“巫乐”的比较:天人之“路”

发布时间：2018-06-07 03:19

本文选题：巫乐 + 大神—二神　；参考：《民族艺术》2012年03期

【摘要】："巫"及萨满究竟如何上下于神山,蹴就于神树?其通天的神路,隐喻了何样的思维与观念,又蕴含着何样的社会、文化和历史的投影?既然巫文明延续的理由是有形—无形的"在世存有",重要的就不仅是告诉人们存在着另外的一个世界,而是那个世界的模样,如何通过"巫j"而"现声"。如果以"路"作为巫及萨满制度性执仪的比较参数,重新反省其"行路"的诸种展演形态及其谱系,则此比较,不再仅仅依赖交感和顺势的联想,落脚在身份特质的共性上,而包含了文化中"旅程"的差异性。此差异性,提供了"地方性知识";又因其比较,具有了"超越地方性"的学术意义。
[Abstract]:"Witchcraft" and shaman on earth how to go up and down in the Shenshan, overnight in the divine tree? What kind of thinking and idea, and what kind of projection of society, culture and history are contained in its divine path? Since the reason for the continuation of sorcery civilization is the tangible-invisible "living being", what is important is not only to tell people that there is another world, but also to tell people how that world looks and how it can be "heard" through "witchcraft". If "Lu" is taken as the comparative parameter of shaman's institutional apparatus, and the various kinds of exhibition forms and their pedigree of his "journey" are re-examined, then this comparison no longer only depends on the association of sympathetic and homeopathy, but also rests on the commonness of identity characteristics. It contains the difference of "journey" in culture. This difference provides "local knowledge", and because of its comparison, it has the academic significance of "transcending locality".
【作者单位】：上海高校人文社科重点研究基地;上海音乐学院"中国仪式音乐研究中心";上海音乐学院音乐学系;
【基金】：上海高校音乐人类学e-研究院建设计划项目(项目编号:e05011) 国家社科基金艺术学重点项目“仪式音乐的地域与跨地域个案与比较研究”(项目编号09AD004)阶段性成果
【分类号】：J608

【相似文献】