Over the last ten years, a newly created ritual called a Purity Ball has become increasingly popular in American evangelical communities. In much of the present literature, Purity Balls are assumed solely to address a daughter’s emerging sexuality in a ritual designed to counteract evolving American norms on sexuality; however, the ritual may carry additional latent sociological functions. While experienced explicitly by the individual participants as a celebration of father/daughter relationships and a means to address evolutionary sexual mating strategies, Purity Balls may implicitly regenerate existing social hierarchy. This ritual facilitates a sociological purpose by means of re-establishing the role of the male through halting the psychological development of sexual identity in the daughter, and these rituals are enacted in the ownership of the daughter by the father, who is responsible for maintaining the daughter’s purity, for “covering her with his protection.”

This project examines how Georgia draws the line between religious freedom and child abuse. In Georgia, certain religious parents are granted spiritual exemptions for conduct that would otherwise be prohibited due to its potential harm to children, while other parents must alter their religious practices to conform to the law. An examination of Georgia law governing conduct that is both religiously-motivated and poses a risk of physical harm to children illustrates that Georgia’s spiritual exemptions have contributed to producing legally-defined religious orthodoxy, inconsistent regulation of religious conduct, and less stringent state protection from harm for the children of some religious parents.

Before his death, Michael Jackson arguably was one of the most famous living celebrities to walk the planet. Onstage, on air, and onscreen, he captivated the attention of millions of people around the world, whether because they loved him or loved to hate him. In an attempt to explain his popularity and cultural influence, I analyze certain theoretical and methodological approaches found in recent scholarship on western hagiographic and teratological texts, and apply these theories and methods to selected biographies written on Michael Jackson. By interpreting the biographies in this way, I suggest why saints, monsters, and celebrities have received considerable attention in their respective communities, and demonstrate how public responses to these figures are contextual, constructed, and often contradictory.

Many scholars have recognized the communicative and emotive power of singing as a ritual performance, and some have argued that hymn singing has played a significant role as a medium of cultural and religious communication and exchange. To better understand how and why singing might facilitate such exchange, this essay explores as a case study, the role of hymn singing in the cultural contact between the Cherokees and the missionaries at Brainerd, near Chattanooga, TN. By examining accounts of ritual singing recorded by both missionaries and Cherokees, the project illuminates how these communities, respectively, may have understood the role of singing in ritual practice. From these different perceptions of ritual singing, one can better understand how the Cherokees may have experienced resonances with the missionaries’ practices, which would encourage cultural assimilation and exchange. In turn, this study contributes to a larger conversation about music and religious expression.

This project exposes the problems with the dominant conception of agency in secular liberal discourse. The main critique is that the dominant conception of agency tends to attribute value to certain aspects of action that are not necessarily the most telling or valuable in terms of what constitutes agency. I use Saba Mahmood’s Politics of Piety to aid in this critique. Her project uses the Muslim rituals performed by women of the mosque movement in Egypt to demonstrate the need for a more nuanced conception of agency in academics. I use CLR James’ Beyond a Boundary to support the approach offered by Mahmood and demonstrate the applicability of such an approach outside of typical considerations of “ritual”. In this case, the approach is applied to cricket.

Few have paid attention to the role that pan-Hellenic religious norms play in Thucy-dides‟s The Peloponnesian War. This thesis investigates the trope of religious sacrilege in the form of violated sacred space. By examining how this trope functions within his chosen rhetori-cal presentation, I will argue that a secular interpretation of Thucydides does not accord with what he tries to accomplish within his narrative, and that scenes describing such sacrilege actual-ly function in crucial ways to support a major premise of his work. Two specific instances of sacrilege will be examined: the civil war on Corcyra in 427 BCE; and the Battle of Delion in 424/3 BCE. I will demonstrate that Thucydides incorporates sacrilege to serve as evidence for his readers that the Peloponnesian War was the worst war the Greek-speaking world had everexperienced, and that religio-cultural norms, however unanimously conceived and internally ob-vious, are inherently fragile and unstable.

This paper is a comparative project between a philosopher from the Western tradition, Aristotle, and a philosopher from the Eastern tradition, Sankara. These two philosophers have often been thought to oppose one another in their thoughts, but I will argue that they are similar in several aspects. I will explore connections between Aristotle and Sankara, primarily in their theories of causation. I will argue that a closer examination of both Aristotelian and Advaita Vedanta philosophy, of which Sankara is considered the most prominent thinker, will yield significant similarities that will give new insights into the thoughts of both Aristotle and Sankara.

A criminal is thrown from a high cliff into the sea. He has been covered in feathers, live birds attached to him to slow his fall. Fishermen wait below, hopeful of being able to carry him safely away. The people are punishing the criminal with death, yet simultaneously rooting for his survival. This startling image from Strabo, with its delicious ironic tension, is the center‐piece of “Civic Poetics.” The thesis consists of a cycle of poems imagining life in a city where this bizarre ritual is performed, coupled with a number of essays written for several Religious Studies courses on related themes. The interplay of poetry and essay aims to illuminate the experience of my own journey from criminal outsider to re‐integrated citizen. The lenses of (1) my own experiences in 21st century Atlanta and (2) poetic imaginative reconstruction of this ancient ritual reveal a startling picture: a criminal’s relations with the divine, as mediated by his state, and a state’s relations with the divine as mediated by its criminals.

The first chapter of Mishnah tractate Sotah (m. Sot) records rabbinic elaboration and interpretation on the sotah ritual contained in the Hebrew Bible, Numbers 5:11-31. Specifically, the nine mishnayoth that compose m. Sot 1 discuss the circumstances for invoking the trial of the “bitter waters” and the overall treatment of the suspected wife during the trial. This paper argues that, when read together, m. Sot 1 describes an entire economy of justice and punishment that must be imposed on a wife who is merely suspected of adultery, quite apart from whether she is—or is not—guilty of adultery. Through a close reading of m. Sot 1 and by examining the current gender discourse surrounding this text, this paper maintains that the rabbis sought to justify and explain these aspects of the sotah ritual by elaborating their understanding of suspicion and drawing them under a larger conception of measure for measure justice.

This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.