This dissertation explores entanglements of body, national identity and nature in contemporary Mongolia. The project is situated within the rising popularity of natural remedies and alternative medicine during a time described as disorganized (zambaraagui) and disorderly. Data was collected from 33 months of fieldwork in Ulaanbaatar and elsewhere, focused on non-biomedical practices and therapeutic landscapes, especially medicinal springs (arshaan) and their sanatoria. This work contributes to studies of post-socialist Mongolia in a few ways. The methodological decision to engage in interview and participant observation of fortunetellers (üzmerch), practitioners of Buddhist and traditional medicine (otoch, ardiin emch), astrologists (zurhaich), energy healers (bio energich), shamans (böö, zairan, udgan), enlightened lamas (huvilgaan) and massage therapists (bariach) was driven by the fluid approach with which patients approach fulfilling the needs of their health and wellbeing. Such fluidity was also echoed in healing practice; as opposed to bounded by strict conceptual distinctions, healers re-purposed personally and culturally-familiar techniques, ranging from biomedical to those of Buddhist medicine (sowa rigpa) to occult practices. Many of the same techniques were practiced by a range of practitioners. The term orthopraxy, commonality of practice across conceptual difference, is used to address this phenomena. Such pairing together of different kinds of therapies – biomedical or otherwise – calls into question a “traditional” vs. modern or neo-spiritual framework within which such practices are often cast. I employ Robbin’s anthropology of discontinuity (2003), suggesting that Soviet influences represented “hard” cultural forms that provided a partial rupture in cultural knowledge between pre-revolutionary society and 1990. Nature (baigal) and natural surroundings (baigal orchin) were concepts often raised when discussing health and wellbeing. “Spiritual” earth and mountain masters (gazariin/uuliin ezed) of estranged homelands (nutag) that cause illness in families relocated to Ulaanbaatar; the water, flora, and mutton from one’s homeland as especially medicinally-suited to the body; shamans empowered to heal by appropriating into their practices the worship of nationally-significant mountains: territorialized national identity represented a prominent trend in healing practices. The revering of a nation through natural landmarks I call national nature, and suggest it be seen both with respect to romantic and utilitarian conceptions of a therapeutic nature that underpinned Soviet medicine, and Soviet indigenization campaigns and the ethnonationalism that was encouraged to flourish in borderland republics. Affective rooting to natural landmarks to maintain or restore wellbeing was also a way to enact Mongol-ness, rendering healing the body at once a practice of national subject-making.

Made available in DSpace on 2016-04-25T19:20:55Z (GMT). No. of bitstreams: 1 Julia Signer e Cruz.pdf: 940902 bytes, checksum: 08ea98e2b16c5857fa67dab7a4a23bab (MD5) Previous issue date: 2008-09-15 / This paper has as purpose to observe the psychological effects of the rigpa´s (clear light) experience among some Tibetan Buddhist practioners. As I didn t find academic researches with this object, this paper came to fullfill this fault. We use as theoretical base the Jung s psychology and the philosophy of Ati and Anutara Yogas of Tibetan Buddhism. Twenty two practioners, ages between 23 and 71 years old of both sexes were interviewed. The results allows us to conclude that rigpa s experience make possible to realize the human existence in a more open way where the Consciousness is fixed in a place deeper than the ego, what may produce a existential experience of union with the universe, a natural feeling of joy, freedom and well being, a body relaxation and a sense of mental openness with a spontaneously sense of natural wisdom / Esta dissertação tem como objetivo observar os efeitos psicológicos da experiência de rigpa (clara luz) entre praticantes do Budismo Tibetano. Como não foram encontradas pesquisas acadêmicas que enfoquem esse objeto, o presente estudo visa suprir essa carência. Como base teórica usamos a psicologia junguiana e a filosofia das yogas Ati e Anutara do Budismo Tibetano. Realizou-se uma pesquisa de campo constituída de entrevistas semi-abertas com 22 praticantes de idades variantes entre 23 e 71 anos, de ambos os sexos. Os resultados revelam que a experiência de rigpa permite conceber a existência humana de maneira mais profunda e sediar a Consciência em um lugar mais profundo do que o eu, o que leva a uma vivência existencial unida a todo o Universo, a um sentimento espontâneo de alegria, liberdade e leveza, a um relaxamento corporal e a uma sensação de abertura mental, com o surgimento espontâneo de uma sabedoria natural

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Popular literature on Tibetan Buddhism often overemphasizes the psychological dimension of the religion's beliefs and practices. This misrepresentative portrayal is largely traceable to the writings of the psychoanalyst C.G. Jung. By employing distinctly psychological terminology and interpretive strategies in his analyses of the Tibetan Book of the Dead and mandala symbolism, Jung helped to establish precedents that were adopted in subsequent analyses of the religion. Imposing a psychological lens on Tibetan Buddhism obscures other essential elements of the tradition, such as cosmology, physiology, and ritualism, thereby silencing the voices of Tibetans in analyses of their own practices. Jung's imposition of his own voice in place of that of Tibetans has commonly been criticized as an act of intellectually imperializing Orientalism that furthers Jung's personal aims of solidifying his system of analytical psychology. This thesis supports and demonstrates the validity of that critique through close analyses of Jung's commentaries on Tibetan Buddhism. However, Jung’s psychoanalytic perspective and qualifying comments found elsewhere in his corpus ultimately contextualize his commentaries and reveal that his writings on Tibetan Buddhism should not be treated as shedding light on the religion. Rather, they offer an additional lens for understanding analytical psychology. Furthermore, Jung's perspective as a psychoanalyst demonstrates the inherent instability of Orientalist epistemology that attempts to make sense of Eastern cultures on Western terms. Derridean deconstruction of Jung's commentaries reveals that the laws of psychoanalysis subvert those of Orientalism, thus allowing us to undermine the Orientalist episteme in which Jung writes and creates the possibility for appropriating foreign cultural content differently

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

Esta pesquisa integra aspectos do ensinamento budista tibetano no processo de criação cênica, com o objetivo de proporcionar ao ator e o diretor uma ampliação da percepção de si durante o fazer teatral. Para tanto, utiliza a meditação tibetana como prática principal visando possibilitar aos integrantes, através dos seus corpos, um encontro com uma presença plena e as Cinco Sabedorias apresentadas pelos ensinamentos tibetanos. Promove assim, a passividade criadora ressaltada por Jerzy Grotowski. Esta prática é experimentada primeiramente pela própria atriz/pesquisadora e depois compartilhada com um grupo em processo de criação da peça, Canção de Ninar, de Samuel Beckett. O método fenomenológico foi a abordagem utilizada para compreender, na cotidianidade do trabalho, as impressões e relações estabelecidas pelo grupo na experiência desta proposta. / This research integrate aspects of Tibetan Buddhist teaching in the process of scenic creation, with the objective of provide for the actor and the director a enlargement of the person‟s perception by themselves in the theatrical process. For this, uses meditation tibetan as main practice aiming at enble the leading members, through their bodies, a meeting with a full presence and the Five Wisdoms presented by Tibetan teachings. Thus promote the creative passivity underscored by Jerzy Grotowski. This practice is experienced primarily by the actress / researcher and then shared with a group in the process of creating the play, Canção de Ninar, by Samuel Beckett. The phenomenological method was the approach used to understand, in the everyday work, the impressions and relations, established by the group, through this proposal.

In this research, Lua Nazerian examines the conceptualization of three different statements given by leaders of the Bahá'í, Catholic, and Tibetan Buddhist faiths on the topic of world peace. Moreover, through a comparative analysis, each conceptualization was examined in light of the different degrees they agree or contradict each other and whether a coherent contribution could be made to a common concept of world peace. The research was conducted in two stages, first, through the thematic analysis method some major principles and overarching themes specific to each statement and relevant to the concept of world peace were identified, followed by a comparative analysis with the support of two operative questions. Furthermore, as there are multiple challenges with studying the abstract and complex concepts of peace and religious voices, the study was conducted through the lens of the statements rather than through religions to avoid this pitfall. It was found that while determining the overall coherence of each perspective, some common philosophical premises and core understandings of human nature and interconnectedness appeared to cohere. Meanwhile, some fundamental differences arose on the level of theological starting points that affected the overarching approach to world peace as such. However, these differences did not contradict a coherent contribution of a common conceptualization of world peace. Although the findings of this research are in the emerging stages of the evolution of further research, the contribution of its undertaking is of value to the field of religion in peace and conflict studies.

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