Rtvik Ritualia- An International Series Concerning Rituals and Their Performers: Set of 2 Volumes (Only 1 Copy Available, An Old and Rare Book)

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

The title of this Series is formed by a Sanskrit word taken from the root Rtvij (priest) and standing for "what pertains to priests", and by a Latin adjective, ritualis, in its neutral plural form, also meaning "what pertains to rituals".

Its logo is a reproduction of a drawing by a Japanese Zen Master of the XVIII century, representing Sunya, the Vold or Nihil, which was before the phenomenal worlds came to existence and in which eventually they will end. A damru (drum) is inserted inside. This is a Hindu symbol, held by Lord Siva during his creative dance, and stands for the apparition of the phenomenal worlds brought about by its sound and movement during the dance. The damru design suggests also the hour glass. symbol of time.

The whole signifles the work of rituals: that is the sacred activity responsible for the coming to be and maintenance of these transient worlds, within the framework of the eterna! Emptiness.

This Series we begin has been devised with the purpose of giving scholars a platform on which to discuss, compare, analyse and reflect upon any aspects of rituals and their performers. In a world fast losing this type of cult and "behavioural expression, the interest aroused by this subject is increasing together with a growing realization that rituals have played - and, in spite of 'modern' attempts to get rid of them, still play a very substantial role in human activities. Consequently, they cannot easily be lost to humanity without producing considerable psychological damage to religious as well as political societies not to mention individuals. Such a situation, therefore, calls for cross-cultural studies on the matter, which could deep into the different ways of performing rites among one's own as well as 'alien' surroundings. This, together with reflections on their inner meaning, is intended to help scholars, philosophers, and leaders responsible for cultural behaviour, to rediscover a place for them within the framework of the 'modern' mentality and of 'technological situations.

But, in spite of this need and this increasing interest, an organ entirely devoted to these new reflections is lacking. It is here that Rtvik Ritualla steps in so as to supply, through yearly issues, a platform in which to bring together the essays concerned with this subject-matter. Within the specific topic chosen as a leading theme for each volume, there are no further limits with respect to historical time and geographical space. Beside, this Series has a scope wider than mere descriptive presentations. It rather encourages constructive thinking and new interpretations, giving intellectual as well as practical food for the present day situation. We hope that scholars as well as readers all over the world will welcome the initiative and will contribute to maintain it alive.

This is the first volume of a Series concerned with rituals and their performers. The issue is devoted to that "king of rituals" that Sacrifice is. But, true to the scope of the Series, which is not so much descriptive but rather open to original thinking, the sacrifices considered here are seen through their cultural meaning and their spiritual sublimation into the sacred Word. There is a chapter dedicated to the Cultural Relevance of the Horse Sacrifice performed in Ancient Rome in the middle of the Autumn season. This is followed by a study concerned with the merits acquired through the recitation and not the actual performance of a Human Sacrifice which occurred once somewhere and was perpetuated only through the power of the recollecting Word. The next chapter is related to this as it tells of another sublimation occurring in the Sacrifice, where the magic of a story transfers the pathos of a sacrificial death' to the listeners or readers. Through the story, they receive a share in the 'victim's merits. The last chapter shows this sublimation as reaching peak when the yajña's salvific power' has been taken over by the aesthetic value of the drama. This whole development is preceded by a chapter presenting, from a linguistic point of view, the value of the ritual Word, as carrying within itself the potentiality for action.