This paper traces burials from Iron Age I Canaan that reflect an influence of Philistine culture. This influence can be measured by the presence of Philistine bichrome pottery or other evidence related to this ancient biblical people. A major road block to the clearest possible understanding of Philistine burials is that no cemeteries have been found at any of the earliest settlements of the biblical Philistines, the Pentapolis. The Old Testament lists these cities as Ashkelon, Ashdod, Ekron, Gath, and Gaza (e.g. Joshua 13:3). Though extensive excavation has been conducted at most of these sites, they have yet to yield a necropolis. Excavations are still being done at Tell es-Safi/Gath and Ashkelon, so hopefully the future will supply researchers with data to help clarify this rather vague area of Philistine studies. Recognizing these limitations, the paper presents a "symbiotic model," which identifies some of the areas of shared culture from the Canaanite context. Examples of this symbiosis are seen as the amalgamated result of people groups living in close proximity to each other and influencing the customs and practices of their neighbors. A Mycenaean origin of the Philistines is an underlying supposition of the research laid out in this paper. Because of this origin, and the other influences upon the early Philistine settlers in Canaan, a certain amount of cultural comparison becomes necessary to be able to understand the developing Philistine culture of Iron I. The paper includes a map of tombs and burials bearing Philistine influence and a map identifying different types of tombs and their locations. The variety of tomb types is an important facet of Philistine custom. The strong Egyptian influence upon Canaan and the surrounding area at that time in history is inescapable. Evidence of this influence will be explored. The inclusion of a chapter on the anthropoid clay coffins, and the Philistines' relationship to them, struggles with the scholarly interpretations. Finally, a chapter on literary implications strives to shed light on possible Philistine burial practices from the perspective of the Old Testament and other applicable literatures of the ancient Near East. / Old Testament / D. Th.

Text in English / This study offers a close look at Andrew Niccol’s (b 1964) satirical film S1mOne from a biocultural perspective emphasising the technological simulation of a Hollywood celebrity and the farce ensuing from her creation. The film is based on Niccol’s assumption that the hypertrophied culture into which he places his cultural object will be one in which human traits of sociality will be well advanced and the highly demanding genre of satire will be entertaining, persuasive, and on occasion punitive in its ridicule of Hollywood. The study makes a contribution to the idea that a cultural object/text operates as a rapid mechanism for propagating cognition — it shows how Niccol has adapted to less than optimal conditions in his world of Hollywood — in this case he parodies the role of the director of Hollywood films in the figure of Taransky. Cognition is understood as that series of mental processes which include attention, memory, learning (from mimicry as well as other forms), problem solving, ratiocination, and making decisions. Niccol relies on his audience's embodied capacities and skills of recognition, thinking, feeling, remembering, and accounting for his message to be understood. Niccol’s technical skill in editing his narrative to emphasise the satire of the narrative of Taransky and Simone is a critical part of the film’s success. Interpersonal and social propagation of cognition is achieved through reference to other cultural artefacts recalling a variety of similar ideas used in film and other visual creations. The cultural significance of the simulacrum, Simone, is that she is a vehicle for and a form of socially propagated cognition. The powerful imagistic impression of film helps to structure internalised cognitive artefacts in the viewers who are expected to reflect on their habits of viewing and thinking. When a film, artwork, poem or novel is analysed, then such a cultural object becomes a vehicle of and for propagating cognition. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

The concept of biodiversity – the phenotypic and genotypic variation among organisms – is central to conservation biology. There is growing recognition that biodiversity does not exist in isolation, but rather is intrinsically and evolutionarily linked to cultural diversity and indigenous knowledge systems. In Canada, caribou (Rangifer tarandus) occupy a central place in the livelihoods and identities of indigenous people and display substantial variation across their distribution. However, quantifying caribou intraspecific variation has proven challenging. Interdisciplinary approaches are necessary to produce effective species characterizations and conservation strategies that acknowledge the interdependent relationships between people and nature in complex social-ecological systems. In this dissertation I use multiple disciplinary traditions to develop comprehensive and united representations of caribou variation through an exploration of population genetics, phylogenetics, traditional knowledge, language, and visual approaches in the Sahtú region of the Northwest Territories, Canada. First, I examine caribou variation through analysis of population genetics and the relationships Dene and Métis people establish with animals within bioculturally diverse systems. Next, I focus on how the Pleistocene glacial-interglacial cycles have shaped the current patterns of caribou phylogeographic lineage diversification. Finally, I explore how art can be used to facilitate cross-cultural collaboration and externalize the unique heterogeneity of biocultural diversity. The results demonstrate a broad scale understanding of the distribution, spatial organization, and the degree of differentiation of caribou populations in the region. I found evidence for caribou population differentiation that corresponds to the caribou types recognized by Dene people: tǫdzı “boreal woodland caribou,” ɂekwę́ “barren-ground caribou,” and shúhta ɂepę́ “mountain caribou.” Phylogenetic results reveal that in their northern margin the boreal ecotype of woodland caribou evolved independently from the northern Beringian lineage in contrast with southern boreal caribou which belong to the sub-Laurentide refugia lineage. In addition, I demonstrate how art can be used improve communication, participation, and knowledge production among interdisciplinary research collaborations and across language and knowledge systems. A collaborative process of research that facilitates łeghágots'enetę “learning together” has the potential to produce sustainable conservation solutions, develop efficient and effective wildlife management policies, and ensure caribou remain an important part of the landscape. / February 2017

Ce mémoire en recherche création est divisé en deux principales sections : un recueil de poésie et un essai. Le recueil, intitulé Le Cœur est une permanence, explore différentes interprétations du phénomène d’empathie dans la création littéraire. Afin que l’empathie devienne l’objet du discours, ce dernier est centré sur la relation à l’autre. L’empathie prend vie à travers deux entités, un « je » et un « tu ». Alors que le « je » entre en contact avec ses propres zones d’ombres, il s’ouvre tranquillement aux souffrances du « tu ». Au fil des poèmes, le « je » et le « tu » apaisent leur douleur en la partageant, faisant de l’empathie une voie d’accès à l’intimité. Ce déploiement de l’intime prend forme en trois temps : les sections replis de voix, point archimédien et ensembles vides. Le recueil accorde une importance particulière à la figure du corps comme véhicule de la souffrance. Il propose une réflexion sur l’amour, balançant entre naufrage et terre promise, et fait de l’enfance une pierre de touche pour interroger la douleur. La deuxième partie de ce mémoire est un essai intitulé Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. Divisé en trois chapitres, cet essai étudie l’empathie à l’œuvre dans le recueil de Audet, selon une approche bioculturelle. Il allie interprétation littéraire, sciences cognitives de deuxième génération et philosophie de l’esprit. Dans le premier chapitre, le concept de « simulation incarné », développé par Vittorio Gallese, permet d’interpréter la figure du corps et de suggérer qu’elle véhicule la douleur tout en étant la manifestation d’un effacement identitaire. Le deuxième chapitre se penche sur l’intersubjectivité en lien avec l’empathie. Il intègre certaines notions clés de la phénoménologie husserlienne afin d’analyser les manifestations du lien empathique unissant les deux présences parcourant le recueil de Audet. Le dernier chapitre explique comment les représentations de l’environnement dans lequel évoluent ces présences peuvent refléter leur souffrance. Pour ce faire, certains concepts liés à l’environnement, particulièrement importants pour l’écocritique actuelle, sont analysés dans Tête première / Dos / Contre dos, comme ceux de place et de nature. Ces derniers, étant construits par les perceptions propres à la cognition humaine, sont envisagés d’un point de vue bioculturel. En interprétant ces trois principaux aspects du texte (figure du corps, intersubjectivité et environnement), l’hypothèse selon laquelle la perception de la souffrance dans Tête première / Dos / Contre dos repose essentiellement sur l’empathie comme effet et objet du discours s’en voit validée. / This M.A. thesis, combining research and creative writing, is divided in two parts: a poetry collection and an essay. The first part, Le Cœur est une permanance, explores different interpretations of empathy phenomenon in creative writing. In order for empathy to become the subject of my poetry collection I focused it’s discourse on the possibilities of a relation to another self. This relation takes form through the two entities of “I” (je) and “you” (tu). While the "I" comes into contact with its own darkness, it opens to the sufferings of the "you". Throughout the poetry collection, the "I" and the "you" soothe their pain by sharing it, making empathy a pathway to intimacy. This use of intimacy takes shape in three stages: the sections: replis de voix, point archimédien and ensembles vides. The poetry collection also gives special importance to the conception and representation of the body as a vehicle of suffering. The compilation proposes an interpretation of love that balances between shipwreck and promised land and uses childhood as a touchstone for questioning pain. The second part of this M.A thesis is an essay entitled Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. The essay, divided into three chapters, examines empathy throughout Audet’s poetry collection, through a biocultural approach. It specifically combines literary interpretation with second-generation cognitive sciences and philosophy of mind. The first chapter analyzes literary representations of the body taking into account the concept of "embodied simulation", developed by Vittorio Gallese. It suggests that literary representations of the body convey pain while revealing identity issues. With this theoretical basis, the second chapter studies the relation between the “I’ and the “you”. It also examines Husserl's phenomenology point of view of intersubjectivity to suggest the presence of an empathic, albeit problematic, link between the two presences in Audet’s collection. The final chapter explains how the representations of the environment, in which the two presences progress, mirror their suffering. To do this, it takes interests in the presence of certain key concepts related to the environment in Tête première / Dos / Contre dos, such as place and nature. These concepts are particularly important for present ecocriticism. They can also be considered from a biocultural point of view in this essay, since being built by the perceptions belonging to human cognition. By interpreting three main aspects of Audet’s poetry collection (literary representations of the body, intersubjectivity and environment), the hypothesis that the perception of pain in Tête première / Dos / Contre dos is essentially based on empathy as an effect and object of discourse is being validated.

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This paper traces burials from Iron Age I Canaan that reflect an influence of Philistine culture. This influence can be measured by the presence of Philistine bichrome pottery or other evidence related to this ancient biblical people. A major road block to the clearest possible understanding of Philistine burials is that no cemeteries have been found at any of the earliest settlements of the biblical Philistines, the Pentapolis. The Old Testament lists these cities as Ashkelon, Ashdod, Ekron, Gath, and Gaza (e.g. Joshua 13:3). Though extensive excavation has been conducted at most of these sites, they have yet to yield a necropolis. Excavations are still being done at Tell es-Safi/Gath and Ashkelon, so hopefully the future will supply researchers with data to help clarify this rather vague area of Philistine studies. Recognizing these limitations, the paper presents a "symbiotic model," which identifies some of the areas of shared culture from the Canaanite context. Examples of this symbiosis are seen as the amalgamated result of people groups living in close proximity to each other and influencing the customs and practices of their neighbors. A Mycenaean origin of the Philistines is an underlying supposition of the research laid out in this paper. Because of this origin, and the other influences upon the early Philistine settlers in Canaan, a certain amount of cultural comparison becomes necessary to be able to understand the developing Philistine culture of Iron I. The paper includes a map of tombs and burials bearing Philistine influence and a map identifying different types of tombs and their locations. The variety of tomb types is an important facet of Philistine custom. The strong Egyptian influence upon Canaan and the surrounding area at that time in history is inescapable. Evidence of this influence will be explored. The inclusion of a chapter on the anthropoid clay coffins, and the Philistines' relationship to them, struggles with the scholarly interpretations. Finally, a chapter on literary implications strives to shed light on possible Philistine burial practices from the perspective of the Old Testament and other applicable literatures of the ancient Near East. / Biblical and Ancient Studies / D. Th.

Text in English / This study offers a close look at Andrew Niccol’s (b 1964) satirical film S1mOne from a biocultural perspective emphasising the technological simulation of a Hollywood celebrity and the farce ensuing from her creation. The film is based on Niccol’s assumption that the hypertrophied culture into which he places his cultural object will be one in which human traits of sociality will be well advanced and the highly demanding genre of satire will be entertaining, persuasive, and on occasion punitive in its ridicule of Hollywood. The study makes a contribution to the idea that a cultural object/text operates as a rapid mechanism for propagating cognition — it shows how Niccol has adapted to less than optimal conditions in his world of Hollywood — in this case he parodies the role of the director of Hollywood films in the figure of Taransky. Cognition is understood as that series of mental processes which include attention, memory, learning (from mimicry as well as other forms), problem solving, ratiocination, and making decisions. Niccol relies on his audience's embodied capacities and skills of recognition, thinking, feeling, remembering, and accounting for his message to be understood. Niccol’s technical skill in editing his narrative to emphasise the satire of the narrative of Taransky and Simone is a critical part of the film’s success. Interpersonal and social propagation of cognition is achieved through reference to other cultural artefacts recalling a variety of similar ideas used in film and other visual creations. The cultural significance of the simulacrum, Simone, is that she is a vehicle for and a form of socially propagated cognition. The powerful imagistic impression of film helps to structure internalised cognitive artefacts in the viewers who are expected to reflect on their habits of viewing and thinking. When a film, artwork, poem or novel is analysed, then such a cultural object becomes a vehicle of and for propagating cognition. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Denna uppsatsen undersöker varför våld i film är så utbrett och populärt. Jag använder mig av ett evolutionärbiologiskt perspektiv, som tidigare inte använts vid filmforskning i så stor utsträckning. Istället har filmforskning och andra studier på människans beteende oftast utgått ifrån ett socialkonstruktivistiskt perspektiv. Uppsatsen är av typen ”forskningsöversikt” vilket innebär att jag inte har gjort någon klassisk analys på ett filmiskt verk eller empiriskt material, utan har sammanställt en stor mängd forskning från andra forskare. För att kunna svara på min frågeställning har jag behövt forska inom mänsklig evolution, audiovisuell perception samt våld i film. Den viktigaste bokenför uppsatsen kom att bli Torben Grodals Embodied Visions. Huvudfrågan i min frågeställning löd: Vilka faktorer ligger enligt tidigare forskning bakom populariteten av våldsskildringar?Svar: 1. Film är utformad för att påverka oss, aktivera känslor. 2. Det som påverkar ossallra mest är de bilder som påminner om de djupast rotade mekanismerna inuti oss. 3. Av evolutionära skäl ingår våld och aggressivitet bland dessa djupt rotade mekanismer. / This paper examines why violence in films is so widespread and popular. I use an evolutionary biological perspective, that has not previously been used in film research as much. Instead, the film research and other studies on human behavior usually originate from a social constructionist perspective. The essay is a "research review", which means that I have not made a classic analysis of a cinematic work or empirical data, but have collected a large amount of research from other scientists. To be able to answer my question, I had to do research in human evolution, audio visual perception and violence in film. The most important book for the essay came to be Torben Grodals Embodied Visions. The main question in my research question was: What factors are in accordance with previous research behind the popularity of graphic violence? Answer: 1. Film is designed to affect us, activating emotions. 2. what affects us the most is images that reminds us of deeply rooted mechanisms inside us. 3. of evolutionary reasons, violence and aggression are among these deep-rooted mechanisms.

The Cape Horn Biosphere Reserve is located at the southern tip of South America. This large archipelago is considered one of the last pristine areas left on the world. Despite it being an unpopulated area with most of the native forest cover intact, it has not been exempt from biological invasions, one of the major drivers of biodiversity loss. Three species that naturally interact in their native range in North America – American beavers (Castor canadensis), muskrats (Ondatra zibethicus), and American mink (Neovison vison) – were independently introduced in this remote region. In my dissertation, I investigated (i) the hypothesis of niche expansion in the invasive mink population on Navarino Island towards terrestrial habitats; (ii) potential mink impact on breeding success of forest-bird populations; (iii) habitat selection of small-rodent species and their perception on the mink's novel predation risk; and (iv) the dynamics of multiple-species invasions under the hypothesis of an invasional meltdown. Additionally, I worked within the framework of environmental philosophy. I provide an example of combining ecological and cultural dimensions within the International Long-Term Ecological Research network to disentangle the ethical dilemmas that surround the management of invasive species. I finally proposed a management plan based on the idea of multiple invasive species management, discussing potential solutions to overcome the challenges that the control of invasive species represent and to more effectively protect the biological integrity of the native ecosystems.