I den här uppsatsen synliggörs effekterna av ett varumärkesbyte på en pappersfabrik. Fältet beträds med en autoetnografisk approach, då jag själv har behörighet till platsen som arbetare. Jag undersöker vilken effekt varumärkesbytet har på identiteten hos medarbetarna och hur de bemöter förändringen på arbetsplatsen ett år efter namnbytet på fabriken trätt i kraft. Genom ett fenomenologiskt perspektiv presenteras både fabrikens och arbetarnas berättelse och jag berör både minnet och ritualens sfär i mötet mer mitt fält. Med Korsnäs som forna fabriksnamn och nyckelsymbol möter jag Korsnäsaren som levd erfarenhet och som identitetsbegrepp samt Korsnäsandan som gemenskap och minnesrum. Hur alla dessa erfarenheter skapar arbetsplatsen som livsvärld och slutsatsen blir dess effekt på människan namnbytet berör.

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<p>Along with pilgrimage rituals vrata-s (a form of religious vow) are one of the major forms of religious observance in popular Hinduism. Details of how these vows should be practised, who may observe them and the merit that they confer are described in many of the Pura~as (compendia of Hindu religious lore, ritual practices, philosophy, myth, geneologies and so forth written in Sanskrit between c. 400 and 1400 A.D.).</p> <p>In this thesis my aim has been to provide an explicit picture of the nature and function of these vrata-s within the Purānic context. In the first section I have traced the meaning of the term 'vrata' from its earliest usage in the Rgveda to its usage in the Puranas where it became identified with a religious observance involving fasting, pūjā (worship), and dāna (the giving of gifts) directed to a deity in return for religious merit, a favour (e.g., sons), or as a form of expiation. In the next section of the thesis a selection of vrata-s from four Puranas have been described. These vrata-s are then analyzed according to nine categories, including deity to whom the vrata is to be directed, ritual requirements of the vratee, and the purpose for which the vrata is to be undertaken.</p> <p>In the process of researching this thesis certain prevalent ideas about the Purānic vrata-s found in secondary literature, such as the idea that these vrata-s are mainly directed to women or that low as well as high caste Hindus had equal privelege to observe them, were found to be misconceptions. A reason for the existence of these misconceptions is the tendency on the part of some writers to confuse sastric vrata-s (those sanctioned in the sacred texts) with popular or 'Folk' (laukika) vrata-s (those given less treatment or none at all in the texts).</p> <p>This thesis has also addressed the controversy over whether vrata-s represent a popularization of Vedic religion or a 'Brahmanization' of popular religious practice. It was determined that the texts themselves do not provide conclusive evidence for either position. Rather, all one can say is that the vrata-s incorporate elements of both Vedic or 'Brahmanic' and non-Vedic thought and practices and that this kind of fusion is itself a characteristic of the Puran.a literature.</p> / Master of Arts (MA)

<p>Pages 22 and 156 have no text in the original hard copy other than the title at the top and the page number.</p> / <p>This dissertation undertakes an analysis of the two concluding books of the Sanskrit <em>Mahābhārata</em> or "Great Epic of India." Although the <em>Mahābhārata</em> is traditionally understood as a <em>smrti</em> or "remembered" work in contradistinction to the Vedic corpus of "heard" (<em>śruti</em>) scripture, I argue in this thesis that we can best understand the content and configuration of the<em> Māhābhārata</em>'s two final books by reading them against a background of Vedic ritual and myth. Adopting this hermeneutical approach, I treat the two key narrative issues which we find developed at the <em>Mahābhārata'</em>s conclusion: the manner in which the poem's principal characters die (chapters two and three of the thesis), and the account of their afterlife fates (chapter four of the thesis). In chapter two I argue that a Vedic ritual called the<em> yātsattra</em> helped to shape the substance and sequence of the narrative account of the epic heroes' deaths. In chapter three I pursue this issue further, arguing that, as elsewhere in the<em> Mahābhārata,</em> the <em>yātsuttra</em> in Books 17 and 18 is tied to the later ritual institution of circumambulatory pilgrimage or <em>tīrthayātrā</em>, a rite also figuring in the account of the characters' deaths. In treating the second narrative issue in chapter four, I examine the backdrop of Vedic myth which underlies the narrative of the entire <em>Mahābhārata</em>, and which is restated at the conclusion of the poem. As in chapters two and three, I argue that in order to understand the <em>Muhābhāratu</em>'s final scenes, we must appreciate the extent to which the poem has been fashioned against the paradigm of the Veda and its ritual and mythic world.</p> / Doctor of Philosophy (PhD)

The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening. / Master of Fine Arts / The process of decomposition can be used as a method for disrupting the knowing subject, thus creating space for the awareness of unnoticed ideologies and beliefs. The body of work presented in this thesis intends to point towards, symbolically represent, and alchemically initiate a process of dissolution. It arises from an intention to negotiate psychospiritual suffering, by transmuting impulses of self destruction and violence into ceremonial and ritual processes. This work incorporates various methods into its scope, including video, performance, sculpture, painting, and gardening.