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den här upsatsen kommer att diskutera en helhetssyn som delas av mina informanter vilka arbetar som komplementärmedicinska terapeuter. Dessa terapeuter ser på kroppen ur tre tre olika vinklar. De upplever att människan har en fysisk, en emotionell och en själslig del som behöver ses över under en behandling och jag finner att denna syn på människan delar de med exempelvis shamaner. Jag kommer att jämnföra denna typ av helhetssyn med den västerländska medicinens helhetssyn för att se vad eller om det finns någon skillnad. / This paper will be discussing a holistic approach used by my informants who works as complementary medical therapists. These therapists looks at the body from three different angles. They tell me that the body has a physical. an emotional and a soul level that needs to be looked at during a treatment and I find that this approach is shared with for example shamans. I will be comparing this holistic approach with how the western medicine talks about holistic approach to see what or if there is a difference.

This practice-led thesis explores ways in which to integrate art and material culture studies as a manifestation of philosophy’s process thread. In doing so, its goal is to generate a praxis which is able to come to holistic terms with the fragmenting dualism of subject-object binaries. By seizing my own subjectivity in its representation of this problem, the thesis develops a performance-led practice which seeks to overcome the barriers that its divisive ‘I’ presents to process. This interdisciplinary project is an explicit response to the figure of Friedrich Nietzsche; his bearing helps to constitute its methodology and repertoire as his presence is creatively teased from the pages of his own books. Part One of the thesis discusses how the mimetic aims of artistic representation were harnessed to challenge my own subjectivity’s singular sense of authority. Thereafter, Nietzsche’s pre-modern temperament comes to enable a holistic consideration of the perceptual ambiguity within Jacques Lacan’s geometric model of ‘seeing things’. Part Two engages with representation as a method of making difference for the bridging of subject-object divisions. This occurs as subjective experience and is extended to some inorganic others, producing creative outcomes which aim to access a cosmological principle of affect that is identified with Nietzsche’s thesis of will to power. The third part of this thesis aligns the research aim, of making apparent the oneness of the cosmos, with the shamanic dimensions of some vintage slapstick cinema. In its development, it comes to terms with the subjective gaze and identifies process-led strategies for challenging and changing its outlooks. This provides a background for Part Four, which marks the beginning of my attempts to engage the gaze of other people in processes that procure and ideally affect their perspectives. While the first four parts of the thesis demonstrate the progress of the research project through the deployment of art and its affecting capacities, its final two parts put the work of philosophy into aesthetic effects, and represent artworks that constitute elements of the thesis itself. Part Five evidences my art practice re-engaging with the world through a project which holistically involves the outlooks of subjects, whilst nevertheless challenging their perceptual precepts. Part Six discusses a performative experiment that consolidates and tests the research findings in a potentially affective structure, expressed through Laurence Halprin’s RSVP cycle. Finally, as it reflects on the potential healing capacities of my practical research and the possibilities for ‘doing’ philosophy, the thesis details how an art-making that embraces both visual and material cultures through the eventness of performance might be able to overcome the problematic perceptual divides that limit the progress of process logics.

Mortuary remains within an archaeological context can illuminate the social and political aspects not only of the individual(s) buried, but also of the living who interred them. Although this is so, a consensus has not been reached in regard to the following questions: how can we determine the social identity of the living that interred the dead? What are the implications of the living-dead interaction, and how do mortuary practices alter social memory in order to fit political needs? This thesis constitutes an initial attempt to answer these questions while examining pre-internment mortuary practices, and associated ideologies regarding the afterlife based on data collected during the 2015 field season by members of the Proyecto de Investigación Arqueológica Panquilma (PIAP), under the direction of Dr. Enrique Lopéz-Hurtado, of the Instituto de Estudios de Peruanos Programa de Investigación. This project is centered at the Late Intermediate Period (LIP) to Late Horizon (LH) secondary Ychsma site of Panquilma in the mid-Valley of the Lurín River Valley, Central Coast of Peru. This research aims to determine the time period and significance of a puzzling structure that was excavated at the cemetery’s margin at Panquilma in order to determine the building’s potential role in ancestral veneration practices of the lesser-elites. Upon first glance this structure appeared to have a layout of a household structure but was located near the cemetery, far from the residential center of the site. A wide array and substantial quantities of exotic and/or ritual items such as sheet metal fragments, colorful bird feathers, orpiment, and manuports, as well as Spondylus sp. and Nectandra sp. beads were discovered within this building suggesting non-mundane or non-domestic usages. Was this structure used in the preparation and care of the funerary bundles? Did it house an important figure (e.g., a shaman) in both their life and death? Or did it serve as a workshop for preparing ritual items? In an effort to ascertain the significance of this structure, this thesis examines the aforementioned remains as well as its relative location and the results from portable X-ray Fluorescence (pXRF) analyses of some of the excavated artifacts in order to provide a deeper understanding of mortuary practices at Panquilma and thus the Ychsma’s concept of and interaction with the dead on the Central Coast of Peru. The exact function of this structure cannot be concretely stated, but the diverse lines of evidence present appear to favor the first hypothesis in which this structure functioned as a funerary preparation area, but principally for elite and/or ritually significant bundle(s). This was ascertained due to the numerous exotic and/or ritual artifacts found associated within this Inkaic structure that likely served a ritualistic function in regard to water and agricultural fertility as well as serving as indirect evidence for elite ancestral veneration practices.

The goal of this qualitative study is to evaluate whether shamanism, practiced by koçeks and faqrya (the Yezidi terms for traditional shamanic practitioners), continues as a practice among diasporic Yezidis, and, if so, in what manner. I accomplish this through a series of oral, remote interviews with Yezidis living in Germany. The interview subjects comprise a cross-sectional sample that includes men and women from the three Yezidi castes (Sheikh, Pir, Murid). Through the multiple testimonies these interviews garnered regarding shamanic praxis in the context of Germany, I determine that, in spite of the disruptions of forced migration and geographical distance, the Yezidis' practices of prophecy and healing parallel those described in Tyler Fisher, Nahro Zagros, and Muslih Mustafa's prior research in 2016 in Iraqi Kurdistan, the Yezidi homeland. The continuations of the shamanic tradition in the Yezidi diaspora evince strong connections to its origins in Iraqi Kurdistan, principally maintained through travel and remote communications. These practical factors facilitate ongoing connections and continuities. More importantly and of greater interest is the versatility inherent in the Yezidis' perceptions and practice of shamanism— a versatility that illustrates a broader propensity for adaptation characteristic of the Yezidis' belief system, which has enabled them to survive as a vulnerable ethnoreligious group even when far removed from the principal religious sites of their homeland.

Since their inception, the actual use of nuclear weapons in conflict is extremely limited. There have been only two documented occurrences which were committed exclusively by the United States. By contrast, however, state posturing with nuclear weapons occurs with regularity transcending historical situations, national wealth, military power, or even the actual possession of nuclear weapons. Rationalist arguments that depict nuclear posturing as a means of deterrence appear insufficient given its tendency to unbalance perceptions of equilibrium, and the public nature in which it occurs. Instead, I examine nuclear posturing by the United States during the Cold War as a form of political ritual providing for three distinctive, but complementary functions. First, posturing was a means to create coherence between foreign nuclear policy and domestic civil defense by manipulating symbols of fear. Second, posturing allowed the state to present itself in its new role as a shamanic authority over a new and powerful realm. Finally, posturing allowed for a normalization of the contradictory roles assumed by the state as it upheld its commission to defend the citizenry by means that would most probably destroy them all.

This study examines the literary texts of the Ligurian writer Giuseppe Conte published between 1972 and 2005. In Part One, the reasons are considered which justify this research on Giuseppe Conte. This author is discussed in the context of the literary movements of the second half of the 20th century in Italy, with special reference to his approach to literature, which proposes a modern rewriting of myth. Conte is in fact a co-founder of "Mitomodernismo". "Mitomodernismo" is a literary movement, established in 1994 and currently still active, which aims to revive modern society through a spiritual rebirth promoted by a recovery of basic human values, as these appear within the boundaries already suggested by myth since antiquity. The Mitomodernisti propose an alternative which could assist contemporaries to overcome the obstacles created by modern "maladies", particularly in the West, whether these be socio-cultural, ecological, or religious. Throughout Conte's entire æuvre one clearly perceives this strong desire for rebirth which for the author is concretised in "Fare Anima", that is, a way to reconnecting with the universe, of rising towards the "light". This tension towards rebirth could be compared metaphorically to the quest for the Graal, which involves suffering as a way to redemption. The artist's visionary work is comparable to the extrasensory journey undertaken by the shaman during his trance. For this reason, in Part One of this study the figure of the shaman will also be examined in a socio-cultural context, in order to transfer it better to the literary context. The whole of Part Two is dedicated to an analysis of Conte's æuvre - poetry, novels and also, but only indirectly, essays and articles - in the light of his fundamental themes, which metaphorically turn the writer into a "shaman". The analysis is based on some concepts put forward by the Swiss psycho-analyst Carl Gustav Jung, such as the function and symbolism of myth in literature from a psychoanalytical perspective. RIASSUNTO In questo studio vengono prese in esame le opere dello scrittore ligure Giuseppe Conte, pubblicate dal 1972 al 2005. Nella Parte Prima vengono considerate le ragioni che giustificano questa ricerca su Giuseppe Conte. L'autore viene discusso nel contesto dei movimenti letterari del secondo Novecento in Italia, ed in particolare il suo approccio alla letteratura che propone una riscrittura del mito in chiave moderna. Lo scrittore è infatti uno dei cofondatori del "Mitomodernismo". Il "Mitomodernismo" è un movimento letterario che vide la luce nel 1994 e che è ancora attivo alla data attuale. Esso si prefigge di risanare la società moderna mediante una rinascita spirituale promossa dalla ripresa dei valori umani di base, simili a quelli suggeriti dal mito fin dai tempi antichi. A tutto ciò i Mitomodernisti propongono un'alternativa che aiuti l'uomo contemporaneo a superare gli impedimenti creati da queste "malattie" moderne, particolarmente nell'ambito occidentale, siano queste socioculturali, ecologiche, religiose, o altre. Attraverso tutta l'opera di Conte si percepisce chiaramente questo desiderio di rinascita che per lo scrittore si concretizza nel "Fare Anima", vale a dire in un modo di ricollegarsi al cosmo, di innalzarsi verso la "luce". Questa tensione verso la rinascita può venire metaforicamente comparata alla ricerca del Graal attraverso la sofferenza che redime. L'opera visionaria dell'artista è paragonabile al viaggio extrasensoriale intrapreso dallo sciamano durante la sua trance. Per questo motivo nella Prima Parte di questo studio si esamina la figura dello sciamano anche in ambito socioculturale per poterla poi meglio trasferire in quello letterario. La Parte Seconda è completamente dedicata all'analisi dell'opera contiana - poesie, romanzi e, trasversalmente, i saggi e gli articoli alla luce dei suoi temi portanti, che dello scrittore fanno metaforicamente uno "sciamano". L'analisi viene condotta basandosi su alcuni concetti elaborati dallo psicoanalista svizzero Carl Gustav Jung, quali la funzione ed il simbolismo del mito in letteratura da una prospettiva psicoanalitica. / Classics & Mod Euro Lang / D. Lit. et Phil.

This study examines the literary texts of the Ligurian writer Giuseppe Conte published between 1972 and 2005. In Part One, the reasons are considered which justify this research on Giuseppe Conte. This author is discussed in the context of the literary movements of the second half of the 20th century in Italy, with special reference to his approach to literature, which proposes a modern rewriting of myth. Conte is in fact a co-founder of "Mitomodernismo". "Mitomodernismo" is a literary movement, established in 1994 and currently still active, which aims to revive modern society through a spiritual rebirth promoted by a recovery of basic human values, as these appear within the boundaries already suggested by myth since antiquity. The Mitomodernisti propose an alternative which could assist contemporaries to overcome the obstacles created by modern "maladies", particularly in the West, whether these be socio-cultural, ecological, or religious. Throughout Conte's entire æuvre one clearly perceives this strong desire for rebirth which for the author is concretised in "Fare Anima", that is, a way to reconnecting with the universe, of rising towards the "light". This tension towards rebirth could be compared metaphorically to the quest for the Graal, which involves suffering as a way to redemption. The artist's visionary work is comparable to the extrasensory journey undertaken by the shaman during his trance. For this reason, in Part One of this study the figure of the shaman will also be examined in a socio-cultural context, in order to transfer it better to the literary context. The whole of Part Two is dedicated to an analysis of Conte's æuvre - poetry, novels and also, but only indirectly, essays and articles - in the light of his fundamental themes, which metaphorically turn the writer into a "shaman". The analysis is based on some concepts put forward by the Swiss psycho-analyst Carl Gustav Jung, such as the function and symbolism of myth in literature from a psychoanalytical perspective. RIASSUNTO In questo studio vengono prese in esame le opere dello scrittore ligure Giuseppe Conte, pubblicate dal 1972 al 2005. Nella Parte Prima vengono considerate le ragioni che giustificano questa ricerca su Giuseppe Conte. L'autore viene discusso nel contesto dei movimenti letterari del secondo Novecento in Italia, ed in particolare il suo approccio alla letteratura che propone una riscrittura del mito in chiave moderna. Lo scrittore è infatti uno dei cofondatori del "Mitomodernismo". Il "Mitomodernismo" è un movimento letterario che vide la luce nel 1994 e che è ancora attivo alla data attuale. Esso si prefigge di risanare la società moderna mediante una rinascita spirituale promossa dalla ripresa dei valori umani di base, simili a quelli suggeriti dal mito fin dai tempi antichi. A tutto ciò i Mitomodernisti propongono un'alternativa che aiuti l'uomo contemporaneo a superare gli impedimenti creati da queste "malattie" moderne, particolarmente nell'ambito occidentale, siano queste socioculturali, ecologiche, religiose, o altre. Attraverso tutta l'opera di Conte si percepisce chiaramente questo desiderio di rinascita che per lo scrittore si concretizza nel "Fare Anima", vale a dire in un modo di ricollegarsi al cosmo, di innalzarsi verso la "luce". Questa tensione verso la rinascita può venire metaforicamente comparata alla ricerca del Graal attraverso la sofferenza che redime. L'opera visionaria dell'artista è paragonabile al viaggio extrasensoriale intrapreso dallo sciamano durante la sua trance. Per questo motivo nella Prima Parte di questo studio si esamina la figura dello sciamano anche in ambito socioculturale per poterla poi meglio trasferire in quello letterario. La Parte Seconda è completamente dedicata all'analisi dell'opera contiana - poesie, romanzi e, trasversalmente, i saggi e gli articoli alla luce dei suoi temi portanti, che dello scrittore fanno metaforicamente uno "sciamano". L'analisi viene condotta basandosi su alcuni concetti elaborati dallo psicoanalista svizzero Carl Gustav Jung, quali la funzione ed il simbolismo del mito in letteratura da una prospettiva psicoanalitica. / Classics and Mod Euro Lang / D. Lit. et Phil.

This diploma thesis deals with what one must do in order to become an ayahuasca neo-shaman, or what specific ayahuasca neo-shaman habitus one must acquire in order to be considered a neo-shaman and to be able to perform ayahuasca rituals. For this the author used methods of carnal ethnography and autoetnography. Ayahuasca rituals are embedded in a broader anthropological theory of rites of passage and are examined in the framework of carnal ethnography by the method of observed participation, while semi-structured interviews with neo-shamans are used also. As part of the autoetnography, the author experienced a neo-shaman habitus on himself, which allowed him to easily look into the otherwise non-transferable structure of the neo-shaman habitus. This research has shown that there are three key parts for the ayahuasca neo-shaman habitus, ie the "ecstatic", "didactic" and "material", but their forms are different for each neo-shaman, due to their specific life trajectories. The resulting ritual is then the product of the specific bricolage of each neo-shaman and mixes elements and techniques of different traditions and cultures. Keywords shaman, shamanism, neo-shaman, neo-shamanism, ayahuasca, habitus, carnal ethnography, autoetnography, ritual, rites of passage