Monetary Effervescence: A Sociological Theory of Religion Applied to Money

This project attempts to answer the question "What holds the construction of money together?" by asserting that it is money's religious nature which provides the moral compulsion for people to use, and continue to uphold, money as a socially constructed concept. This project is primarily descriptive and focuses on the religious nature of money by employing a sociological theory of religion in viewing money as a technical concept. This is an interdisciplinary work between religious studies, economics, and sociology and draws heavily from Emile Durkheim's 'The Elementary Forms of Religious Life' as well as work related to heterodox theories of money developed by Geoffrey Ingham, A. Mitchell Innes, and David Graeber. Two new concepts are developed: the idea of monetary sacrality and monetary effervescence, both of which serve to recharge the religious saliency of money. By developing the concept of monetary sacrality, this project shows how money acts to interpret our economic relations while also obfuscating complex power dynamics in society, making them seem naturally occurring and unchangeable. The project also shows how our contemporary fractional reserve banking system contributes to money's collective effervescence and serves to animate economic acting within a monetary network. The project concludes by outlining multiple implications for religious studies, economics, sociology, and central banking.

Blurring the lines : how Japanese American internment camps re-defined art and religion's relationship

After the Japanese bombed Pearl Harbor during WWII, anyone of Japanese descent living on the West Coast was placed in internment camps scattered throughout the country. Life inside the camps included many different activities to make life as normal as possible. This study will focus on two intersecting day-to-day activities in particular, the practice of religion within the camps, as well as the creation of art. Art created in the camps was influenced by multiple religious traditions. An analysis of artworks created by professional and amateur artists, interviews and an examination of existing scholarship demonstrates that internment camps created a unique environment for the creation of art. The values of internees reflected the seamless coexistence of Christianity, Buddhism and Shinto in internment camp art.