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Orange County is the traditional homeland of the Juaneño Band of Mission Indians, Acjachemen Nation. Though the tribal-nation is not federally recognized, it is a state and county recognized tribe. Development is a constant threat to Acjachemen ancestral homelands. The Acjachemen are faced with the problem that their ancestral sites are now other peoples' lands. Many Acjachemen sacred sites have already been developed, like the burial grounds at Putuidem. The four sacred sites I explore -- the Cogged Stone site at Bolsa Chica in Huntington Beach, California, Puvungna in Long Beach California, Putuidem in San Juan Capistrano, and CA-ORA-64 at the Newport Back Bay in Newport Beach -- share very political histories as well as immense ceremonial significances, significances measured in great part by their sacred rocks, their other natural features, and their roles as gathering places. I learned that, by opening my mind to the ways rocks ground ceremony, I could better appreciate Acjachemen ways of being and, in turn, appreciate these spaces' sanctity. My role in writing this thesis is to facilitate an exchanges of ideas -- ideas which explore what is sacred and ceremonial, and why - in hopes of cultivating in the reader a consciousness about these complex issues. This is a celebration of the individuals who have shared their stories with me, a celebration of ceremony and Acjachemen heritage.

This research project investigates Confucian thinker Dai Zhen (1724-1777) and Jewish thinker Emmanuel Levinas’s (1906-1995) philosophical discourses on desire from a comparative perspective. First, I look at Dai Zhen and Levinas individually each in their own philosophical contexts, while framing my readings with parallel structure that pivots on a hermeneutic strategy to examine their ideas of desire within the larger prospect of the human relation with transcendence. Then, my inquiry leads to a critical analysis of several interesting issues yielded in my interpretive readings of the two thinkers as regards transcendence and immanence and the self-other relationship. Methodologically, my study combines careful textual analysis, philosophical reflection, and historical sensitivity. We might want to say that there is in fact no correlative of the Levinasian desire in Dai Zhen’s philosophy. Dai Zhen’s notion of desire perhaps comes closer to Levinas’s concept of need. However, the disparity of their conceptual formulations does not keep us from discerning their shared ethical concern for the other, the weak, marginalized, and underprivileged group of society, which provides me the very ground for a dialogical comparison between the two thinkers. Henceforth, my writing is hinged on a comprehension of their conception of desire as an articulation of human striving for what is lying beyond themselves, as a redefinition of the being or essence of humankind in relation to the transcendent which in both philosophers’ ethical thinking is translated into a sympathetic understanding of and care for the other, particularly the stranger, the widow, the orphan, the young, the weak and the like. Through the comparative study of the two thinkers’ ideas of desire, I want to argue that “desire,” which is most readily directed to human egoism and instinctive propensity in both Confucian and Western philosophical traditions, can be at once the very driving force to open us to the other beyond ourselves and an actual moral creativity to produce ethical being out of material existence.

This thesis aims to explore how conceptions of the black prophetic tradition, as discussed by thinkers Cornel West and George Shulman, might be expanded into the realm of African American musical traditions and genres. I argue that musical genres like the blues and hip-hop function as an affective discourse that aesthetically, politically and religiously function as sites of resistance to white supremacy and provide alternate pathways to liberation as compared to more canonical instantiations of the black prophetic. In particular I provide close readings of performances and art by Nina Simone and Kanye West.

This research project investigates Confucian thinker Dai Zhen (1724-1777) and Jewish thinker Emmanuel Levinas’s (1906-1995) philosophical discourses on desire from a comparative perspective. First, I look at Dai Zhen and Levinas individually each in their own philosophical contexts, while framing my readings with parallel structure that pivots on a hermeneutic strategy to examine their ideas of desire within the larger prospect of the human relation with transcendence. Then, my inquiry leads to a critical analysis of several interesting issues yielded in my interpretive readings of the two thinkers as regards transcendence and immanence and the self-other relationship. Methodologically, my study combines careful textual analysis, philosophical reflection, and historical sensitivity. We might want to say that there is in fact no correlative of the Levinasian desire in Dai Zhen’s philosophy. Dai Zhen’s notion of desire perhaps comes closer to Levinas’s concept of need. However, the disparity of their conceptual formulations does not keep us from discerning their shared ethical concern for the other, the weak, marginalized, and underprivileged group of society, which provides me the very ground for a dialogical comparison between the two thinkers. Henceforth, my writing is hinged on a comprehension of their conception of desire as an articulation of human striving for what is lying beyond themselves, as a redefinition of the being or essence of humankind in relation to the transcendent which in both philosophers’ ethical thinking is translated into a sympathetic understanding of and care for the other, particularly the stranger, the widow, the orphan, the young, the weak and the like. Through the comparative study of the two thinkers’ ideas of desire, I want to argue that “desire,” which is most readily directed to human egoism and instinctive propensity in both Confucian and Western philosophical traditions, can be at once the very driving force to open us to the other beyond ourselves and an actual moral creativity to produce ethical being out of material existence.

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This thesis investigates artifacts and concepts present in the Noahide world and how they affect Noahide identity. Five factors are analyzed, namely Noahide law, religious pluralism, ritual, sectarianism, and conversion. I consult the Hebrew Scriptures as well as early, medieval, and modern rabbinic sources to set the conceptual background of the Noahide movement before moving into the primary, contemporary sources written by Orthodox Jews, Orthodox rabbis, and Noahides. To supplement my literary analysis, I have conducted a survey of self-identifying Noahide practitioners. This survey collects data concerning religious background, religious behavior, demographics, and free responses. I aim to show first and foremost that Noahidism is a new, exclusive religious tradition which comprises the lay order of Orthodox Judaism. This is born out of a theology which requires belief in the Jewish God and Jewish revelation, a strict ritual system based on Orthodox Jewish prescriptions, and a sectarian typology which mirrors Orthodox Jewish sectarianism. Additionally, my analysis of conversion shows Noahidism is not a gateway to Orthodox conversion, but an end in itself.

Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth. Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act. Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.

The Gnostic Mass of the Ecclesia Gnostica Catholica (E.G.C.) suggests a heterosexual gender binary in which the female Priestess seated on the altar as the sexual and fertile image of the divine feminine is directed by the male Priest’s activity, desire and speech. The apparent contradiction between the empowered individual and the polarized gender role was examined by comparing the ritual symbolism of the feminine with the interpretations of four Priestesses and three Priests (three pairs plus one). Findings suggest that the Priestess’ role in the Gnostic Mass is associated with channeling, receptivity, womb, cup, and fertility, while the Priest’s role is associated with enthusiasm, activity, phallus, lance, and virility. Despite this strong gender duality, the Priestesses asserted that their role was personally and spiritually empowering, and they maintained heterosexual and polarized gendered roles are necessary in a transformative ritual which ultimately reveals the godlike unified individual.

Emma Hardinge Britten’s life encompassed and reflected many of the challenges and opportunities afforded to women in the Victorian world. This dissertation explores the multi-layered Victorian landscape through the life of an individual in order not only to tell her individual story, but also to gain a more nuanced understanding of how nineteenth-century norms of gender, class, religion, science and politics combined to create opportunities and obstacles for women in Britten’s generation. Britten was an actor, a musician, a writer, a theologian, a political activist, a magazine publisher, a spirit medium, a lecturer, and a Spiritualist missionary. Taking into account her multiple subjectivities, this dissertation relies on historical biography to contextualize Britten’s life in a number of areas, including Modern Spiritualism and political and civic engagement in the second half of the nineteenth century in Britain, the U.S., and Australia. The dissertation is organized thematically in a quasi-chronological manner. Time frames overlap between chapters, as Britten travels from the realm of politics to that of science and to religion. Each chapter reflects this transformation of Britten’s multiple intellectual and spiritual engagements, including performance, religion, politics and science. Emma Hardinge Britten challenged, whether consciously or not, gendered expectations by attaining a presence in a male-dominated public. Even though her life and accomplishments pre-date the New Woman of the fin de siècle, Britten established a successful career and her life creates a foreshadowing of the larger movements to come. She was an extraordinarily politically active woman whose influence reached three continents in her lifetime and beyond.