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在东南亚,涉及通灵/萨满的传统仪式是很戏剧化的,因为这些仪式呈现出生动的或者多感官性的理念(比如权力、道德、牺牲和象征性交换)。作者在本文中探讨了蕴含在阿古桑Manobo的神附体仪式中富于想象力的“合理性”。他们这种仪式中的符号学不能用现代的“合理性”理解,因为Manobo仪式属于一个更古老类型的符号体系,这个体系展示的物体是被参与者出于具体的实际目的所操纵的。作者特别谈及阿古桑Manobo仪式以事物的模仿式表达来呈现这些事物在自然宇宙中的关系,这是以现象学的方式来理解社会秩序,其主要关系到两个不同的实体——宇宙与社会。作者认为,阿古桑Manobo的仪式观念来源于模仿思维,仪式本身就像一个不受约束的独立个体,但却能被感知到与自然有着内在的联系。这种想法的证据是:在Manobo双灵和仪式歌曲的概念里,仪式歌曲的演唱是自己和他人关系的mimema。现代的思维蒙蔽了仪式的科学性主张,通灵术/萨满教已经成为难以企及的事。但是,用一种模仿的思维,使歌曲能够体现一种精神,因为自然和自我是同一物质。
In Southeast Asia, traditional rituals involving psychic / shamanicity are dramatic, as these rituals present vivid or multi-sensory ideas (such as power, morals, sacrifices, and symbolic exchange). In this article, the author explores the imaginative “rationality” contained in the ritual of God’s attachment to Aguangsan Manobo. The semiology in their rituals can not be understood with modern “rationality,” because Manobo rituals belong to a more ancient type of symbolism that objects are manipulated by participants for specific practical purposes . In particular, the author refers to the Aguangsan Manobo ritual presenting these things in the natural universe in a mimetic expression of things as a phenomenological way of understanding social order, which is mainly related to two different entities, the Universe and the Universe society. The author believes that Aguangsan Manobo’s ritual concept stems from imitative thinking. The ritual itself is like an unfettered independent individual, but it can be perceived to be intrinsically linked to nature. The proof of this idea is that in the Manobo double spirit and ritual song concept, the ritual song is a mimema of one’s own relationship with others. Modern thinking blinds the ritual scientific claims that psychic / shamanism has become an unmanageable undertaking. However, with a parody of thinking, the song can manifest a spirit, because nature and self are the same substance.