L’ayahuasca est une décoction de plantes originaires de la forêt amazonienne. Elle contient la vigne nommée ayahuasca (Banistereopsis caapi) et un arbuste (Psychotria viridis). Ces plantes contiennent des substances psychoactives. Respectivement il s’agit de l’harmine et de la diméthyle-tryptamine (DMT). Ce mélange est utilisé par plusieurs peuples autochtones du bassin amazonien depuis une époque qui précède la Conquête. L’ayahuasca est utilisée par ces peuples à des fins chamaniques. Au début du 20e siècle, la demande en caoutchouc a engendrée une migration de travailleurs dans ces régions. Un de ces travailleurs d’origine africaine est entré en contact avec cette substance. De croyance chrétienne, il a interprété son expérience comme une rencontre avec le divin. Ceci l’a amené à fonder dans les années 30 une église syncrétique nommée Santo Daime. Depuis, l’utilisation rituelle d’ayahuasca est répandue dans le monde. Aujourd’hui, On retrouve au Québec des groupes faisant un usage rituel d’ayahuasca. Ce mémoire est une ethnographie d’un groupe actif au Québec. Ce groupe a fait l’objet d’observations participantes durant l’été 2010. L’étude a démontré que la participation aux cérémonies d’ayahuasca engendre des prises de conscience et le travail de groupe en permet l’intégration dans le quotidien des participants. De plus, la structure rituelle garanti un usage non abusif. / Ayahuasca is a decoction of mainly two plants from the Amazonian forest. The vine (Banistereopsis caapi) and the shrub (Psychotria viridis) are its components. Both contain psychoactive subsances. They are respectively Harmine and DMT. It has been used long before the Conquest. People in this region use it as a shamanic tool. However, during the early 20th century, rubber industry brought workers in this region. One Christian rubber tapper of African origin founded a syncretic religion based on the use of ayahuasca. The religion is named Santo Daime. Today, the ritual use of ayahuasca has spread over the world. In Québec, there are spiritual groups that ritually use ayahuasca. This is the ethnography of a group active in Québec. The main purpose of this research was to describe this group. The fieldwork took place during the summer of 2010. This research has shown that the ritual use of ayahuasca brings about insights that are integrated in the participant’s life through the group workshop. Moreover, the ritual structure prevents abusive comportments towards this substance.

[pt] A obra do artista Joseph Beuys parece marcada pela idéia de rito, mito e xamanismo; ao menos é o que demonstra a maior parte da bibliografia sobre o artista. Para compreendermos a obra de Beuys, partimos da análise de Cliford Geertz e Victor Turner. O primeiro nos proporciona a aproximação da performance artística com a idéia de rito como um momento de pausa que possibilita uma certa reelaboração do indivíduo, funcionando como um espelho social. Com o segundo, através de sua fase liminar, podemos entender como se rompem os limites do cotidiano, ampliando-os, enfatizando transformações subjetivas em si e no outro. Partindo dessas idéias procuramos observar o modo como o artista colocava em ação os seus pensamentos, utilizando-se para isso de princípios ou estruturas semelhantes aos que podemos notar nos ritos. No rito normalmente é possível perceber a busca por uma reconstrução social da realidade, objetivo este, apontado nas ações do artista, no sentido de romper com os limites da arte e de alcançar uma reestruturação social. / [en] The works of the artist Joseph Beuys seems marked for the idea of rite, myth and shamanism at least is what it demonstrates most of the bibliography on the artist. To understand the works of Beuys, we will break of analisy of Cliford Geertz and Victor Turner. The first one in provides the approach to them of the artistic performance with the rite idea as a pause moment that makes possible a certain rework of the individual, functioning as a social mirror. With the second, through its phase liminary, we can understand as to breach the limits of daily, extending it, emphasizing subjective transformations in itself and the other. Leaving of these ideas we look for to observe the way as the artist placed in action its thoughts, using himself for this of similar principles or structures to that we can notice in the rites. In the rite normally it is possible to perceive the search for a social reconstruction of the reality, objective this, pointed in the actions of the artist, the direction to breach with the limits of the art and to reach a social reorganization.

Made available in DSpace on 2016-04-28T20:38:12Z (GMT). No. of bitstreams: 1 Luciano Diniz de Oliveira.pdf: 827141 bytes, checksum: 5f7f7dc7e129138be6d6b6c69f6f002f (MD5) Previous issue date: 2012-06-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of the present work is to understand the psychological process underlying the initiation of the pajé . This aim was pursued using Analytical Psychology as a theoretical background. The pajé is a figure of central importance within Indian societies and the process of his initiation is looked upon as an important phenomenon as regards Analytical Psychology, because it constitutes a process of conscience transformation. In order to achieve a better understanding of this issue aspects of native cultures as initiation rites and shamanism were analyzed on the basis of Analytical Psychology. An interview of a Kamaiurá pajé , enriched with Analytical Psychology concepts was also utilized / Este trabalho tem como objetivo compreender o ponto de vista psicológico do processo de iniciação do pajé. Para esta compreensão foi utilizado o referencial teórico da Psicologia Analítica. O pajé é uma figura central na dinâmica das sociedades indígenas e seu processo de iniciação é considerado um fenômeno importante para a Psicologia Analítica, uma vez que demonstra um processo de transformação da consciência. Para se compreender essa temática foram discutidos alguns aspectos da Psicologia Analítica no entendimento das culturas nativas assim como nos ritos de passagem e xamanismo. Foi utilizada também uma entrevista concedida por um pajé Kamaiurá, que foi amplificada com conceitos da Psicologia Analítica

Made available in DSpace on 2014-07-29T16:27:51Z (GMT). No. of bitstreams: 1 Dissertacao Vandimar Marques Damas.pdf: 1363068 bytes, checksum: abb34855f1640790d53b08c5f555ebd6 (MD5) Previous issue date: 2011-02-23 / This work is an ethnography of indigenous intercultural degree of UFG, a course which aims to provide higher education for indigenous teachers and teachers already working as such in their villages. Its main focus was to produce a video and a series of photographs in conjunction with indigenous teachers,and from this experience relate ethnographic video with shamanism, witchcraft and cannibalism. To discuss this relationship I insert here two basic concepts that still need development, which are shamanism imagery and cannibal ism imagery, these have been buil twith thread as information obtained during my field work and some ethnographies conducted by other researchers-along-the indigenous peoples who are in Brazil. My main theoret ical references are visual anthropology,theories and concepts of documentary filmmaking,as well as some concepts of ethnology as the Amerindian perspectivism. / Este trabalho é uma etnografia da licenciatura intercultural indígena da UFG, curso que visa fornecer uma formação superior aos professores e professoras indígenas que já atuam como tais em suas aldeias. O seu principal foco foi a produção de um vídeo e uma série de fotografias em conjunto com professores indígenas, e a partir dessa experiência relaciono o vídeo etnográfico com o xamanismo, canibalismo e feitiçaria. Para discutir essa relação insiro aqui dois conceitos básicos, que ainda carecem de desenvolvimento, que são xamanismo imagético e canibalismo imagético, estes foram construídos tendo como fio condutor as informações colhidas durante o meu trabalho de campo e algumas etnografias realizadas - por outros pesquisadores - junto a povos indígenas que estão no Brasil . As minhas principais referências teóricas são a antropologia visual, as teorias e conceitos do cinema documentário, bem como alguns conceitos da etnologia indígena como o perspectivismo ameríndio.

This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.

The present thesis consists of an edition of an Iranian literary work whose theme is a journey to the Other World, namely the Ardāy-Vīrāf Nāma. The version of this work which is here edited and commented on is a prose version in the Zoroastrian Persian language. A discussion about Iranian conceptions of the Other World is also an integrated part of the thesis. The text of the Ardāy-Vīrāf Nāma is edited employing a text critical method by using six manuscripts. The oldest manuscript, which has been used as the base manuscript for editing the text, was written in 896 A.Y. (Yazdgirdī)/1527 A.D. The edited text is also translated into English, and followed by a Commentary on names, unusual words and Zoroastrian terms used in the text. Other Iranian documents about journeys to the Other World are studied in this thesis as well, and all are compared to the Ardāy-Vīrāf Nāma. The Zoroastrian Persian version of this work is also compared to its Parsig version. The differences between the Zoroastrian Persian and the Parsig versions indicate that they have their background in two different world views. To prove this theory, some significant elements in the Zoroastrian Persian version, which demonstrate that this is a pre-Zoroastrian epic narrative, have been compared to some elements in the Parsig version that show that this is a religious Zoroastrian account. Possible reasons for the change in Ardāy-Vīrāf Nāma from a pre-Zoroastrian epic narrative into a Zoroastrian-religious one are also suggested. A king named Davānūs is one of the Ardāy-Vīrāf Nāma personages. In an appendix, the historical personality of Davānūs is discussed with reference to Arabic, Persian and Greek historiography.

This dissertation examines the discursive production of mudang, also known as shamans, during the late Chosŏn Dynasty (eighteenth to nineteenth-centuries) and during the Japanese colonial period in Korea (1910-1945). The many discursive sites on mudang articulated various types of difference, often based on gender and urban/rural divides. This dissertation explores four bodies of work: eighteenth to nineteenth-century neo-Confucian reformist essays, late nineteenth-century western surveys of Korea, early twentieth-century newspapers and journals, and early ethnographic studies. The mudang was used throughout this period to reinforce gendered distinctions, prescribe spatial hierarchies, and promote capitalist modernity. In particular, institutional developments in shamanism studies under colonial rule, coupled with an expanded print media critique against mudang, signalled the needs and desires to pronounce a distinct indigenous identity under foreign rule. Chapter One traces three pre-colonial discursive developments, Russian research on Siberian shamanism under Catherine the Great, neo-Confucian writings on "mudang," and Claude Charles Dallet’s late nineteenth-century survey of Korean indigenous practices. Chapter Two examines the last decade of the nineteenth-century, studying the simultaneous emergence of Isabella Bird Bishop’s expanded discussion on Korean shamanism alongside early Korean newspapers’ social criticisms of mudang. Chapter Three looks at Korean newspapers and journals as the source and product of an urban discourse from 1920-1940. Chapter Four examines the same print media to consider why mudang were contrasted from women as ethical household consumers and scientific homemakers. Chapter Five looks at Ch’oe Nam-sŏn and Yi Nŭng-hwa’s 1927 treatises on Korean shamanism as a celebration of ethnic identity which became a form of intervention in an environment where Korean shamanism was used to justify colonial rule.

L’ayahuasca est une décoction de plantes originaires de la forêt amazonienne. Elle contient la vigne nommée ayahuasca (Banistereopsis caapi) et un arbuste (Psychotria viridis). Ces plantes contiennent des substances psychoactives. Respectivement il s’agit de l’harmine et de la diméthyle-tryptamine (DMT). Ce mélange est utilisé par plusieurs peuples autochtones du bassin amazonien depuis une époque qui précède la Conquête. L’ayahuasca est utilisée par ces peuples à des fins chamaniques. Au début du 20e siècle, la demande en caoutchouc a engendrée une migration de travailleurs dans ces régions. Un de ces travailleurs d’origine africaine est entré en contact avec cette substance. De croyance chrétienne, il a interprété son expérience comme une rencontre avec le divin. Ceci l’a amené à fonder dans les années 30 une église syncrétique nommée Santo Daime. Depuis, l’utilisation rituelle d’ayahuasca est répandue dans le monde. Aujourd’hui, On retrouve au Québec des groupes faisant un usage rituel d’ayahuasca. Ce mémoire est une ethnographie d’un groupe actif au Québec. Ce groupe a fait l’objet d’observations participantes durant l’été 2010. L’étude a démontré que la participation aux cérémonies d’ayahuasca engendre des prises de conscience et le travail de groupe en permet l’intégration dans le quotidien des participants. De plus, la structure rituelle garanti un usage non abusif. / Ayahuasca is a decoction of mainly two plants from the Amazonian forest. The vine (Banistereopsis caapi) and the shrub (Psychotria viridis) are its components. Both contain psychoactive subsances. They are respectively Harmine and DMT. It has been used long before the Conquest. People in this region use it as a shamanic tool. However, during the early 20th century, rubber industry brought workers in this region. One Christian rubber tapper of African origin founded a syncretic religion based on the use of ayahuasca. The religion is named Santo Daime. Today, the ritual use of ayahuasca has spread over the world. In Québec, there are spiritual groups that ritually use ayahuasca. This is the ethnography of a group active in Québec. The main purpose of this research was to describe this group. The fieldwork took place during the summer of 2010. This research has shown that the ritual use of ayahuasca brings about insights that are integrated in the participant’s life through the group workshop. Moreover, the ritual structure prevents abusive comportments towards this substance.

This dissertation examines the discursive production of mudang, also known as shamans, during the late Chosŏn Dynasty (eighteenth to nineteenth-centuries) and during the Japanese colonial period in Korea (1910-1945). The many discursive sites on mudang articulated various types of difference, often based on gender and urban/rural divides. This dissertation explores four bodies of work: eighteenth to nineteenth-century neo-Confucian reformist essays, late nineteenth-century western surveys of Korea, early twentieth-century newspapers and journals, and early ethnographic studies. The mudang was used throughout this period to reinforce gendered distinctions, prescribe spatial hierarchies, and promote capitalist modernity. In particular, institutional developments in shamanism studies under colonial rule, coupled with an expanded print media critique against mudang, signalled the needs and desires to pronounce a distinct indigenous identity under foreign rule. Chapter one traces three pre-colonial discursive developments, Russian research on Siberian shamanism under Catherine the Great, neo-Confucian writings on "mudang," and Claude Charles Dallet’s late nineteenth-century survey of Korean indigenous practices. Chapter Two examines the last decade of the nineteenth-century, studying the simultaneous emergence of Isabella Bird Bishop’s expanded discussion on Korean shamanism alongside early Korean newspapers’ social criticisms of mudang. Chapter Three looks at Korean newspapers and journals as the source and product of an urban discourse from 1920-1940. Chapter Four examines the same print media to consider why mudang were contrasted from women as ethical household consumers and scientific homemakers. Chapter Five looks at Ch’oe Nam-sŏn and Yi Nŭng-hwa’s 1927 treatises on Korean shamanism as a celebration of ethnic identity which became a form of intervention in an environment where Korean shamanism was used to justify colonial rule.