Funeral

Ölü uğurlama törenlerinin bir kısmı ölümden sonra insan ruhunun dünyadan uçarak, gökteki bir yere göçeceği inancına yöneliktir. Çoğunlukla gökte tasavvur edilen tanrı veya tanrılara eriştirmek için, cesedi veya cesedin içinde olan ruhu, bir şekilde göğe yükseltmenin yolları aranmıştır. Bu yöntemlerden en bilineni; kutsal ve temizleyici olduğuna inanılan ateşle, ölüyü yakarak buhar ve duman şeklinde göğe yollamaktır. Cesedi göğe yollama yönteminin en gizemlisi ise “Göksel Defin Töreni” yani ölüyü, tanrısal nitelikler yüklenen yırtıcı kuşlara vermektir. Bu çalışma; destan, efsane, eski edebi metinlerden yola çıkıyor ve günümüz Türkçesinde kullanılan kimi kelime, kelime öbeği ve deyimlerde bu iki defin yönteminin izlerini sürüyor.

A part of the dead farewell ceremonies had been made according to the belief that after death, human soul flies out of this world to a place in heaven. Most of the time, ways has been sought for the dead body or the spirit within the body to reach the sky for it’s where the imagined god or gods are up there. The most known of these methods is burning the corpse, they believed that sacred and purifying fire sends the soul into the sky in the form of steam and smoke. The most mysterious method of sending the body into the sky is "Sky Burial Ceremony", it’s giving the dead to the birds of prey which is loaded with the divine attributes. This study is based on epics, myths and old literary texts, however it follows the traces of these two burial methods in some of today's Turkish words, phrases and expressions.

Death is the end of life of any living being. It is the losing of consciousness in this living world. Each culture has its own beliefs about the meaning and purpose of life and to what happens after death. The concept of death is important to human history because it has marked its influence in the importance of living and the ideas of rebirth, Death is involved with various funeral practices, which in turn reflects a wide spread of beliefs and values. The paper is an attempt to study the burial practice of the Misings of Majuli Island and the rituals and beliefs involved with it.

The unexpected death of the young Duke Georg Friedrich of Wurttemberg (1657–1685) on 18 October 1685 at the siege of Košice came as tremendous shock to the public of the Holy Roman Empire. The ducal family of Wurttemberg emphasized the principality’s participation and terrible loss in the war against the Ottoman Empire with a spectacular funeral and some carefully composed propaganda of ultimate honor.
The principality of Wurttemberg traditionally maintained a special relationship with the Hungarian Lutheran nobility and citizens. The death of the duke changed the attitudes of the Hungarian Lutheran elite since the principality, which provided them with significant support, had suffered such a great loss in the political, economic and spiritual center of Upper Hungary, Košice, while the young Lutheran prince of Wurttemberg, fighting among the imperial troops, could have helped with the negotiations about the surrender of the city. The funeral speeches in the collection of sermons highlighted various aspects of the royal image, and this was complemented by a volume of fine poems compiled by professors at the University of Tübingen. The decency of the fallen Prince Georg Friedrich of Wurttemberg, which included both traditional topos and a modern set of values, represented several interdependent political interests, representing the high standard, literacy, and effectiveness of the propaganda of the War of Reconquest.

Regarding the tradition of our Church, it must be specified first of all that the practice of reading the ‟pillars” for the laity is a local custom, in the sense that it is not found in other Orthodox traditions, such as Greek and Russian (at least this is clear from various studies), and that it does not represent a substitution of the readings indicated by the church tradition, but rather an addition. In other words, the order of the “pillars” does not represent in any way, in the vision of our Romanian Orthodox Church, a departure from the church tradition, but rather an “enrichment” of it. About some of the peculiarities of the funeral ‟pillars”, less addressed, but not only, we will try to write in this study.

Este trabajo pretende reconstruir el modo en que fue recibida la noticia del fallecimiento del emperador Carlos V en Jerez analizando el papel del Cabildo municipal en la organización de las exequias, un episodio histórico que entra en conflicto con la buena relación que la historiografía ha visto entre la ciudad y el césar.

La llegada al trono de Alfonso XII se vivió como una nueva oportunidad para la monarquía. Hubo un interés especial en conectar la institución con el pueblo. Esto se logró de forma importante con el matrimonio del rey con Dª María de las Mercedes de Orleans, un matrimonio que gustó a sus súbditos y que hacía parecer al joven monarca alguien cercano. Con la repentina muerte de la reina, se incide en la tragedia para profundizar en este acercamiento entre el pueblo y su rey. El objetivo de este artículo es comprobar que instrumentos artísticos se emplearon para dar a conocer la muerte de la reina.

Death is the end of life of any living being. It is the losing of consciousness in this living world. Each culture has its own beliefs about the meaning and purpose of life and to what happens after death. The concept of death is important to human history because it has marked its influence in the importance of living and the ideas of rebirth, Death is involved with various funeral practices, which in turn reflects a wide spread of beliefs and values. The paper is an attempt to study the burial practice of the Misings of Majuli Island and the rituals and beliefs involved with it.

Death is the end of life of any living being. It is the losing of consciousness in this living world. Each culture has its own beliefs about the meaning and purpose of life and to what happens after death. The concept of death is important to human history because it has marked its influence in the importance of living and the ideas of rebirth, Death is involved with various funeral practices, which in turn reflects a wide spread of beliefs and values. The paper is an attempt to study the burial practice of the Misings of Majuli Island and the rituals and beliefs involved with it.

The nineteenth century was a period of paradigm change when work industrialised, the middle classes grew and government bureaucracy gradually took control of many aspects of everyday life. It is also the century that has been identified for its funeral extravagance. Complaints about undertakers’ practices and the expense of funerals had been made from the late eighteenth century, but it was not until industrialisation concentrated large numbers of people in towns that funeral reform also became linked to health issues and a candidate for social and political reform. This research looks at the cost of funerals in the County Town of Stafford between 1878 and 1889, in order to see if funerals in Stafford were cheaper or less extravagant in the final quarter of the nineteenth century, a period when many contemporaries claimed funeral expense had been significantly reduced due to funeral reform and finds no evidence to support such claims.

"In 1563, the founders of the Florentine Accademia del Disegno set out to assemble the “bright spirits and honored geniuses” of the duchy.  Endorsing the ideal that the artists would be “more perfect together,” these men hoped that an academy would shore up the burgeoning prestige of their profession. Nonetheless, the academy was plagued with rivalry and suspicion from its very inception.

This paper examines those enmities in the context of the academy's first official spectacle, the 1564 state funeral of Michelangelo. This massive ephemeral program filled the church of San Lorenzo and forced four great professional rivals—Bronzino, Vasari, Cellini, and Ammannati—to collaborate on a high-stakes public event.  Famously, Cellini became so incensed during this collaboration that he eventually refused to participate. But all was not well between the remaining three organizers.  By mapping workshop contributions inside San Lorenzo, I will demonstrate that subtle competitions were still staged by the pairing of artists’ works. I will then turn to the Montauto Chapel in SS. Annunziata, painted contemporaneously by young academician Alessandro Allori, and argue that the artist pointedly grouped portraits of friends and excluded those of adversaries, fomenting new and greater tensions.  This public airing of grievances resulted in a firestorm of attacks and barbed bons mots, hurled by Cellini, other artists, and the poets of the academy’s literary counterpart, the Accademia Fiorentina.  I hope to show that, counter-intuitively, by forcing competing artists to cooperate, the early Accademia del Disegno became characterized almost immediately by animosity and dissension.
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