This thesis is an analysis and synthesis of the geologic and archaeological history of the Dickie Carr site, 41PR26, on Mill Creek in north central Texas. Included are analyses of the stratigraphy, sedimentary environments, and soils of the locality. A regional comparison is made with respect to the Late Quaternary geology of the upper Trinity River basin, Texas to interpret the geologic data. Two stratigraphic units were identified that record the Pleistocene-Holocene transition. The buried lower unit is comprised of terrace, floodplain, and channel deposits with extensive pedogenesis. The unit is Late Pleistocene in age and contains the remains of Mammuthus columbi. The upper stratigraphic unit is comprised of terrace and floodplain sediments with well-expressed pedogenesis. The unit is Early Holocene in age with Late Paleoindian and Late Archaic occupations. The archaeological components are compared and contrasted with documented sites from the Elm and East Forks of the Trinity River. The occupations are examined in a geoarchaeological context. The Late Paleoindian occupation is post-depositional and located in terrace deposits. The Late Archaic occupation is syndepositional and located in floodplain deposits.

This essay investigates the relationship between trance and various musical and poetic expressions that accompany trance when it is interpreted as sacred. In other words, the aim of this investigation is to interpret how experiences of the entrancing power of the sacred come to expression with the sounds of music and poetry. I articulate such an interpretation through the following four sections: I) a discussion of the basic phenomenological and hermeneutic problems of interpreting what other people experience as sacred phenomena, II) an account of the hermeneutic context within which modern Western discourse interprets trance as madness that perverts the rational limits of the self, III) an interpretation of the expressions of trance that appear in the poetry of William Blake, and IV) an interpretation of expressions of trance that appear in the music of Afro-Atlantic religions (including Vodu in West Africa, Santería in Cuba, and Candomblé in Brazil).