. With an increasingly unstable political landscape during the 20th century, architectural growth in south India during this period is almost stagnant. Unfortunately, this creates a break in the continuity and comparative evolution of dance and architecture, leading to the fragmentation and abstraction of dance in its modern form. South Indian dance has since transformed into a prominent cultural symbol and various incarnations of the dancer have become the isolated yet important link, between tradition and modernity. As an evolving living embodiment of contemporary culture and identity, her transformation from Devadasi, to an icon of nationalism, to a choreographer of 'high art' provides the foundation for the reintegration of architecture in the cultural fabric. The culmination of this research aims to reinstate the importance of architecture as a cultural nexus in order to restring a fragmented dance, community and cultural identity.