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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustration^ appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9235305 The ritual humor of students: Capping at Victoria University, 1 902-1988 Smith, Moira Lorraine, Ph.D. Indiana University, 1992 Copyright ©1992 by Smith, Moira Lorraine. All rights reserved. U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE RITUAL HUMOR OF STUDENTS: CAPPING AT VICTORIA UNIVERSITY, 1902-1988 MOIRA SMITH Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore Indiana University April 1992 Accepted by the Graduate faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. John H. McDowell, Ph.D. Chairperson Bichard Bauman, Ph.D Linda Degh, Ph.D. Gregory A. Schrempp, Ph.D. Beverly J^Stoeltje, Ph.Dy 16 December 1991 (c) 1992 Moira Lorraine Smith ALL RIGHTS RESERVED - iii - In memory of Joe and Elsie Kenyon ACKNOWLEDGEMENTS It is a convention in the rhetoric of academe to speak of the university as a community of scholars and teachers. In my two academic homes, Victoria University and Indiana University, I have had the privilege of working in two places where this ideal is a reality. Without the many and varied contributions of many people and organizations in the United States and New Zealand, this study would not have been possible. I wish to thank the New Zealand-United States Educational Foundation for a Fulbright Travel Grant, the Indiana University Graduate School for two fellowships, and the Indiana University Folklore Institute for graduate assistantship support. This support made my graduate study in folklore possible. In addition, this study was funded in part by the Indiana University Folklore Institute Dorson Dissertation Award. At Victoria University and in Wellington, many people supported my research with enthusiasm, encouragement, and advice. I owe a great debt to my undergraduate advisor, Alex Scobie, who steered me toward folklore study in the beginning. I also wish to thank the faculty and staff of the university Classics Department and German Department for providing copy machines, message services, and tea and conversation. Numerous other people at the university and in Wellington provided essential services, among them Alan Heppleston of the Wellington City Corporation; the staff of the National Library; and the staff in the University Photographer’s office, the University Press Office, and the University Library. Katharine Coleridge, Special Collections Librarian in the Beaglehole Room of the University Library, helped immensely by copying materials for me and providing me with last-minute references. The students at the university were unfailingly excited about my research and extended essential help. I wish to thank the staff and officers of the Victoria University Students’ Association, especially Nigel Mander and Gerard O’Neil, for answering my questions and sharing information on their capping arrangements. David Geary and the cast of Big Mother were more than courteous in letting me play the role of participant- observer. I must also thank Craig Rattray. President of the Weir House Residents’ Association, for giving up his room on a number of afternoons so that I could use the Association files. Above all, this study would not exist without the help of the students, faculty, and former students who submitted to my interviews, often going well out of their way to do so. In addition, many of them also generously provided me with photographs, memorabilia, and recordings relating to capping. I thank them all, not only for the information but also for the support and enthusiasm which they expressed for this project. Thanks to them, my fieldwork experience was a great pleasure. I feel fortunate to have had so many outstanding teachers at Indiana University. Beverly Stoeltje, Gregory Schrempp, Linda Degh, and Richard Bauman have been all that a dissertation candidate could ask for in a committee. My chair, John McDowell, has been a friendly critic, supporter, and when necessary, overseer. This study has benefitted from the thoughtful criticism of these scholars; any errors remaining are entirely my own. Finally, I would like to thank the many friends and colleagues who have seen me through the task of slaying the dissertation dragon. The "Four Fates at the fabulous red brick castle," Ruth Aten, Syd Grant, Camille Rice, and Velma Carmichael, helped smooth the rough passages in steering the bureaucratic course of graduate school. Ron and Frona Powell let me use their printer for much longer than I believe they expected it would take. Les Cleveland, Sean Galvin, Sabina Magliocco, Tony Rimmer, and Brian Sutton-Smith read my earliest attempts and offered useful advice. Inta Carpenter and Mary Beth Stein read early drafts of the dissertation, offered sound criticism, and reassured me that it was not all that bad. Nancy Michael has been a friend, editor, and sounding board throughout the whole process. Finally I thank Jim, who has always been there for me and to remind me that there is more to life than dissertations. ABSTRACT Moira Smith The Ritual Humor of Students: Capping at Victoria University. 1902-1988 Capping is graduation; in New Zealand it consists of both formal ceremonies and a festival of ludic events produced by undergraduates. This study examines capping at one New Zealand university from 1902 to 1988, with detailed examination of the ceremonies themselves, into which students introduced interjections and horseplay; the satirical and frequently outrageous student processions through the city; and the large-scale hoaxes that students perpetrated on members of the public. These activities flourished even though they severely tested public and official tolerance, and were often judged to have gone "over the limit." Since 1970, however, capping has retrenched and become less public because, according to insiders, of a failure of license. Capping raises the problem of how license for festivity, reversal, and ritual humor is achieved in a modem complex society. Using Gregory Bateson’s and Erving Goffman’s concepts of play, license, and framing, I investigate how students obtained and kept license for capping for over eighty years, framing their performances as spontaneous play. At the same time however, a chorus public disapproval, even outrage, was a constant accompaniment to capping. Accounts of conflict in and opponents to festivity are no new thing in the literature on urban festivals. However, concepts of festivity, festive license, and Max Gluckman’s model of ritual reversal all treat antagonism and opposition as extrinsic elements and as indications - viii - of the dysfunction of license. This study revises the model to incoiporate the existence of opposition and negative evaluations as intrinsic ingredients, which in the case of capping were valued by performers as a sign of successful performance. With this revision of the concept of festive license in mind, the retrenchment of capping cannot be attributed to the failure of license. The cause is sought instead in an ideological shift that has occurred throughout the western world since the Second World War. In this shift, the political implications of humorous public performances like capping have been made explicit, rendering ritual humor problematic in a way that exceeds the usual problems of achieving festive license. - ix - TABLE OF CONTENTS Chapter Page 1 Introduction................................................ 1 2 Ritual and Festival ..................................................................................................... 29 3 Town and Gown Down Under: New Zealand Universities ................................ 73 4 Graduation Ceremonies: "Tossing a Chancellor on a Sea of Wit" ........ 101 5 Capping Processions: "Something of Definitely Immoral Flavour" ................ 150 6 Capping Hoaxes: Unbending the M ind ................................................................. 195 7 The Decline and Fall of Capping or Why Politically Correct People
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