Abstract This paper describes the author's ancestral history, beginning with three hundred years ago when his ancestors lived in Senegal. The paper relates the entire saga of his family history from their lives in Senegal, to the kidnapping of one of the family members by another African tribe to be sold as a slave to a British slave trader, to the arrival of that slave to North Carolina. The paper continues by describing subsequent generations born in the US and ends with the writer's birth in 1925.
From the Paper "Great-grandfather Louis was very intelligent - and had a talent for music. Maybe that was from old Mbiti, who was forbidden to play drums as a slave. Louis was trained to be what they called a "house negro" - sort of a butler for a highbrow family. Well, old Pete Devereaux was a drunk, and his affairs caught up with him. Eventually, everything was sold off - including my great-grandfather."
Tags: drummer plantation light-skinned, first freeborn black, ragtime
Abstract This paper looks at Arthur P. Wolf's article, "Gods, Ghosts and Ancestor's", which discusses the complexities of Chinese religious beliefs and practices, and explains the main thesis of the article. The paper highlights Wolf's thesis, which asserts that the supernatural categories that the Chinese believe in, namely, gods, ghosts, and ancestors, are determined by the social structure of Chinese society. The paper shows how Wolf proves his point through case studies, personal anecdotes, interviews, and observations of ritual, custom, and lifestyle.
From the Paper "Ancestors, the second class of supernatural beings that Wolf discusses in his article, are in many ways equally revered. The spirits of the deceased watch over and protect the living members of that family line. Wolf shows that there are strict rules regarding which family members can or must be worshipped. The rank of ancestor spirits closely mirrors the rank of family members. For example, the head patriarch of a family line will be given the most prominent spot on the family altar. Those family members who are not respected as much will also not be revered as diligently during times of worship."
Abstract This paper explains that Confucian funeral tradition in Korea is complex and requires many stages as well as the participation of several degrees of the extended family. The author points out that the deceased, who becomes an ancestor-god at the moment of death, is honored for the next several years with several 'chesa' ceremonies or family ceremonies used to honor ancestor-gods. The paper relates that, often today, Koreans live in large cities where a truck is used to transport the body instead of a hand-carried platform or bier accompanied by chanting bearers.
From the Paper "Burial usually takes place on the third day. The family mourners dress in special tan clothes made of hemp. The oldest son is the chief mourner, and he demonstrates his grief openly, crying out. Other family members join in the open displays of grief. Friends of the family express their sympathies and offer money to help pay for the funeral. They join the family for meals and to help make all the funeral arrangements. So, while the family has great responsibilities toward the new ancestral god, the funeral is a community affair."
Abstract This essay takes the form of a brief summary, followed by a critique of the novel "Kindred" by the African-American woman science fiction author Octavia E. Butler. This novel details life on a plantation, but beyond its fictional scope it provides the reader with knowledge and information about what life was like during the age it chronicles. Ultimately, it presents its readers, both black and white, with a profound moral quandary of the impact of slavery upon the lives and ancestors of both slave owners and former slaves.
From the Paper "The novel tells the tale of a young, African-American woman of the present who is transported back in time to an era and a place in our country's history where she was no longer considered a human being but merely a piece of chattel. The woman's name is the very modern appellation of ?Dana.? The first time she is brought back in time to the ages of her ancestor, she meets a future slave owner named ?Rufus.? (A ridiculous name thinks Dana.) Rufus? life is endangered as child. Dana chooses to save the white baby Rufus, as one day he will become her own ancestor, though a slave-owner. She decides to do this even though the way the two of them will become linked is by a freeborn black woman becoming his slave and her own grandmother."
Examines the novel's depiction of the guilt of characters' about their ancestors' destructive acquisition of wealth, Puritan legacy, evil, gender, love and the symbolism of the house.
1,350 words (approx. 5.4 pages), 1 source, 1999, $ 47.95
Abstract Nathaniel Hawthorne creates in his fiction a sense of American history as a weight on characters in his present, holding them to certain values, visiting upon them the guilt of their ancestors, and linking them to a continuity beginning and continuing on American soil.
From the Paper "Nathaniel Hawthorne creates in his fiction a sense of American history as a weight on characters in his present, holding them to certain values, visiting upon them the guilt of their ancestors, and linking them to a continuity beginning and continuing on American soil. In The House of the Seven Gables, the key issue hanging over the characters in the present is the way their ancestors made their wealth and the people they destroyed as they did so. The family in the present has inherited the guilt of that past and must either succumb to it or overcome it. The first possibility is represented by the house they seem unable to escape, and the latter is represented by an outside force that helps the family escape that house.
Nathaniel Hawthorne's The House of the Seven Gables tells of the Pyncheon family and the curse that was visited upon it. The ..."
Abstract This paper deals with the way that Nathaniel Hawthorne comments critically on the beliefs of his Puritan ancestors. Although the two stories are very different, both of them involve the problem of seeing as a metaphor for Puritan doctrine. The paper provides an explanation of key Puritan characteristics and how these tie in to each of the novels.
From the Paper "The Puritan sect deplored the decline of the English church and in their colony they sought, in the words of their first governor John Winthrop, "a Citty on a hill" that would be an example to the world, showing that "to doe justly, to love mercy, to walke humbly with our God" and to "be knitte together in this work as one man" was the way to salvation (quoted in Morison 73). They believed that humanity had fallen and that individuals could only save themselves through "an extreme form of piety" that depended on "a particularly self-deprecatory and submissive stance" toward God (Conkin 9). This self-critical approach saw every action as a moral choice and every aspect of life was to be guided by its potential impact on the possibility of being saved. Thus the Puritans "wanted every possible act to be considered, rational, and voluntary, and consequently subject to praise or blame," that is, subject to possible censure from the united community or from an authorized voice of the community such as a parent or a minister (Conkin 13)."
Discusses what the terms "environment", "elder", and "ancestor" connote to Native Canadian cultures and how that culture can thrive in capitalist societies.
1,900 words (approx. 7.6 pages), 5 sources, 2002, $ 71.95
Abstract This paper uses the short story "The Place" to show the Native meanings of environment, elder, and ancestor. It also uses other readings to show that Indian tradition can be applied to capitalist societies.
Abstract This paper concentrates on four specific areas of Chinese religious and philosophical teachings that concern the practice of ancestor worship. These traditions are Confucianism, Taoism, Buddhis, and traditional folk religions. A general overview of the rituals specific to each tradition is noted.
This paper discusses the meaning behind four great works of art: Felguerez's "Entre Dos Almas", "Fernwood Figures", "Sculpture of Vishnu", and Westall's "The Bard".
Abstract The first piece reported in this paper is an oil on canvas, painted by Mexican artist Manuel Felguerez and titled 'Entre Dos Almas', created in 1992. The next art piece is "Fernwood Figures". It originated from Vanuatu, Melanesia, in the late 19th century to early 20th century, and represents tribal ancestors.The author states that the "Sculpture of Vishnu" originates from India during the Pala period,12th century. The final piece is "The Bard", an oil on canvas, painted by a British artist Richard Westall (1765-1836). Illustrations.
Table of Contents
"Entre Dos Almas"
"Fernwood Figures"
"Sculpture of Vishnu"
"The Bard"
From the Paper "In Felguerez's paintings, it is very apparent that the he is quite fond of abstractionism. His work, on this media and beyond, is constantly exploring and playing with the primary geometrical shapes like the circle, square and triangle. Around the early seventies, the computer began to influence Manuel's work. The paintings produced by the artist around this time were almost mechanical looking in their composition. Color schemes usually contained a mechanical grayish background color, which was perceived to have derived from his interest in the growing world of computer-generated graphics. Also found in many of these earlier works was the design principle of rhythm and repetition while remaining unified."
Abstract This is an African art history paper discussing the elaborately decorated costumes worn by the Yoruba tribes of Nigeria. These costumes are worn during Egungun festivals, which honor death and ancestors. The religious beliefs and traditions behind the costumes & ceremonies are discussed. Additionally, detail is given to describing these costumes, which offer a great example of an ancient, African artistic tradition still surviving today.
From the Paper "Egungun masquerader costumes are worn by the Yoruba people during Egungun festivals and hold great cultural importance. These costumes and the festival they are worn during are both fascinating and interesting to learn about. The costumes are multicolored and detailed, with an intricate pattern that a viewer can study and enjoy for long periods of time. When worn during a performance, the fabric of the costume flies out, appearing lively and vibrant. This makes the Egungun masquerade costumes both visually appealing and intriguing to learn about."
Abstract This paper explains how "Confederates in the Attic" is not just a history book, it is an intriguing look into the hearts and minds of modern Southerners and their continuing absorption in the Civil War, reenacting its battles in great detail. It explains how Horwitz attempts to discover just why the Civil War is so compelling to so many people, and in the process, learns more about the sociology and culture of the South. His book, therefore, is more than a history text, or even a modern look back with sentimentality and nostalgia; it is a look into the hearts and minds of people who live vicariously through the history of their ancestors and what that really says about all of us in America today.
From the Paper "Tony Horwitz clearly had several reasons for writing his compelling book, "Confederates in the Attic," but the most important reason seems to be his own fascination and interest in the Civil War. Specifically, he is searching for the reason why reenacting the Civil War, particularly in the southern United States, has become such a common and undeniable lure for so many people. However, there is more to his book than just searching for reasons. His book is sometimes funny, sometimes depressing, and sometimes almost unbelievable. The people he meets on his journey through the South are people just like you and me, and yet, they have some glaring differences, and these differences are what Horwitz uses to create a lasting impression of people who simply cannot let go of their legacy and get along with their lives. It is easy for those who do not live there to say, "the war is over," but for many in the South, the war will never be over, and this permeates the book with a deep feeling of sadness and wasted lives."
Abstract This paper explains that, while Confucianism and Daoism are considered by some to be very different, the teachings of one are relatively consistent with the teachings of the other; both of them indicate a reverence for Chinese ancestors and a striving for harmony with nature, although they often look at achieving this in slightly different ways. The author points out that Daoism, which is based on the teaching of Laozi is a way in which people can achieve personal enlightenment; whereas, Confucianism, which is based on the teachings of Kongzi, deals more specifically with education and ethics. The paper relates that the religions are not widely observed by people in countries where these teachings did not originate; however, individuals, even in the Western world, continue to be interested in them because of their simplicity, peacefulness, being one with nature, and completing accomplishments with the least amount of effort.
From the Paper "Legend has it that Kongzi visited with Laozi and found his superior intellect to be very impressive. Laozi disappeared in his old age but he left behind the "Book of The Way of Virtue". It is believed that both creators of these religious traditions serve and assist the people of China and the planet as Archangels of the Universal Lightrays. Those who believe in Dao have focused themselves on nature and what type of insights can be taken from it. Those who follow Confucianism look at a rational and intellectual approach to issues and believe in strong education. It is believed that the reason that these two traditions have been able to coexist together for such a long time is because of the 'I Ching'. This has to do with the union and the cosmology of these traditions, which is believed to be included in both teachings and has a strong metaphysical aspect."
Abstract The writer evaluates the painting and discusses its expressive content. The paper notes that Teha'mana was a young Tahitian girl whom Paul Gaugin had taken as his bride. It explains that Gaugin left her and their baby in the year the portrait was painted. The writer explains that Gaugin seemed to relate to Teha'mana as a possession, painting her without emotion. The paper discusses the use of Tahiti as a setting for Gaugin to paint in. The writer discusses Gaugin's art in the light of other art of the same period. In conclusion, while the paper states that Gaugin should be praised for using techniques that were bold and revolutionary and that he shattered age-old concepts of painting Tahitian subjects from a European perspective, he should also be castigated for doing so at the expense of human emotions, with regard to the women in his life.
Table of Contents:
Evaluation of Expressive Content
Historic and Stylistic Context
In Conclusion
Works Cited
From the Paper "For Gauguin, Teha'amana fit nicely into this perceived notion. After all, Gauguin wanted to blend into the culture of Tahiti, and in his mind, this was an effective way of blending. Teha'amana would simply be added to his collection of "trophies," much like his collection of art. She would function as a subject for his works, until he was ready to make her a casualty of his drive to become rich and famous.
"Indeed, Teha'amana ultimately became a casualty of Gauguin's ferocious egotism when he left Tahiti and returned to France in 1893 - the same year that he painted this portrait. Teha'amana bore him a child, but he abandoned both of them upon his return to France. Is it any wonder that Teha'amana looks expressionless in the portrait? Perhaps she was aware of what was to come to pass.
"Marc S. Gerstein offers support for this interpretation in describing a similar painting of Teha'amana, entitled "Faaturuma": "As so often in Gauguin's Tahiti, he suggests muted undertones of sadness, disquiet and dissolution resonating beneath the luxuriant surface of his mystical paradise." (Impressionism: Selections From Five American Museums 80). "The small painting on the wall acts, at one level, to enhance this emotional atmosphere."
"Through its placement next to the subject's head, this image of a typical Tahitian dwelling becomes like an object of her veiled thoughts, evoking vague feelings of longing, loneliness and dislocation.""
A comparison of the themes of conflicts of culture found in the short stories, "The Ancestor" by Bi Feiyu, "Thoughts of Home" by Sonu Hwi and "The Hateful Age" by Niwa Funio.
Abstract This paper discusses the themes found within the short stories, "The Ancestor" by Bi Feiyu, "Thoughts of Home" by Sonu Hwi and "The Hateful Age" by Niwa Funio. It particularly explores the themes of conflicts of culture with regard to death. It then describes how these conflicts are expressed differently among characters, but still arrive at two basic principles of old versus new cultural expressions and generational differences in respect of those who came before.
From the Paper "Death is treated differently, when the death is not welcomed, or when those you are among when you die are connected to you by memory of your earlier days and by some semblance of how you lived as in Thought of Home. In The Moon on The Water there is a touching scene of the widow placing a treasured possession in the coffin of her dead husband, placing the mirror upon his stomach, rather than his chest as he had died with a heaviness and pain, upon his chest. (247) While in The Brothers Shu playful young people tease one another about death, as recourse for the predicament of their love. (50-51) Death in the stories of the very old, told by those who never knew them in youth is welcomed even openly longed for by those who are left behind, while in other works death of the young is an unwelcome threat or a silly expression of the overly dramatic."
Abstract In this article, the writer studies the veneration of relics in medieval Christendom. The writer first explains that the veneration of relics derives from Roman ancestor worship. The writer then describes how Christianity emerged from the ruins of the Roman Empire and that, culturally speaking, it is a transformation rather than an imposition. The writer explains the Christian innovation of putting the saint in the place of the patriarch, so that the Christian community become the new family with the patron saint as the father figure guiding the community. The paper also explains how this gave rise to the ecclesiastical order of Christian society built around the church which contained relics of the saints. The writer introduces the debate between the purists and the apologists of relic worship. The writer also describes how the Protestant Reformation becomes the definite revolt against the icon and relic worship of Catholicism and explains how a transcendent faith came to replace immanence.
From the Paper "Pilgrimage to the shrines of the saints became more and more common as the Christian era advanced. Following the ninth century discovery of the relics of St James in Compostella in Spain, the site began to attract pilgrims on a large scale. Christian pilgrimage began in earnest after the Crusades of the eleventh and twelfth centuries. Once pilgrimage to the Holy Land was made secure, other alternative sites sprang up where pilgrims began to flock. Canterbury Cathedral in England was one such site, whose patron saint was Thomas Beckett, famously embroiled with King Henry II, and murdered in the Cathedral, a martyr to the cause of ecclesiastical self-determination. Pilgrimage to Canterbury in April was a time honored event by the time by the time Geoffrey Chaucer came to compose the famous Canterbury Tales, a collection of tales in rhymes, purportedly told by the pilgrims to amuse themselves while on the road. Chaucer's poem paints a picture of buoyant intimacy between the pilgrims, who came from almost every walk of life."
Tags: veneration, Roman, ancestor, pagan, saint, church
