梯玛“求子”仪式中的符号化空间——以剪纸“天门”为中心

梯玛仪式“玩菩萨”中的剪纸、绘画使用了大量的形象性符号,包括剪纸天门、天梯、天钱、纸人纸伞、穿衣儿粑粑、神案等,考察其在堂中各自的位置、数量、用色及形式,从艺术形态学和美术人类学的角度出发,结合梯玛自己的解释和在仪式中的具体作用,同时与其他民族民间同类剪纸做比较,对“玩菩萨”仪式中的图像符号做深入的分析。并以“求子”一节为例,分析符号组成空间,符号在特定的空间情境中产生意义,阐明民间神圣符号在组成仪式空间情境中的作用,研究剪纸、绘画等符号在空间情境中意义的转换,体现出民间艺术、民间思维中象征性的特点。     

在创新中繁荣和发展哲学社会科学

哲学社会科学植根于人类社会实践,人类社会的发展变化必然要求哲学社会科学与时俱进。哲学社会科学要发展繁荣,就必须回答时代和社会提出的问题,直面人生,直面社会,勇于创新。理论创新是发展繁荣哲学社会科学的重要关键。在创新中繁荣和发展哲学社会科学是哲学社会科学工作者的神圣使命。     

Fabric that weaves stories: Pua kumbu and contemporary Iban identity construction in Sarawak,Malaysia

This article examines the process of identity construction among the Iban indigenous people of Sarawak in Malaysia through pua kumbu – their sacred and ritual cloth. Although the Ibans are popularly known for their headhunting practices and longhouse dwellings, these cultural practices are in major decline and therefore pua kumbu is brought to the forefront as a significant means of identity construction. By illustrating the meanings, narratives, and ceremonies associated with pua kumbu, this article demonstrates that pua kumbu is not just a piece of sacred or ritual cloth; rather, it has significant meanings in the everyday life of the Ibans. It connects the Ibans with distinctly eternal meanings of their life and cosmology, past histories, and their connections to the physical environment. It thus helps the process of maintaining a boundary and identity construction of the Ibans by distinguishing between ‘us and them’ – the Ibans and others.     

信仰食物：祭品的神性“营养”

基于学界饮食文化意义本身研究的丰硕成果,以宗教人类学的视角对物质文化进程中的食物信仰性进行探究.专就族群赖以生存的基本食物的文化属性详加分析,窥探其在体制性宗教信仰与民族民间宗教信仰文化观念的建构过程中,表现路径之不同和所承载的重要作用.无论是体制性宗教的特殊标志,还是民族民间宗教信仰中以祭品加以改造的方式,都相当程度阐释出信仰食物在与神灵互通实践中的精神营养内涵,以及于此两种文化信仰氛围之下的饮食男女的意义关系.     

美是有神性的——奥古斯丁美学思想新论

作为西方中世纪教父时期美学思想的最大代表,奥古斯丁把上帝当作美的本体,从基督教神学的角度思考美学问题。其关于上帝的美、精神美和物质美的思想为解决古希腊罗马美学中具体的、可变的、有限的美与普遍的、永恒的、无限的美之间的对立提供了崭新的思路;把“美与丑的对立统一、和谐、映衬”的观念引入美学中,给予丑一定的美学地位,从而丰富了西方美学史范畴的内涵。奥古斯丁论述审美经验专注于人的内心世界,这是其美学思想一个不同于古希腊罗马美学的重要之处,在许多方面决定了西方中世纪美学发展的基本方向;强调艺术应该具有形而上的价值,其使命在于歌颂上帝和为宗教神学服务,从而为西方中世纪美学对艺术的地位和作用的理解奠定了基础。     

‘Media Events’ reconsidered: from ritual theory to simulation and performativity

This paper re-examines the long-established notion of ‘media events’ by contrasting and critically appraising three distinct approaches to the question of media events. These are: ritual theory associated with Daniel Dayan and Elihu Katz, secondly, Jean Baudrillard’s approach rooted in his notions of simulation and ‘non-events’ and, finally, the more recent performative approaches to media and mediation. I take Sarah Kember and Joanna Zylinska’s reading of media events presented in Life After New Media (2012) as exemplary of the performative approach. An argument is made that the accounts of media events offered by performative approaches add very little, and, indeed, lack the critical insightfulness of the earlier approaches. Both ritual theory and Baudrillard’s thought are briefly reappraised and, against Nick Couldry, I try to show that these accounts are not characterised by binary and reductive thinking. The major misunderstandings concern the nature of the sacred and profane dualism and the further dualisms developed in Baudrillard’s thought, particularly the figures of implosion and reversibility. Finally, Baudrillard’s position on technology is addressed and the paper concludes with the suggestion that his account is not solely negative, since technological developments are not only at the mercy of ironic reversals they may also enable new rituals of disappearance.     

Everyday tragedy and creation: Translated from the French by Karen Isabel Ocaña

In this essay, Michel Maffesoli exalts the poetry of the everyday, and a way of being that, paradoxically, opens one up to life through rituals that smack of a quest for divine nothingness. ‘Everyday Tragedy and Creation’ traces a series of connections: between Benjamin’s particular form of empirical mysticism and the notion of messianic time, the vitalism of Nietzsche (and tangentially his rediscovery of the Greek notion of tragedy and destiny), that of Bergson with his concept of duration, as well as the sociological hermeneutics of Dilthey. In the course of his discussion, Maffesoli invokes Verlaine, Rimbaud, street theatre and Eliot, and proposes a Zen-like approach to everyday happiness. More generally, Maffesoli rejects the temporality of modernism and drama and celebrates instead the ‘non-time’ of the tragedy of living in the present within a medium of communal images and practices.     

葫芦创世神话及其蕴意解析

洪水神话中的洪水是混沌的象征。葫芦作为主要的避水工具的深层因素,在于它在先民们分隔时节,制定历法的过程中发挥过重要作用。上古的月令系统中肯定包括匏瓜纪时。历法的制定,意味着混沌的被克服和创世的完成,而这样的神圣事业常常要经由神圣中心才得以完成。葫芦神话中大量出现的与山、树等物相关的情节,反映了宇宙山、世界树等作为神圣中心,在葫芦创世神话中存在的客观事实。     

Everyday mobilities and the construction of subjective spiritual geographies in ‘Non-places’

Traditional geographic approaches depict sacred spaces, religion and spirituality as places of stillness and tranquillity, this paper challenges such fixity and instead uses the mobilities lens to analyse the dynamic and fluid nature of contemporary spirituality. It builds on recent work that draws on mobilities and geographies of religion by shifting focus away from the extraordinary journeys of pilgrimage to the ordinary, the mundane and everyday routines and movements; trips for economic, recreational or utilitarian purposes. The findings illustrate the activities that people do when they are on the move that can be related to their personal sense of spirituality and the ways in which religion interweaves in the movements and routines of everyday life and mobilities – from the radio playing in the car to the use of meditation. Often, activities became associated with specific parts of the journey and are threaded together to form ‘subjective spiritual geographies’ and significant elements of individual spirituality challenging secular pre-conceptions of mobilities time-spaces and characterisation of ‘non-places’.