Understanding American Religion Through Roadside Shrines
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Memento Mori in Art and Literature
chapter 1 Memento Mori in Art and Literature Until recently, memento mori has received surprisingly limited critical attention relative to its cultural importance in art history, literature, and beyond. Even though memento mori artifacts and references to memento mori are ubiquitous, few comprehensive sources exist in the English-language scholarly literature. More precisely, memento mori has received, relatively speaking, surprisingly limited critical attention in a sustained manner. Related to memento mori, but distinct in emphasis, is Cheney’s work (1992). Hallam and Hockey (2001) give memento mori some minor explicit attention. No readily available European-language source that I am aware of offers a com- plete treatment, though there are some notable sources related to, but distinct from, the present study of memento mori in their emphases and methods (e.g, Schützeichel 1962; Ingen 1966; Haneveld 1995; Pennington 2001; and Warda 2011). The recent stunning photo book by art historian and photographer Paul Koudounaris, Memento Mori: The Dead Among Us (2015), makes important first steps toward a more focused and sustained attention on memento mori, but it remains a beginning point. As far as I know, critical sources outside the West on this theme are mini- mal at this point in time. One of the few references is Nakagawa’s work (1983). Isolated references to memento mori abound in Western and global art history monographs, but then often they are not given a listing as a subject term in the monographs’ indices. Memento mori does receive more attention in ar- ticles, essays, reviews, and museum catalogs especially on particular uses of memento mori in images and artifacts from the medieval period to the present (e.g., Ascher 2004; Bergström 1970; Carretta 1980; King 1981; Napoleone 1998; Vinken 1999). -
Remember Your Death : Memento Mori Lenten Devotional / by Theresa Aletheia Noble, FSP
Front 5.25" 0.609" 5.25" “Teach us to count our days aright, that we may gain wisdom of heart.” —Ps 90:12 Journey through Lent to Easter Sunday with this memento mori-inspired devotional. Discover the ancient tradition of remembering death daily, encouraged by Scripture and countless saints. Experience Christ’s victory over sin and death as you meditate on the priceless treasure of each moment and the gift of heaven. 8" Each day includes ~ Scripture passage ~ Lenten meditation ~ Memento mori examen ~ Intercessory prayer ~ Prompts for journaling and prayer Sr. Theresa Aletheia Noble, FSP, has a skull on her desk as a reminder of her inevitable death. Meditating on her death daily has changed her life. You can find her tweets about memento Lenten Devotional s n o m mori @pursuedbytruth. Si Jill Photo by $16.95 U.S. ISBN 0-8198-6517-6 NOBLE THERESA ALETHEIA NOBLE, FSP Green grid lines will not print. Grid lines can be toggled off in Acrobat using View>Show Hide>Navigation Panes>Layers Lenten Devotional By Theresa Aletheia Noble, FSP Library of Congress Cataloging-in-Publication Data Names: Noble, Theresa, author. Title: Remember your death : Memento mori Lenten devotional / by Theresa Aletheia Noble, FSP. Description: Boston, MA : Pauline Books & Media, 2019. Identifiers: LCCN 2018036691| ISBN 9780819865175 (pbk.) | ISBN 0819865176 (pbk.) Subjects: LCSH: Death--Religious aspects--Catholic Church--Prayers and de- votions. | Lent--Prayers and devotions. | Memento mori--Miscellanea. Classification: LCC BT825 .N63 2019 | DDC 236/.1--dc23 LC record available at https://lccn.loc.gov/2018036691 Many manufacturers and sellers distinguish their products through the use of trademarks. -
The Cemetery: a Highly Heterotopian Place
Heterotopian Studies The Cemetery: a highly heterotopian place To reference this essay: Johnson, P. (2012) ‘The cemetery: a highly heterotopiaplace’ Heterotopian Studies [http://www.heterotopiastudies.com] In the UK as elsewhere in Europe, cemeteries are increasingly managed and developed as green open spaces, natural habitats, cultural or historical sites and educational amenities. English Heritage suggest that ‘in the main they are public…. open spaces with great amenity potential and are a diverse historical resource with tremendous educational potential’ (SCRC, 2001b: 80). Arnos Vale cemetery in Bristol aims to be a ‘place of remembrance, an historic park, and a learning and education resource for the City’ (SCRC, 2001b: 65). Carlisle local authority has produced teachers’ notes to assist in the ‘Citizenship’ component of the National Curriculum. Children are encouraged to ‘study areas of graves for the Victorian rich and paupers, and compare these with "green" woodland graves and conventional lawn type graves’ (SCRC, 2001b: 30). Have these developments radically altered the function of cemeteries? Walters (SCRC, 2001b: 45) is adamant: ‘though cemeteries provide positive values such as urban green space, and may be of historical or architectural significance, these benefits are subservient’ to the prime purpose of a cemetery which is to ‘bury the dead of the locality’. Moreover, its prime significance is ‘as a memento mori, a reminder that we will die that challenges citizens to consider their true values and motivates them to live fully in the meantime’. Contemporary cemeteries have adopted various ‘useful’ applications, but they also remain highly complex and ambiguous spatio-temporal enclosures. Worpole (2003: 56), in his study of cemetery landscapes, wonders whether we have the ‘vocabulary for describing what these unsettling landscapes mean culturally’. -
Memento Mori+ David Dunnico
II MEMENTO MORI+ DAVID DUNNICO MEMENTO MORI (a Latin phrase meaning ‘remember you must die’) is a series of photographs by David Dunnico. Using contemporary photographic processes, Memento Mori looks at the Victorian romantic vision of loss, grief and mourning, with its rich and clearly defined symbolism. # Memento Mori is not about the living which was celebrating it’s 200th # Thomas Lynch the American poet being ‘haunted’ by the spirits of dead anniversary. He has also produced and undertaker wrote in his book people. Rather, the work looks at how images for this series in Barcelona, Kiev, ‘Bodies in Motion and at Rest’ (pub- people remember those they have lost Prague and Washington. lished by Johnathan Cape, 2000): and how in a sense, the dead continue to # In 2007, Weaste Cemetery the first “The facts of life and death remain the have an existence through the remem- and largest of Salford City Council’s same. We live and die, we love and brance of the living. four municipal cemeteries, celebrated its grieve, we breed and disappear. # For a number of years Dunnico has 150th anniversary. To mark this And between these existential gravities, pictured statues, and funerary monu- anniversary, Salford Museum and Art we search for meaning, save our memo- ments. He visited Paris to photograph Gallery asked David to photograph ries, leave a record for those who the famous Père-Lachaise cemetery Salford’s cemeteries for this exhibition. remember us”. SALFORD MUSEUM&ART GALLERY * Montage of spires from Salford’s four municipal cemeteries III * Montage of figures and tombs from Père Lachaise IV FOR THOSE WE LEAVE BEHIND # Traditionally people were buried in # Ronnie Scott writes in his 2005 book # New rituals and protocols have devel- churchyards, but by the 19th Century about the Glasgow Necropolis ‘Death oped. -
Luxurious, Terrifying Visions of Death in Renaissance Memento Mori
ART Luxurious, Terrifying Visions of Death in Renaissance Memento Mori The Bowdoin College Museum of Art is exhibiting memento mori objects from Renaissance Europe, often grotesquely designed to startle viewers into recognizing mortality. Finials of a Chaplet (France or southern Netherlands, 1530 with mid-19th- century insertion) (ca. 1850–1860), elephant ivory (courtesy Victoria and Albert Museum, London) BRUNSWICK, Maine — The first object visitors encounter in The Ivory Mirror: The Art of Mortality in Renaissance Europe at the Bowdoin College Museum of Art is a strand of prayer beads culminating with a three-faced carving. On one side is a man, on another a woman, and grinning sardonically between them is a skull. “Instead of the expected face of a person, you get death,” explained curator Stephen Perkinson, associate professor of art history at Bowdoin College, on a recent visit to the exhibition. “Its message is ‘never forget you are mortal, remember that death in the end levels us all,’ and it’s doing that through the winking irony of a luxury good.” Unknown Artist, Office of the Dead, Book of Hours, use of Rome, fol. 105 (Northern France, beginning of the 16th century), manuscript illumination on parchment (courtesy the Huntington Library, Art Collection, and Botanical Gardens, San Marino, California) Like all the approximately 70 objects in The Ivory Mirror, many on view for the first time in North America, the 1530 prayer beads are exquisitely crafted, down to the worms crawling through the skull’s bared teeth. The smaller beads have figures on either side representing classes from across society, from king to laborer, with a sudden corpse thrown into the mix. -
MEMENTO MORI Create Their Own “Memento Mori” Artwork Using Dirt Paint
LIFE NIGHT OVERVIEW ABOUT THIS LIFE NIGHT This Life Night begins with a Gather activity in which teens MEMENTO MORI create their own “memento mori” artwork using dirt paint. A LIFE NIGHT ON DEATH AND JUDGMENT The Proclaim reflects on our strained relationship with time, which ends in death and a particular judgment. The Break GOAL gives teens time to create a bucket list geared toward a life with Christ. The Send is a prayer for a happy death. The goal of Memento Mori is to acknowledge the reality of death and judgment as a consequence of original sin but ENVIRONMENT instill joy and hope in Jesus as our loving and merciful judge. For this Life Night, create an environment centered around KEY CONCEPTS time. Gather hourglasses and clocks to place around the room. Play a countdown or count up on a screen, and have • Jesus conquers the evil of death through His own death clock sound effects in the background. On the walls, post and Resurrection, giving us hope for eternal life. quotes from saints and Catholic prayers about death. Use the following to get started: • In Baptism, we die sacramentally with Jesus and are given the opportunity for new life in Him — physical death • What is death but the burial of sin and the resurrection completes this process. of goodness? (St. Ambrose) • Now and at the hour of death. (The Hail Mary) • Immediately after death, each person faces a particular • Thy Kingdom come, Thy will be done. (The Lord’s Prayer) judgment before Jesus; the result of our judgment — heaven, hell, or purgatory — is determined by faith in Him • The sting of death is extinguished in Christ. -
Private Memorials on Public Space
Nebraska Law Review Volume 92 | Issue 1 Article 5 2013 Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause Amanda Reid Florida Coastal School of Law, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nlr Recommended Citation Amanda Reid, Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause, 92 Neb. L. Rev. (2014) Available at: https://digitalcommons.unl.edu/nlr/vol92/iss1/5 This Article is brought to you for free and open access by the Law, College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska Law Review by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 33655-neb_92-1 Sheet No. 66 Side B 08/28/2013 10:13:22 \\jciprod01\productn\N\NEB\92-1\NEB105.txt unknown Seq: 1 27-AUG-13 10:54 Amanda Reid* Private Memorials on Public Space: Roadside Crosses at the Intersection of the Free Speech Clause and the Establishment Clause TABLE OF CONTENTS I. Introduction .......................................... 125 R II. Toward an Understanding of the Roadside Memorial Phenomenon .......................................... 130 R A. Roadside Memorials Are Growing in Popularity .... 130 R B. Road Death Is a “Bad Death” ...................... 131 R C. Constructing the Roadside Memorial ............... 134 R D. The Message of the Roadside Memorial ............ 137 R III. Public Opinion and Public Policy on Roadside Memorials ............................................ 143 R A. Public Opinion on Roadside Memorials ........................................ 143 R B. Patchwork of Public Policies on Roadside Memorials ....................................... -
Photodeath As Memento Mori- a Contemporary
Photodeath as Memento Mori- A Contemporary Investigation by Catherine Dowdier, B.A., B. Vis Arts, Grad. Dip. Faculty of Fine Arts, Northern Territory University Master of Arts by Research 18. 09. 1996 ThesisDeclaration: I herebydeclare that thework herein,now submitted as a thesis for the degree of Master by Research, is theresult of my own investigations, and all references to ideas and work of otherresearchers have been specifically acknowledged. I herby certify that the work embodied in this thesis has not already beenaccepted in substance for any degree, and is not beingcurr ently submittedin candidature for any other degree. 1i4 U/�� .l... .................................................... Catherine Bowdler Table of Contents Introduction . 1 Chapter 1: Memento Mori . 5 Chapter 2: Photodeath . 15 Chapter 3: ChristianBoltanski . 26 Chapter 4: Joel Peter Witkin . 48 Chapter 5: Peter Hujar . 64 Conclusion........... ..............................................7 4 Bibliography . 80 lliustrations . 84 List of Illustrations 1. "LesArchives", Christian Boltanski, 1989 2. "Reserves:La Fete de Purim", 1989 3. "Still LifeMarseilles", Joel Peter Witkin, 1992 4. "Le Baiser", Joel Peter Witkin, 1982 5. ''Susan Sontag", Peter Hujar, 1976 6. "Devine", PeterHujar, 1976 Abstract This thesis is an exploration of the links between the notions exemplified in traditional memento mori imagery and the Barthian concept of 'photodeath'. In order to do this I have chosen three contemporary photographers: Christian Boltanski, Joel Peter Witkin andPeter Hujar, in whosework bothconcepts are manifest in completely different ways. Theconcepts of mementomori and photodeath are initially discussed separately in some detail. Then, by careful examinationof key works in each artist'soeuvre, some critical observations aboutthe nature of both concepts are teased out and explored. -
KEC ORDER of SERVICE/SERMON OUTLINE 15Th November (KEC SERVICE ONLINE) Please Take Note That This Sunday’S Service Begins at 8.30Am, Not 9Am
KEC ORDER OF SERVICE/SERMON OUTLINE 15th November (KEC SERVICE ONLINE) Please take note that this Sunday’s service begins at 8.30am, not 9am. KIDS VIDEO will be made available by 8am. Nothing in this world is safe! Our toys, clothes and other stuff may get lost or stolen or just wear down. So instead of storing up treasure on earth, Jesus wants his followers to store up in treasure in heaven that will last forever! Direct link: https://www.youtube.com/watch?v=pXqReysSupQ You can access the livestream at https://www.facebook.com/bemkec/live_videos/ 8.30am – Livestream starts Livestream link should be available by 8.25am latest. 0. Starter discussion question: “Is death the end (of life)?” 1. CALL TO WORSHIP – Psalm 90 2. WORSHIP in SONG (with Bobby Langat) SONG 1: Thine be the glory SONG 2: Before the throne of God above 3. Theology is for Doxology: Understanding sin 4. Prayers of intercession • World • Nation • Church 5. Bible reading: Hebrews 9:27-28; Revelation 20:11-15 27 Just as people are destined to die once, and after that to face judgment, 28 so Christ was sacrificed once to take away the sins of many; and he will appear a second time, not to bear sin, but to bring salvation to those who are waiting for him. ------------------------------------------------------------------------------------------------------ 11 Then I saw a great white throne and him who was seated on it. The earth and the heavens fled from his presence, and there was no place for them. 12 And I saw the dead, great and small, standing before the throne, and books were opened. -
Memento Mori: Recollection of Death in Early Buddhist Meditation 583 Path Requires Combining a Foundation in Moral Conduct with a Systematic Training of the Mind
28 Memento Mori: Recollection of Death in Early Buddhist Meditation Anālayo Even the hour of death might still send Us freshly out to new dimensions, Life's calling us will never end, Come then, my heart, take leave, be well!1 Introduction In what follows I survey selected passages among the early Buddhist discourses on the topic of death. Then I translate a discourse from the Chinese Ekottarika-āgama that describes recollection of death. In order to evaluate the significance of the form of practice delineated in this discourse, I then relate its instructions to modern- day research on how the fact of death affects human behaviour. Perspectives on Death in Early Buddhist Discourse Death as a fundamental problem of human life is a central topic in early Buddhist thought,2 explicitly taken up in what tradition considers to have been the first teaching given by the recently- awakened Buddha, the Dhammacakkappavattana-sutta.3 The main teaching delivered in this discourse takes the form of four truths, a presentation apparently inspired by ancient Indian medical diagnosis.4 The disease diagnosed with the help of the first of these four truths is dukkha, a term whose compass of meaning ranges from outright pain to the unsatisfactory nature of all conditioned phenomena. Here is the formulation of the first of these four truths 582 From Local to Global: Papers in Asian History and Culture from the Ekottarika-āgama parallel to the Dhammacakkappavattana- sutta: 5 What is reckoned as the truth of dukkha? It is this: Birth is dukkha, old age is dukkha, disease is dukkha, death is dukkha, [as well as] grief, vexation, affliction, worry and pains that cannot be measured; 6 association with what is disliked is dukkha, dissociation from what is loved is dukkha, not getting what one wishes is also dukkha; stated in brief, the five aggregates of clinging are dukkha – this is reckoned as the truth of dukkha. -
Alternative Memorials: Death and Memory in Contemporary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank ALTERNATIVE MEMORIALS: DEATH AND MEMORY IN CONTEMPORARY AMERICA by ROBERT DOBLER A THESIS Presented to the Interdisciplinary Studies Program: Individualized Program and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Master ofArts September 2010 11 "Alternative Memorials: Death and Memory in Contemporary America," a thesis prepared by Robert Dobler in partial fulfillment ofthe requirements for the Master of Arts degree in the Interdisciplinary Studies Program: Individualized Program. This thesis has been approved and accepted by: Dr. DaniefWojcik, Chair ofthe xamining Committee Committee in Charge: Dr. Daniel Wojcik, Folklore, Chair Dr. Philip Scher, Anthropology Dr. Doug Blandy, Arts and Administration Accepted by: Dean ofthe Graduate School 111 An Abstract ofthe Thesis of Robert Dobler for the degree of Master ofArts in the Interdisciplinary Studies Program: Individualized Program to be taken September 20 I 0 Title: ALTERNATIVE MEMORIALS: DEATH AND MEMORY IN CONTEMPORARY AMERICA Approved: _ Dr. Daniel Wojcik Approved: _1 _ / Dr. hilip Scher Approved: _ Alternative forms ofmemorialization offer a sense ofempowerment to the mourner, bringing the act ofgrieving into the personal sphere and away from the clinical or official realm offuneral homes and cemeteries. Constructing a spontaneous shrine allows a mourner to create a meaningful narrative ofthe deceased's life, giving structure and significance to a loss that may seem chaotic or meaningless in the immediate aftermath. These vernacular memorials also function as focal points for continued IV communication with the departed and interaction with a community ofmourners that blurs distinctions between public and private spheres. -
No Place to Die: the Poetics of Roadside Sacred Places in Mexico
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 No place to die: the poetics of roadside sacred places in Mexico Daniel Raymond Weir Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Social and Behavioral Sciences Commons Recommended Citation Weir, Daniel Raymond, "No place to die: the poetics of roadside sacred places in Mexico" (2002). LSU Doctoral Dissertations. 310. https://digitalcommons.lsu.edu/gradschool_dissertations/310 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. NO PLACE TO DIE: THE POETICS OF ROADSIDE SACRED PLACES IN MEXICO VOLUME I A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Geography and Anthropology by Daniel Raymond Weir B.A., San Diego State University, 1995 M.A., San Diego State University, 1997 May 2002 Copyright 2002 Daniel Raymond Weir All rights reserved ii To Those who wept, and to María, Virgen de Guadalupe, Madre de Dios, y Reina de México. Petition granted, promise kept. ¡Gracias! iii TABLE OF CONTENTS VOLUME I LIST OF TABLES………………………………………………....……………………………. vi LIST OF FIGURES……………………………………………………………………….…….. ix ABSTRACT…………………………………… CHAPTER 1. INTRODUCTION………………………………………...………………...…… 1 1.1 Maneuvering Through the Text…………………………………………………...… 2 1.2 The Place of this Work……………………………………….…………………...… 4 1.3 Scale, Scope, and Method………………………………………………………...….