治疗戏剧:现代波多黎各的占卜和魔法

Q2 Arts and Humanities Centro Journal Pub Date : 2012-03-22 DOI:10.5860/choice.47-3896
Iris Zavala Martinez
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As she relives the taped interviews and re-creates her fieldwork notes, Romberg treats us to an ongoing process of self-observation and questioning of her own transformative process. For example, she wonders if the time distance from the original experience will affect her perception and attempt to provide \"important ethnographic clues\" of the spiritists' healing dramas, and privileges the reader to relive some of the author's own engaged experiences of the healing dramas and their irrepressible after-effects years later. On one occasion, she found herself mindlessly lighting a candle in memory of one who had passed. Seemingly, she too yearned for a transcendence that eluded erasure while asserting its captivating memory.Moreover, throughout this book of six chapters (and an Introduction and Epilogue), we are treated to a host of anthropological, socio-historical, philosophical, psychoanalytic, literary, and other references that infuse the work with rigor and amplitude, making for very challenging reading. Romberg observes, theorizes, analyzes, deconstructs gestures, actions, meanings. She is variously a scholar, a witness, a participant, an advocate, an accomplice, and a narrator. She intimates that her work was \"a kind of 'gossip style' anthropology\" that narrates and \"entextualizes.... experience-based discourse\" (p. 31). As such, we experience vicariously the relived and reconstructed dramas of her healers, through the \"mimetic memories of a brujo\" (Chapter 1); through the interpretative and theoretical ruminations of embodied, disembodied, healing, premonitory, and her own fieldwork dreams (Chapter 2); through the witnessing of dramatic, multiform sensuously somatized healing rituals that transmute into hypnotic trances (Chapters 3, 4, and 5); and through sojourns into nature, to the different magical spaces that potentiate healing and divination, embracing spiritual energies. The \"gossips\" of Haydee, Mauro, Ken, Basi, among others, reverberate throughout the book, but the added treat of transcribed healing sessions and photographs provide an unparalleled glimpse, if only for a fleeting moment, into the workings of the spiritual world.The dramas that Romberg documents evoke the \"pragmatics of brujeria\" as she strives to illustrate how healing manifests itself in the ritualistic process and how a participant's emotions, body, and self-knowledge are transformed by these magical rituals whether they are spirit-based or \"brujeria.\" She wants to \"illuminate the performative significance of healing rituals and magic works, their embodied nature, and their effectiveness in transforming the emotional, proprioceptive, and (to some extent) physiological states of participants\" (pp. 6-7). She argues that \"the intangibles of magic are manifested by the added dramatic denial of any playful artifice of correspondences, illustrating a form of embodied knowledge and feeling by proxy that connects the body of healers to the spiritual world by means of chains of resemblances and their skillful erasure\" (p. 11). 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Seemingly, she too yearned for a transcendence that eluded erasure while asserting its captivating memory.Moreover, throughout this book of six chapters (and an Introduction and Epilogue), we are treated to a host of anthropological, socio-historical, philosophical, psychoanalytic, literary, and other references that infuse the work with rigor and amplitude, making for very challenging reading. Romberg observes, theorizes, analyzes, deconstructs gestures, actions, meanings. She is variously a scholar, a witness, a participant, an advocate, an accomplice, and a narrator. She intimates that her work was \\\"a kind of 'gossip style' anthropology\\\" that narrates and \\\"entextualizes.... experience-based discourse\\\" (p. 31). As such, we experience vicariously the relived and reconstructed dramas of her healers, through the \\\"mimetic memories of a brujo\\\" (Chapter 1); through the interpretative and theoretical ruminations of embodied, disembodied, healing, premonitory, and her own fieldwork dreams (Chapter 2); through the witnessing of dramatic, multiform sensuously somatized healing rituals that transmute into hypnotic trances (Chapters 3, 4, and 5); and through sojourns into nature, to the different magical spaces that potentiate healing and divination, embracing spiritual energies. The \\\"gossips\\\" of Haydee, Mauro, Ken, Basi, among others, reverberate throughout the book, but the added treat of transcribed healing sessions and photographs provide an unparalleled glimpse, if only for a fleeting moment, into the workings of the spiritual world.The dramas that Romberg documents evoke the \\\"pragmatics of brujeria\\\" as she strives to illustrate how healing manifests itself in the ritualistic process and how a participant's emotions, body, and self-knowledge are transformed by these magical rituals whether they are spirit-based or \\\"brujeria.\\\" She wants to \\\"illuminate the performative significance of healing rituals and magic works, their embodied nature, and their effectiveness in transforming the emotional, proprioceptive, and (to some extent) physiological states of participants\\\" (pp. 6-7). 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引用次数: 8

摘要

《治愈戏剧:现代波多黎各的占卜与魔法》,作者:拉奎尔·罗姆伯格·奥斯汀:德克萨斯大学出版社,2009年295页;30美元[论文]ISBN: 968 -0-292-72350-4评论家:Iris Zavala Martinez,纽约城市大学-波多黎各研究中心这本刺激的书带领我们进入了一段沉思但又奇怪实用的民族志之旅,进入了作者在波多黎各实地工作十年后亲身体验和反思的“占卜和魔法仪式的戏剧”。它穿越了令人难以忘怀的现象学“巫妖的肉体灵性”(第1页),定义为“女巫治疗”,以重新捕捉治疗师和他们的参与者共享的难以捉摸和强烈的体验空间。当她重温录音采访和重新创造她的实地工作笔记时,隆伯格将我们带入了一个持续的自我观察过程,并对她自己的转变过程提出了质疑。例如,她想知道与原始经历的时间距离是否会影响她的感知,并试图提供“重要的民族志线索”,为通灵者的治疗戏剧提供线索,并赋予读者重温作者自己参与治疗戏剧的一些经历及其多年后难以抑制的后遗症的权利。有一次,她无意中点燃了一支蜡烛,纪念一位逝去的人。似乎,她也渴望一种超越,避免抹去,同时坚持其迷人的记忆。此外,在这本六章的书中(还有引言和结语),我们看到了大量人类学、社会历史、哲学、精神分析学、文学和其他方面的参考资料,这些资料给这本书注入了严谨和丰富的内容,使阅读变得非常具有挑战性。Romberg观察、理论化、分析、解构手势、动作和意义。她是学者、证人、参与者、倡导者、共犯和叙述者。她暗示,她的工作是“一种‘八卦风格’的人类学”,叙述和“演绎....”基于经验的话语”(第31页)。因此,我们通过“brujo的模仿记忆”(第1章),间接地体验了她的治疗师的再现和重建的戏剧;通过对具象的、非具象的、治愈的、预兆的和她自己的田野工作梦的解释和理论反思(第二章);通过目睹戏剧性的、多种形式的感官躯体化的治疗仪式,这些仪式转化为催眠状态(第3、4和5章);通过在大自然中逗留,到不同的魔法空间,增强治疗和占卜,拥抱精神能量。海迪(Haydee)、毛罗(Mauro)、肯(Ken)、巴斯(Basi)等人的“八卦”在整本书中回荡,但书中对治疗过程的转录和照片的额外处理,即使只是短暂的瞬间,也提供了对精神世界运作的无与伦比的一瞥。Romberg记录的戏剧唤起了“brujeria的实用主义”,因为她努力说明治疗是如何在仪式过程中表现出来的,以及参与者的情感、身体和自我认识是如何被这些神奇的仪式所改变的,不管它们是基于精神还是“brujeria”。她想要“阐明治疗仪式和魔法作品的表演意义,它们的体现性质,以及它们在改变参与者的情感、本体感受和(某种程度上)生理状态方面的有效性”(第6-7页)。她认为“无形的魔法通过戏剧性地否认任何有趣的通信技巧而表现出来,通过代理说明了一种具体化的知识和感觉形式,通过相似链和他们熟练的擦除将治疗师的身体与精神世界联系起来”(第11页)。从本质上讲,Romberg声称,正是通过这些“话语、身体运动、对物体的操纵和感官上的相似链”,通过这些“痴迷地模仿肉体美学,以其他隐藏的精神世界的表现形式暴露出来”(p. ...)
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Healing Dramas: Divination and Magic in Modern Puerto Rico
Healing Dramas: Divination and Magic in Modern Puerto Rico By Raquel Romberg Austin: University of Texas Press, 2009 295 pages; $30.00 [paper] ISBN: 978-0-292-72350-4 Reviewer: Iris Zavala Martinez, The City University of New York-Center for Puerto Rican StudiesThis stimulating book takes us on a meditative but also curiously pragmatic ethnographic journey into the "drama of divination and magic rituals" as intimately experienced and reflected upon by the author ten years after her fieldwork in Puerto Rico. It traverses through the haunting closeness of the phenomenology of the "corporeal spirituality of brujeria" (p. 1), defined as "witch healing," to recapture the elusive and intense experiential space shared by healers and their participants. As she relives the taped interviews and re-creates her fieldwork notes, Romberg treats us to an ongoing process of self-observation and questioning of her own transformative process. For example, she wonders if the time distance from the original experience will affect her perception and attempt to provide "important ethnographic clues" of the spiritists' healing dramas, and privileges the reader to relive some of the author's own engaged experiences of the healing dramas and their irrepressible after-effects years later. On one occasion, she found herself mindlessly lighting a candle in memory of one who had passed. Seemingly, she too yearned for a transcendence that eluded erasure while asserting its captivating memory.Moreover, throughout this book of six chapters (and an Introduction and Epilogue), we are treated to a host of anthropological, socio-historical, philosophical, psychoanalytic, literary, and other references that infuse the work with rigor and amplitude, making for very challenging reading. Romberg observes, theorizes, analyzes, deconstructs gestures, actions, meanings. She is variously a scholar, a witness, a participant, an advocate, an accomplice, and a narrator. She intimates that her work was "a kind of 'gossip style' anthropology" that narrates and "entextualizes.... experience-based discourse" (p. 31). As such, we experience vicariously the relived and reconstructed dramas of her healers, through the "mimetic memories of a brujo" (Chapter 1); through the interpretative and theoretical ruminations of embodied, disembodied, healing, premonitory, and her own fieldwork dreams (Chapter 2); through the witnessing of dramatic, multiform sensuously somatized healing rituals that transmute into hypnotic trances (Chapters 3, 4, and 5); and through sojourns into nature, to the different magical spaces that potentiate healing and divination, embracing spiritual energies. The "gossips" of Haydee, Mauro, Ken, Basi, among others, reverberate throughout the book, but the added treat of transcribed healing sessions and photographs provide an unparalleled glimpse, if only for a fleeting moment, into the workings of the spiritual world.The dramas that Romberg documents evoke the "pragmatics of brujeria" as she strives to illustrate how healing manifests itself in the ritualistic process and how a participant's emotions, body, and self-knowledge are transformed by these magical rituals whether they are spirit-based or "brujeria." She wants to "illuminate the performative significance of healing rituals and magic works, their embodied nature, and their effectiveness in transforming the emotional, proprioceptive, and (to some extent) physiological states of participants" (pp. 6-7). She argues that "the intangibles of magic are manifested by the added dramatic denial of any playful artifice of correspondences, illustrating a form of embodied knowledge and feeling by proxy that connects the body of healers to the spiritual world by means of chains of resemblances and their skillful erasure" (p. 11). In essence, Romberg alleges that it is through these "chains of resemblances in discourse, body movement, the manipulation of objects, and the senses" and through these "obsessively mimetic corporeal aesthetics, exposed as manifestations of the otherwise concealed world of spirits" (p. …
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Centro Journal
Centro Journal Arts and Humanities-Arts and Humanities (all)
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