According to the National Rites of Passage Institute (NROPI), African Americans have lost their authentic identity, which has led to inauthentic, broken individuals and communities. In order to reverse these trends, according to NROPI, African Americans must rediscover their authentic identity through a rites of passage program that plucks them from a Eurocentric narrative and places them into an Afrocentric one. This thesis explores how NROPI is a religious response to adversity that takes on a decidedly American form of contemporary religiosity. I argue that by analyzing NROPI and other contemporary rites of passage programs through the lens of religious studies, scholars can gain a deeper understanding of how these programs fit into the broader American religious landscape, and provide commentary on the changing nature of that religiosity, and how their language and rituals can be used as rhetorical strategies for social cohesion and control.

In contemporary North America, death is contained within a network of cemeteries, crematoria and funeral homes. Death-space and its associative funeral rituals are both sacred and abject resulting in marginalization that adversely affects how the living understand their mortality. Our perception of death influences our place in the world and funeral ritual facilitates our departure from it. In most cities, the funeral home houses this liminal ritual, while also providing the clinical handling and processing of the deceased body. Investigation of the funeral home and its role within the city addresses how architecture can influence cultural views on death. Through the funeral home there is an opportunity to balance the seemingly opposing narratives of the living and the deceased by bringing them together for the funeral. In the City of Toronto, the density of its diverse neighbourhoods is not reflected by a proportionate number of local funeral homes. This thesis proposes a non-denominational space for funeral ritual and cremation within the dense St. Lawrence Neighbourhood. The placement of the Funeral Centre satisfies the practical requirements of this growing community, while the adjacency to the St. Lawrence Market juxtaposes the vibrancy of the ordinary and the solemnity of the sacred. This proposal extends into a network for the scattering of ashes throughout the city aiming to reconnect people to the realities of their existence.

During an excavation at Old Uppsala 571 raw garnets was found. In comparison with similar fragments from other sites in Sweden my aim was to prove a completely domestic production of garnets for cloisonné work. I have chosen to look at the archaeological sites of Old Uppsala, Valsta, Slöinge and Paviken and more closely at the material from Old Uppsala and Valsta. My theoretical framework has been to look at the garnets own agency in the contemporary society. Garnet cloisonné was a popular jewellery form during the Merovingian period on the continent although it came to an end in the early 7th century. It was during this time in Scandinavia a new sort of garnet, technique and paste was introduced and the garnet cloisonné was profoundly used for the gear of the elite and ritual objects. I believe to have showed that from the 7thcentury and onwards the whole production was domestic but further investigation of the garnets, mostly of a chemical nature, is required. / Gamla Uppsala - framväxten av ett mytiskt centrum

<p>Tanken med denna uppsats är att utifrån ett idéhistoriskt perspektiv försöka belysa fundamentet och framväxten av den kristna koptiska kyrkan i Egypten. Med hänsyn tagen till såväl den sociokulturella och teologiska som politiska historien är mitt syfte att framgent kunna presentera vilka komponenter det är som kan ha bidragit till dess ecclesiala institution vars uttryck manifesteras genom liturgiska riter, symbola samt trosföreställning. </p><p>Som uppsats betraktat är den deskriptiv med inslag av argumenterande karaktär. Det innebär att det förekommer komparabla reflektioner i syftet att teologiskt kunna presentera om det ur ett koptiskt inifrånperspektiv finns någon icke-kristen faktor i trosföreställningen vars dignitet i så fall skulle kunna vara den sammanhållande länken för deras syn på den egna tron. På grund av detta är det nödgat att dels göra några historiska nedslag i den fornegyptiska religionen för att utröna vilka element det är som kan ha fått en kristen överbyggnad, och dels om den egyptiska mytologiska samt kosmologiska världen ligger till grund för delar av den koptisk kristna filosofin.</p><p>Slutsatsen jag kom fram till är att det fornegyptiska arvet spelar som förväntat en stor roll. Kopterna är stolta över sitt ursprung och lever i en miljö vilken i allra högsta grad fortfarande vittnar om det forntida egyptiska imperiets storhet. Det förefaller också som så att den östra kyrkan, Alexandrinska kyrkan, uppbar en ledande funktion i framväxten av kristendomen. Problematiken som sedermera uppstod handlade om Kristi natur och substans vilket ledde till att koptiska kyrkan ställde sig utanför mötet i Kalcedon 451. Främsta orsaken till detta är i mina ögon den polemiska synen på begreppet ”The Mother of God” – Theotokos visavi Christotokos. Den Koptiska kyrkans största bidrag till kristenheten är kloster och munkväsendet samt tidegärden.</p>

The Sounds of Satyagraha: Gandhi's Use of Sung-Prayers and Ritual M.K. Gandhi's work towards Indian independence was influenced significantly by sung-prayers found in a collection entitled Ashram Bhajanavali, a collection which, in turn, gives fresh insight into the satyagraha movement. Gandhi's employment of sung-prayers, chant, and ritual has, however, gone unrecognized until this time. The Sounds of Satyagraha presents detailed information concerning how formative and how important these sung-prayers were to Gandhi and to the national independence movement. Chapter One sets forth this thesis, along with methodology, historical context, and certain terms defined. Chapter Two consists of a preliminary historical overview of the Ashram Bhajanavali, along with a descriptive summary of the sung-prayer materials found within it. (An analysis of ritual practices presented in Chapters 3 through 5 also provides additional information regarding historical context and development.) This collection of chanted prayers used by the Indian sayagraha community, has sometimes been referred to as a hymnal. However, the collection is much more than what the word "hymnal" might imply, both in the scope of its contents, and in its significance as a tool with which to understand the developments of Gandhi's satyagraha community. Chapters Three, Four, and Five examine in detail how the Ashram Bhajanavali was used in ritual contexts, and how these sung-prayers supported Gandhi and the nation in its work for social change. The ritual theory of Roy Rappaport is utilized to discover the Bhajanavali's sitz im leben. Chapter 3 discusses the use of these sung-prayers in ritual prayer meetings that occurred twice daily. Chapter 4 looks at additional ways in which these songs were used by Gandhi and the satyagraha community to achieve their purposes, as the movement grew into a national initiative. Chapter 5 considers how it is that this sung-prayer repertoire, being specifically sung and chanted (rather than spoken or read), had a significant power for India and appeal for the satyagraha communities. By placing this collection in its historical, social, and ritual contexts, the extent to which these sung-prayers influenced and shaped Gandhi's sayagraha in India becomes clear. Chapter 6 considers the life and work of one spiritual musician, Shri Karunamayee Abrol, who teaches the Ashram Bhajanavali, its melodies and its history. Shri Karunamayee's family were freedom fighters, and, as a child, she sang for Mahatma Gandhi, receiving his blessing. Shri Karunamayee represents a living tradition. Inspired by childhood experiences and her respect for Gandhi, she has a special devotion to this repertoire. As a spiritual musician, she is a "tradition-bearer" of the Ashram Bhajanavali. The chanting of these sung-prayers has been her daily devotional ritual for decades. Her teaching, which stems from both musical knowledge and Æ⁄¿‰ò™ experience, provides additional insight into satyagraha. Chapter Seven concludes with a review of the evidence, illustrating the large extent to which Gandhi was guided by the sung-prayers and principles found in the Ashram Bhajanavali collection. It also consists of reflections in an analysis of the success or failure of satyagraha. Ashram Bhajanavali offers insight into the Indian independence movement, which has not been acknowledged or identified previously. Final reflections place this collection within the on-going East-West dialogue, indicating its continuing importance in the current discussion.

This thesis explores new ideas for the foundations for state violence in Iraq by looking specifically at the outbreaks of spectacular violence during the Qasim Era (1958-1963). In order to frame the discussion, this study looks first at how the British established a model for state violence during the Monarchy period (1921-1958), which eventually both validated and radicalized the opposition parties. The second chapter examines the violence of the everyday in Iraq, and how the spectacular violence of the Qasim Era finds historical context within everyday violence and ritual. In the final chapter, this thesis discusses how the radicalized violence of the opposition parties melded with the violence of the everyday to create spectacular acts of ritualized violence. After the coup d’état of 8 February 1963, the Ba’ath Party institutionalized this radical new brand of violence, creating a foundation for the state violence to come under Saddam Hussein. This violence was experienced only by the Iraqi Communists at first, but was later experienced by the whole nation. / text

Tanken med denna uppsats är att utifrån ett idéhistoriskt perspektiv försöka belysa fundamentet och framväxten av den kristna koptiska kyrkan i Egypten. Med hänsyn tagen till såväl den sociokulturella och teologiska som politiska historien är mitt syfte att framgent kunna presentera vilka komponenter det är som kan ha bidragit till dess ecclesiala institution vars uttryck manifesteras genom liturgiska riter, symbola samt trosföreställning. Som uppsats betraktat är den deskriptiv med inslag av argumenterande karaktär. Det innebär att det förekommer komparabla reflektioner i syftet att teologiskt kunna presentera om det ur ett koptiskt inifrånperspektiv finns någon icke-kristen faktor i trosföreställningen vars dignitet i så fall skulle kunna vara den sammanhållande länken för deras syn på den egna tron. På grund av detta är det nödgat att dels göra några historiska nedslag i den fornegyptiska religionen för att utröna vilka element det är som kan ha fått en kristen överbyggnad, och dels om den egyptiska mytologiska samt kosmologiska världen ligger till grund för delar av den koptisk kristna filosofin. Slutsatsen jag kom fram till är att det fornegyptiska arvet spelar som förväntat en stor roll. Kopterna är stolta över sitt ursprung och lever i en miljö vilken i allra högsta grad fortfarande vittnar om det forntida egyptiska imperiets storhet. Det förefaller också som så att den östra kyrkan, Alexandrinska kyrkan, uppbar en ledande funktion i framväxten av kristendomen. Problematiken som sedermera uppstod handlade om Kristi natur och substans vilket ledde till att koptiska kyrkan ställde sig utanför mötet i Kalcedon 451. Främsta orsaken till detta är i mina ögon den polemiska synen på begreppet ”The Mother of God” – Theotokos visavi Christotokos. Den Koptiska kyrkans största bidrag till kristenheten är kloster och munkväsendet samt tidegärden.

Dans le contexte de l’expression moderne de la religiosité, l’étude explore comment les méthodes de l’Ashtanga yoga produisent l’expérience de la transformation chez les individus qui les pratiquent et qui atteint, dans une certaine mesure, leur entourage. Ethnographiquement, le mémoire se concentre sur le rituel principal de l’Ashtanga Vinyasa Yoga (AVY), les séances de style Mysore, telle qu’exercé par la communauté de pratiquants de la Sattva Yoga Shala à Montréal. En tant que performance, le rituel met en branle le potentiel de transformation. La pratique de ce yoga implique une discipline et un apprentissage draconien sur une longue échelle temporelle qui amènent, au fur et à mesure, des changements se répercutant dans/et influençant le vécu quotidien des adeptes. Le mémoire résume d’abord les bases littéraires du yoga, et le contexte historique de l’avènement de l’AVY ainsi que celui de sa venue à Montréal. Pour solidifier l’analyse, le travail poursuit par l’idéologie et la praxis du groupe d’étude. Le coeur de l’analyse suit. Nous examinons premièrement les modalités potentielles à la transformation du soi, c’est-à-dire les éléments rituels généraux et ceux spécifiques à l’AVY; puis, nous nous penchons sur ce que ces modalités développent, permettent, et changent chez les répondants, donc leurs impacts. Dans cette recherche, l’Ashtanga Vinyasa Yoga est à la fois une réalité empirique et une catégorie analytique servant à approfondir les connaissances anthropologiques sur le phénomène de la transformation personnelle selon le cadre expérientiel de la religiosité moderne. / Within the context of the modern expression of religiosity, this study explores how the methods of Ashtanga yoga is produce the experience of transformation for the individual who practices them, and to a certain extent, his or her surroundings. Ethnographically, the thesis concentrates on the main ritual of Ashtanga Vinyasa Yoga (AVY), Mysore style sessions, as practiced by the community of practitioners at Sattva Yoga Shala in Montreal. Through its execution, the ritual sets into motion the potential for transformation. The practice of this yoga involves long-term discipline and a draconian learning process whose gradual changes influence and/or carry over into the daily experience of devotees. The thesis first summarizes the textual foundations of yoga, and the historical context of both the rise of AVY, as well as its arrival in Montreal. To solidify the analysis, the work continues with the ideology and praxis of the study group. The heart of the analysis follows. In the analysis, I first examine potential modalities of self-transformation; that is to say, general elements of ritual and those specific to AVY. I go on to examine their impact, that is, what these modalities develop, allow and change for practitioners. In this research, Ashtanga Vinyasa Yoga is simultaneously an empirical reality and an analytical category serving to deepen the anthropological knowledge of the phenomenon of personal transformation according to the experiential framework of modern religiosity.

La ville préhispanique de Cantona, située dans la vallée d’Oriental dans l’état de Puebla au Mexique, atteignit sa première apogée culturelle entre 150 av. J.C. et 600/650 A.D. Durant cette période, des complexes cérémoniaux comprenant des groupes de pyramides-temples et des terrains de jeu de balle furent construits. Ces installations servirent au déroulement de nombreux rites au cours desquels les victimes de sacrifices étaient décapitées, démembrées, décharnées, écorchées, bouillies, brûlées et, dans certains cas, consommées. D’autres traitements du corps humain comportent l’inhumation d’individus en position assise et repliés sur eux-mêmes. Pour mieux comprendre le traitement mortuaire rituel des corps humains à Cantona, les découvertes faites sur place sont comparées aux données datant de la même époque obtenues dans trois régions voisines : la vallée de Mexico, Puebla-Tlaxcala et le golfe du Mexique. A partir de ces renseignements, on peut en déduire que la majorité des découvertes faites à Cantona sont les restes des dépouilles et offrandes provenant de rites destinés à la communication avec les dieux et à l’obtention de la fertilité, tandis que les dépouilles des individus en position assise appartiennent à des prêtres ou à des personnages religieux. / The prehispanic city of Cantona, located in the Valley of Oriental in the state of Puebla, Mexico, reached its first cultural apogee between 150 B.C. - 600/650 A.D. During this time, ceremonial complexes such as Temple Pyramid Groups and ballcourts were constructed. These served as the location for a number of rituals involving the beheading, dismemberment, defleshing, flaying, boiling, burning, and in some cases, the consumption of sacrifice victims. Other human body treatment included the burial of individuals in flexed seated positions. To better understand the ritual mortuary treatment of human bodies at Cantona, the finds are compared with data from three neighboring areas: the Valley of Mexico, Puebla-Tlaxcala, and the Gulf of Mexico. From this information, it can be deduced that most of discoveries at Cantona are the remains of rites dedicated to deity communication and fertility while those of individuals in flexed, seated positions belong to religious actors. / La ciudad prehispánica de Cantona, ubicada en el valle de Oriental dentro del estado de Puebla, Mexico, tuvo su primer apogeo cultural entre 150 a.ne. y 600/650 d.n.e. Durante ese periodo, se edificaron gran número de complejos ceremoniales tal como Grupos de Templo Pirámide y canchas de juego de pelota. Estas construcciones sirvieron como sitios rituales en donde se llevaron a cabo gran número de ritos, los cuales, en parte, consistían en decapitar, desmembrar, descarnar, desollar, hervir, quemar, y, en algunos casos, comer a las víctimas humanas de los sacrificios. En otros casos, los cuerpos humanos fueron encontrados en posición flexionada y sentada. Para entender mejor el tratamiento ritual de cuerpos humanos en Cantona, estos descubrimientos fueron comparados con información obtenida de tres regiones cercanas: el Valle de México, Puebla-Tlaxcala y la Costa del Golfo. Esto permitió deducir que la mayoría de los hallazgos en Cantona representan los restos de ritos dedicados a la comunicación con divinidades y a la fertilidad, mientras que los individuos encontrados en posición flexionada y sentada corresponden a sacerdotes o actores rituales difuntos.

Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique. / This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.