Thesis (M.M.) Florida State University, 2007. / Advisor: Michael Bakan, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-22-2007). Document formatted into pages; contains 48 pages. Includes biographical sketch. Includes bibliographical references.

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Thesis (Ph.D.)--University of Adelaide, Dept. of Anthropology, 1999. / Bibliography: leaves 320-376.

This study seeks to explore the relationship between religious ritual and theatre through an examination of the manner in which the Hindu religion functions. In the Introduction to this thesis, the nature of both religious rituals and theatre, and the similarities that exist between ' these forms of performance, are explored. At the heart of any performance is the desire to communicate. Religious rituals are primarily a means of communicating the philosophy of a particular religion. In this thesis, the basic beliefs and philosophy of the Hindu religion are described; the imagery, symbols and mythology, that have evolved with the religion, are analysed as extensions of the basic philosophy of the religion; and the manner in which these symbols and images function in Hindu religious practices is examined. This is followed by a detailed documentation of two Hindu rituals. The first, the Havan is a home based ritual, while the second, the Fire-Walking Festival, is temple based. The historical evolution of these rituals, based on essentially scriptural evidence, is also examined. An overview of the impact of the Hindu religion on Indian theatre concludes this dissertation. / Thesis (M.A.)-University of Natal, Durban, 1991.

Bibliography: leaves 320-376. / 376 leaves : col. ill., col. maps ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Documents an annual (21st of May) purification ritual honoring St. Constantine and St. Helen, performed in northern Greece by Thracians. The ritual includes animal sacrifice, Christian blessings, trance and fire dancing. As the ritual has become a popular tourist attraction, the thesis primarily examines the cultural commodification of the ritual and the ritual objects. Fieldwork was undertaken in Lagadhas, a town in the north of Greece. / Thesis (Ph.D.)--University of Adelaide, Dept. of Anthropology, 1999

本篇論文主要以二結王公廟為研究對象，藉此探討台灣古公三王信仰的發展。透過長期於二結王公廟的田野調查，釐清大二結社區不同階段的社會發展與歷史脈絡，進而理解二結王公廟的建廟歷程及在地互動，以此為中心向外討論目前台灣各古公三王廟的分布情形、發展概況等，從深入訪談及參與觀察所蒐集之材料，探究二結王公廟在古公三王信仰中的角色、傳播上的重要性及其各項祭儀之特色。 　　二結王公廟作為大二結地區的信仰中心，除了原有的宗教功能外，也因王公廟與古公三王對在地人的特殊意義，故在二結王公廟重建工程上做出不一樣的選擇，激發社區居民對公共事務的關心及參與，成為大二結社區營造的一個起點，更從往後的二結王公文化節、大二結王公藝術研究所、二結庄生活文化館等，清楚看見大二結社區如何在原有的古公三王信仰基礎上，運用社區營造的概念，讓宗教活動添增創新的元素，以現代的手法保存及宣揚廟宇文化，並在過程中再次拉近社區居民之間的關係，加深對社區的認同及情感。 　　王公廟最為人知的宗教祭儀為每年農曆十一月十五日的王公生，其中的抓乩童及過炭火儀式更獲選為十大民俗祭典，並被登錄為無形文化資產，使王公生儼然成為二結王公廟的特色。除了王公生慶典外，王公廟的濟世類祭儀保留了傳統關輦出字方式，替信徒解決各項疑難雜症，即使在醫學、科技發達的今日，仍有許多信徒至王公廟問事尋求協助。至於歲時祭儀與公事類祭儀，雖與一般廟宇未有太多不同，但依舊可從儀式進行上的些微差異，進而理解二結王公廟的發展背景與經營情形。 　　根據內政部宗教團體登記與中華道教古公三王弘道協會會員名單，目前台灣共有二十四間古公三王廟，其中十七間寺廟為直接或間接自二結王公廟分香，顯示出二結王公廟在古公三王信仰傳播上的重要性。若以地區進行區分，宜蘭縣以外的九間古公三王廟，傳播原因多與二結人、宜蘭人向外遷徙移居有關，呈現古公三王作為宜蘭人地方神的特色。民國九十年（2001），中華道教古公三王弘道協會成立，並透過至中國大陸重修祖廟、恭迎中國大陸王公神像來台祀奉以及組團進香謁祖等計畫，建立與加深在台古公三王廟對中國大陸祖廟的認同，開始讓分香廟對二結王公廟在台祖廟的認同造成影響，使以二結王公廟為中心的廟際網絡逐漸產生變化。 關鍵字：古公三王、二結王公廟、宗教祭儀、民間信仰、輦轎過火 / This thesis mainly focuses on Erjie Wanggong Temple and the development of Gu Gong San Wang Belief in Taiwan. Through the long-term fieldwork in Erjie, this study aims to clarify social development and historical contexts of Great Erjie in different eras and thereby get further understanding of the establishment and interaction with local communities of Erjie Wanggong Temple, in order to discuss the spreading and current situation of Gu Gong San Wang temples in Taiwan. By in-depth interviews and participant observation, this study attempts to explain the role of Erjie Wanggong Temple in Gu Gong San Wang Belief, its importance in spreading process and the characteristics of its rituals. As the most important religious site in Great Erjie, Erjie Wang Gong Temple’s rebuilding plan aroused local residents to participate in public affairs and has become the starting point of community development of Great Erjie. The following Erjie Wanggong Cultural Festival, Great Erjie Art Research and Erjie Cultural Museum show that how the Great Erjie community preserve and promote temple culture in modern ways. In the process, the relationship among community members has been strengthened. The birthday of Wanggong (ông-kong senn) on the 15th day of the 11th month of the lunar calendar is the most well-known religious festival of Erjie Wanggong Temple. The ritual of "catching spirit medium" (liap tâng-ki) and "fire-walking" (kuè-hué) of the festival was elected as one of the top 10 festivals by the General Association of National Culture in 2007 and was registered as intangible cultural heritage by the Bureau of Cultural Heritage in 2011. In addition, Jishi rituals of the temple still preserve traditional resolutions to solve the problems in followers' modern daily life. According to the Ministry of Interior and Chinese Taoism Gu Gong San Wang Promote Association, there are 24 Gu Gong San Wang temples in Taiwan. 17 of them are branches of Erjie Wanggong Temple, which implies the significance of Erjie Wanggong Temple in the spreading process. The establishment of 9 Gu Gong San Wang temples located outside Yilan County was mostly related to the emigration of people from Erjie and Yilan, representing the role of Gu Gong San Wang as the Local God of Yilan people. In 2001, Chinese Taoism Gu Gong San Wang Promote Association was established. It started to construct and deepen the recognition of original temple in Mainland China from Gu Gong San Wang temples in Taiwan. Therefore, the recognition of Erjie Wanggon Temple as the original temple in Taiwan from branches has been influenced and the Erjie-centered network has been gradually changed. Keywords: Gu Gong San Wang, Erjie Wanggong Temple, religious rituals, folk beliefs, ambrosial palankeen and fire-walking

À l’île de La Réunion, la marche sur le feu est un cycle rituel hindou annuel qui dure dix-huit jours. Rythmé par des prières et des mises en scène, son acmé est la spectaculaire traversée pieds nus d’un tapis de braises ardentes. Les individus choisissent délibérément de se soumettre à l’épreuve du feu, ils se sacrifient en l’honneur de la divinité. Dans le cadre de l’anthropologie de la performance, par l’analyse du cycle rituel et des paroles des pratiquants, cette recherche propose d’appréhender les motivations qui exhortent un individu à s’engager dans cette pratique à l’intérieur de l’univers créole. Elle propose de découvrir les modalités par lesquelles l’individu abandonne l’espace sécure et fait face au risque. L’idée directrice de cette thèse est que l’implication dans le rituel n’est jamais sans réserve, elle est un choix entériné par un désir sous-jacent, plus ou moins conscient, de changement d’une situation que le pratiquant souhaite améliorer ou d’un problème qu’il entend régler. La préparation à l’épreuve demande de plonger dans l’intime, de scruter l’être au plus profond. Le rituel, dans son efficacité, a un impact sur la vie future. La marche sur le feu est, in fine, une réponse à un besoin de l’individu en quête de sens, un outil pour devenir l’artisan de sa propre vie. / In La Réunion fire-walking is an annual Hindu ritual which lasts for eighteen days. Rhythmed by prayers and representations, its acme is the spectacular barefoot walk across a pit filled with hot embers. The individuals choose deliberately to submit themselves to the trial by fire, they sacrifice themselves in honour of a divinity. Within the framework of the anthropology of the performance, by the analysis of the ritual and the words of the practitioners, this research analyses the motivations which exhort an individual to commit themselves to this practice in the Creole universe. It suggests exploring the modalities by which the individual abandons a secure space and faces risk. The leading idea of this thesis is that the implication in the rite is never without reserve, it is a choice confirmed by an underlying desire – more or less conscious – of changing a situation which the devout wishes to improve, or of a problem which the devout wants to solve. In preparation for the event, the devout dives deep into the intimate and scrutinises the inner self. The rite, in its efficacy, has an impact on the future life. Fire-walking is, in fine, an answer to a need for the individual who is in search of meaning and a tool to become the artisan of one’s own life.