Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

The thesis argues that Neopaganism on the Web is an example of mythopoesis and aims at showing both the novelty and the limits of such mythopoesis. I use the term "mythopoesis" in its original Greek meaning, i.e. "the creation (the making/crafting) of a myth or myths", thus stressing the dynamic way in which the process of creation (of myths, rituals, divinities, identities—all implicitly or explicitly played out, connected, and organised as "stories", which can be told, written or performed, as well as represented as images) unfolds in Neopaganism. Neopagan mythopoesis on the Web is new, original, and structurally different from other previous and contemporary examples of mythopoesis, either religious or not, since it does not refuse, put aside, or implicitly contradict, the rational framework elaborated by Western culture. The research involves exploring the contemporary cultural and historical context that allows for mythopoesis to take place and the technology that allows for it to develop. It analyses the key features of Neopaganism on the Web as they emerge from the mythopoeic recreation of two ancient goddesses (Gaia, and Artemis/Diana) and an ancient ritual (the Eleusinian mysteries). In covering several different fields (from ancient religions, to the Internet, to myth and ritual theory), and in examining a range of heterogeneous materials (from ancient texts, Neopagan hymns and art, to hypertexts), the analysis adopts an interdisciplinary approach.

北斗崇拜是一個悠遠的信仰母題，它作為文化基因被各個宗教傳統所分有。任何一個微小的儀式細節背後都有一個大的信仰傳統作為其理論支持，本文意在討論北斗崇拜作為一個龐大星辰信仰的分支如何在法教儀式中實踐。本文將北斗崇拜聚焦於星命與本命的議題，選取台灣北部獅場補運和台灣南部進錢補運兩則大型補運儀式作為田野研究對象；從魂魄觀、性命觀兩個角度討論北斗崇拜在補運儀式中所載負的療癒特質，進而檢視法教和道教在儀式傳統、療癒觀念上的區別。最後，從文化、社會兩方面重新審視漢人的「致—治」病的觀念，試圖說明一個完整的宗教療癒理論可以將疾病與治療平行放在社會文化脈絡中進行考察。本文試圖建立「北斗崇拜——補運儀式——宗教療癒」這一範式，將其視為日常生活中解決生命危機和災厄困境的一種宗教邏輯，而非一個儀式操作上的絕對標準，試圖說明北斗崇拜如何在時間、空間各個方面影響著台灣漢人的日常生活。 / The Great Dipper worship has a long history and tradition, it is assimilated into various religions as a Cultural Gene.Every ritual action is supported by a big theoretical system, this article is intended to explain how are the Great Dipper worship practicing in the Faism ritual as a branch of the huge stars belief.This article focuses on the subject of star mandate(星命)and destiny, chooses the Luck Replenishing Ritual by exorcising of Northern Taiwan and Luck Replenishing Ritual of Southern as the locations of field investigation, to analyze the healing practice of Great Dipper both in view of soul-body and nature-life, so that we can explain the difference between the Fa and Dao in ritual and healing concept .At last, re-examine the concepts of getting and healing disease through both cultural and social approaches. This article attempts to explain a complete religious healing theory can place disease and its treatment both in a social and cultural context. The article tries to establish a paradigm about the Great Dipper worship, Luck Replenishing and Religious Healing, by which to discuss how the Great Dipper worship affects the daily life in society of Han nationality in various dimensions to help them solve life crisis and disaster as a religious logic rather than an absolute standard of ritual.

An examination and exploration of ‘the (syn)aesthetic style’, a particular sensate mode of performance and appreciation that has become prominent in recent years in contemporary arts practice. The (syn)aesthetic performance style fuses disciplines and techniques to create interdisciplinary and intersensual work with emphasis upon; the (syn)aesthetic hybrid; the prioritisation of the body in performance and the visceral-verbal ‘play-text’. ‘(Syn)aesthetics’ is adopted as an original discourse for the analysis of such work, appropriating certain quintessential features of the physiological condition of synaesthesia to clarify the impulse in performance and appreciation which affects a ‘disturbance’ within audience interpretation. Original terms employed attempt to elucidate the complex appreciation strategies integral to this performance experience. These include the double-edged semantic/somatic or making-sense/sense-making process of appreciation, which embraces the individual, immediate and innate, and the ‘corporeal memory’ of the perceiving body. Liveness and the live(d) moment are considered, alongside notions of ritual and transcendence and the primordial and technological. The argument surveys the inheritance that saw to this contemporary style emerging, in Britain in particular, considering female performance practice, intercultural and interdisciplinary ensemble performance and the ‘New Writing’ aesthetic. Critical and performance theorists referred to include Friedrich Nietzsche, the Russian Formalists, Roland Barthes, Julia Kristeva, Hélène Cixous, Luce Irigaray, Antonin Artaud, Valère Novarina, Howard Barker and Susan Broadhurst. Contemporary practitioners highlighted as case studies exemplary of (syn)aesthetic practice are Sara Giddens, Marisa Carnesky, Caryl Churchill and Sarah Kane. Furthermore, documentation of a series of original performance workshops explores the (syn)aesthetic impulse in performance and analysis from the perspectives of writer, performer and audience. (Syn)aesthetics as an interpretative device endeavours to enhance understanding of the intangible areas of performance which are increasingly difficult to articulate, thereby presenting a mode of analysis that extends performance theory for students and practitioners within the arts.

This thesis explores the cult and mythos of the goddess Kali both in her Eastern and Western contexts, comparing and contrasting them in order to gain a better understanding of the Western appropriations of Kali within feminist goddess spirituality. Utilizing a variety of methods, including ethnographic research conducted at Kali temples in California, this research is aimed at providing an entry into the lived contemporary tradition of the Western Kali within goddess spirituality circles, focusing on embodied experience, devotion, ritual, and syncretic practices. Kali, a fierce Indian goddess, is often seen in the Hindu context as a central manifestation of the all encompassing Mother Goddess (Mahadevi, Devi, Shakti, etc), and therefore is a particularly engaging example of contemporary Western appropriation of religious and cultural symbols and narratives. This thesis contributes to understanding Kali in her new North American domain, as well as serving as a case study of the shifting religious landscape in the West.

Religious language has been theorized in multiple ways. I will look at how religious language has been theorized in the work of Jürgen Habermas and in the field of cognitive linguistics. I will compare these approaches to religious language and assess the results. In doing so, I will indirectly assess the confluence of these two theoretical approaches. My conclusion is that even with the similarities between these theoretical frames, religion is thematized differently under each method. Jürgen Habermas’s definition of religion as the output of ritual praxis is not compatible with the normative place of religious language found in cognitive linguistics.

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.

Throughout history, people have made or acquired vessels from which to sip their favourite beverage. In the contemporary domestic setting, households frequently accumulate multiples of the same type of object in numbers that are considerably greater than is necessary and practical for use alone. Of these many objects there are often individual pieces that have special significance for the owner or user. Some are so valued that they may even be removed and set aside because of their perceived importance. The research was initiated by a previous study of tea drinking vessels coupled with a desire, as an object maker and collector, to find out why people have special items that they designate as personally important. The aim was to identify how significance could be recognised in specific objects and whether the notion that a group of features used to gauge such objects could be conveyed into studio based work. The research outcomes are evidenced in a text-based document (which articulates the theoretical and empirical elements of the enquiry) and a body of creative studio work developed in response to aspects of the investigation. The document encompasses two components of the study. The first references material from the fields of museum and cultural studies, pivotal in focusing the enquiry. This contributed to the compilation of a general and speculative inventory of qualities that might pertain to objects deemed ???significant???. During these early investigations it became evident that a more in depth and contemporary analysis of significant drinking vessels, their owners and/or users was required. A Survey Questionnaire regarding personal use and special drinking vessels preceded a series of Interviews with a selected group of Australia curators, artists, academics and collectors who discussed and analysed their association with a personally significant drinking vessel. Subsequently, the content of these interviews became central to the focus of the research and outcomes. The research isolates a number of attributes that are commonly identified in objects that, whatever their condition, are deemed ???significant???. These describe the maker, usage, ownership, association and historical context. The perceived value or worth of the object for its owner, is recognised as a consequence of significance and declares the object as distinctive. This outcome is clearly validated by the interviews. The studio work develops from the fusion of personal narrative that has been enhanced by findings of the research. In particular, it references the cherished object, most especially those pieces that have been retained despite the ravages of time and use. The resulting work was exhibited as Trace Elements ??? Marking Time: Significance, the Vessel and the Domestic at Kudos Gallery, Paddington in April 2004.

Thesis (Ph. D.)--Miami University, Dept. of Educational Leadership, 2008. / Title from second page of PDF document. Includes bibliographical references (p. 112-121).

Zugl.: Bayreuth, Universiẗat, Diss., 2005.