Thesis (M.A.)--Denver Conservative Baptist Seminary, 1994. / Includes bibliographical references (leaves 125-130).

Thesis (Ph. D.)--University of Oregon, 2005. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 157-166). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.A. (Drama))--Rhodes University, 2006.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2006. / Includes abstract and vita. Includes bibliographical references (leaves 169-173).

This thesis presents the results of a multi-method exploration of the effects of collective dysphoric rituals on self-identification, group affiliation, and prosocial behaviour. Findings are presented from a worldwide sample of martial artists, student participants in artificial ritual experiments, and observers and performers of Shinto firewalking festivals in Japan. The thesis tests recent predictions of the Modes of Religiosity theory in regards to the psychological processes that underpin shared dysphoric rituals and various costly signalling theories concerning the group orientated consequences of participating in extreme ritual events. The results from the studies raise questions with the broader generalisability of recent findings linking collective dysphoric rituals and inclusive self- identification and urge for a more nuanced appraisal of associations with prosocial behaviour. Furthermore, the role of subjective positive assessment of dysphoric experiences is shown to be a topic that has been unduly overlooked and preliminary evidence is provided for a potential relationship with identity fusion. Methodologically the thesis presents a series of novel artificial ritual studies that offer initial evidence in support of shared dysphoria's ability to enhance cooperation and promote positive ingroup association.

What cognitive and cultural mechanisms facilitated the agricultural transition? In this thesis, I evaluated the hypothesis that ritual action involving large groups of people meeting regularly created a significant sense of collective purpose to bring about the social cohesion necessary for agriculture. I test this hypothesis against the archaeological record in two distinct regions: south west Asia and north-western Europe. Following Whitehouse's (2000) Modes of Religiosity theory, I show that the agricultural transition in both regions is connected with a shift from an imagistic to an increasingly doctrinal mode of religious behaviour. This result is important because it brings together insights from the prehistoric archaeology and cognitive anthropology to generate new knowledge about the agricultural transition.

To be accepted into social groups, individuals must internalise and reproduce appropriate group conventions, such as rituals. The high fidelity copying of such rigid and socially stipulated behavioural sequences places heavy demands on executive function abilities. Given previous research showing that challenging executive functioning also improves it, it was hypothesised that prolonged engagement in ritualistic behaviours would improve executive functioning in children, in turn improving their ability to delay gratification. A three month circle-time-games intervention with primary school children in two contrasting cultural environments (Slovakia and Vanuatu) was conducted. In both environments we found the intervention improved children's executive function and in turn their ability to delay gratification. Moreover, these effects were amplified when the intervention task was imbued with ritual, rather than instrumental, cues. The findings presented in this thesis have potentially far-reaching implications for child-rearing and educational practices, suggesting ritual participation may be necessary for the cultivation of future mindedness.

A project around loss and absence. This work is a reflection on tradition, mourning and the importance to remember. Based on how crafts relate to society in ceremonial contexts by being a tool to communicate with others. By having a reflective relation with tradition this fiber works intend to transfer the innate poetic language of symbolic materials used in rituals around death and commemoration in Mexico into new forms through specific repetitive actions in the making. Delving into the unique physical qualities of onion skin, sugar, beeswax, corn husks and paper. Seeking to evoke an emotion by diverting our perception of ordinary materials.

L’objectif de cette thèse est de décrire les usages de la voix dans les échanges ordinaires et rituels des Quechua d’Amazonie péruvienne (Pastaza) et le rôle qui leur est dévolu dans la transmission de la pensée animiste. Comment les Quechua se représentent-ils l’usage de la voix ? Qui parle ? La thèse examine le rôle de l’imaginaire acoustique dans la conceptualisation du langage et de la communication, mais aussi au sein des pratiques et des représentations de la chasse et de la maladie chez les Quechua d’Amazonie. L’analyse du discours montre que l’usage du « masque sonore » et les mécanismes de « voix citées » jouent un rôle clef dans le processus d’attribution d’une « agentivité » aux entités non humaines. Une attention particulière est accordée aux différentes modalités de communication rituelle à travers plusieurs styles discursifs, en particulier un répertoire de chants lyriques, cynégétiques et thérapeutiques. Adoptant une perspective pragmatique, l’auteur décrit les conditions d’apprentissage du savoir rituel et focalise son attention sur un dispositif de mise en abîme de la voix des esprits dans l’énonciation rituelle. Une étude linguistique sensible aux variations discursives montre que cette technique de citation d’une voix non humaine, observée lors de la transmission des chants, trouve un écho remarquable au sein de leur structure poétique. L’auteur soutient que la manipulation indexicale du symbolisme sonore joue un rôle clef dans la performance accomplie, conférant au chasseur-chamane le pouvoir de prêter sa voix aux esprits invoqués. Cette étude pourrait ouvrir de nouvelles perspectives dans les recherches consacrées aux discours rituels amérindiens. / This thesis aims at describing the use of the voice in ordinary an ritual interactions among the Quechua of the Peruvian Amazon (Pastaza), and the role devoted to communication in the transmission of animism. How do the Quechua represent the use of the voice ? Who talks ? This thesis examines the role of acoustic imagination in the quechua conceptualization of language and communication but also in the practice and representation of hunting and sickness among the Quechua of Amazonia. The use of « acoustic sound mask » and « quoted voice » mechanisms play a key role in the attribution of an « agency » to non human entities. Sound imitation appears as an effective perceptive and cognitive strategy, heavily used in the context of learning animistic representations. A close attention is paid to the various modalities of ritual communication through different styles of discourse, particularly in lyrical, therapeutical and cynegetical songs. Adopting a pragmatic perspective, the author describes the learning context of ritual knowledge and pays close attention to the embedding of spirit voices in ritual discourse. A linguistic analysis, sensitive to the discursive variations, shows that this technique of quotation of a non-human voice, observed during the transmission of ritual songs, has a remarkable echo in its own poetic structure. Through the study of these enunciative devices, the author demonstrates that the indexical use of sound symbolism plays a key role in the performance achieved, allowing the hunter-shaman to lend his voice to the spirits invoked. This study could open new perspectives for research on Amerindian ritual discourses.

Pour les communautés d’altitude des Andes du Sud, la pomme de terre est bien plus qu’un simple produit alimentaire. Traitée comme un être vivant, sa culture fait l’objet d’une série d’offrandes rituelles tout au long de son cycle agricole. Au village de Tarcuyo (Province d’Espinar - Cusco) les semailles de ce tubercule se font avec le concours de chanteuses rituelles connues comme les wankas. Leurs vers en quechua s’adressent en premier lieu aux plants afin d’activer leur croissance, puis à d’autres destinataires telle que la Pachamama (« terre mère »), les travailleurs ou différents éléments de la nature. L’analyse de ce répertoire met en lumière divers paramètres qui constituent son esthétique musicale : relation avec la fécondité et la fertilité, aspect ludique et rituel du travail collectif, organisation du répertoire vocal sous forme de programme musical avec étapes, paramètres spécifiques des étapes qui s’enchaînent progressivement pour aboutir au sommet rituel de la performance.Des acquis de cette analyse seront mis en parallèle avec le déroulement du tinku, confrontation entre deux coalitions de communautés réalisée également avec des chants féminins (qhashwas). Cela permettra de constater des analogies significatives entre ces deux rituels agraires des Provinces Hautes de Cusco.Les wankas témoignent ainsi de l’influence que la voix peut exercer sur la pomme de terre ou sur les hommes, mais également du rôle des interprètes, intermédiaires rituels entre les villageois de Tarcuyo et les divinités de l’inframonde, dans un environnement où les traditions cèdent de plus en plus le pas à la modernité. / For communities altitude in Andean South, potato is more than a simple food product. Treated as a living being, its culture is the subject of a series of musical offerings throughout the agricultural cycle ritual. In the village of Tarcuyo (Province of Espinar – Cusco) sowing of this tuber is with the help of women singers ritual, know as the wankas. Their verses in quechua intended primarily to enable growing the plants and to other destinations such as the Pachamama (“mother earth”) workers or differents elements of nature. The analysis of this directory highlights various parameters that are his musical aesthetic: relationship with fertility and productivity, playful ritual of collective work, organization of the vocal repertoire as a program with musical stages, specific parameters steps keep coming gradually to reach the summit performance of the ritual. The achievements of this analysis will be made in parallel with the progress of the tinku, confrontation between two community coalitions also performed with female songs (qhashwas). It will see significant analogies between these two agrarian rituals High Provinces of Cusco.The wankas are also witnesses to the vocal power influencing the potatoes or people, but also the role of the singers, rituals intermediaries between the villagers of Tarcuyo and the underworld divinities, in an environment where modernity is more and more present.