Play Ritual Representation

Includes 159 color images. Baodingshan consists of a monastic complex and two rock-carved areas, Little Buddha Bend and Great Buddha Bend, located in Dazu in western China and dates from the Southern Song period. The complex is fundamentally different from earlier Buddhist rock-carved sites in China in its construction and layout. Foregoing traditional niche-based iconography for large, deeply cut reliefs reaching dimensions as great as eight meters high by twenty meters wide, within Baodingshan's Great Buddha Bend, the carved works flow from one tableau into another. The site contains both texts and images related to the main schools of Buddhist thought. This book presents an integrated analysis of all of the components of Great Buddha Bend within the greater Baodingshan site, something that was lacking in earlier studies. Written to provide guidance to the site for a wide spectrum of readers-specialists and non-specialists alike-it provides a clear explanation of the major iconographic features of the imagery as well as translations of the numerous accompanying carved Buddhist texts. It also presents the basic tenets of Pure Land, Chan [Zen], Huayan and Esoteric Buddhism in order to explain the features of these sects as seen represented in visual as well as textual form at the site. Lastly, with its focus on ritual use and audience reception from the 12th to the 21st century, this study provides a new model for the discussion and evaluation of other religious sites as entities that organically evolve over time. This study also includes new translations of both the inscribed Buddhist texts and secular inscriptions carved at the site dating from the twelfth through the twenty-first centuries-inscriptions left by educated elite, soldiers, and government officials, highlighting regional issues related to continuity and change made visible at Baodingshan.

This book presents unique new insights into the development of human ritual and society through our heritage of play and performance.

Yoruba peoples of southwestern Nigeria conceive of rituals as journeys -- sometimes actual, sometimes virtual. Performed as a parade or a procession, a pilgrimage, a masking display, or possession trance, the journey evokes the reflexive, progressive, transformative experience of ritual participation. Yoruba Ritual is an original and provocative study of these practices. Using a performance paradigm, Margaret Thompson Drewal forges a new theoretical and methodological approach to the study of ritual that is thoroughly grounded in close analysis of the thoughts and actions of the participants. Challenging traditional notions of ritual as rigid, stereotypic, and invariant, Drewal reveals ritual to be progressive, transformative, generative, and reflexive and replete with simultaneity, multifocality, contingency, indeterminacy, and intertextuality. Throughout the book prominence is given to the intentionality of actors as knowledgeable agents who transform ritual itself through play and improvisation. Integral to the narrative are interpolations about performances and their meanings by Kolawole Ositola, a scholar of Yoruba oral tradition, ritual practitioner, diviner, and master performer. Rich descriptions of rituals relating to birth, death, reincarnation, divination, and constructions of gender are rendered all the more vivid by a generous selection of field photos of actual performances.

Historically, canonic studies of ritual have discussed and explained ritual organization, action, and transformation primarily as representations of broader cultural and social orders. In the present, as in the past, less attention is given to the power of ritual to organize and effect transformation through its own dynamics. Breaking with convention, the contributors to this volume were asked to discuss ritual first and foremost in relation to itself, in its own right, and only then in relation to its socio-cultural context. The results attest to the variable capacities of rites to effect transformation through themselves, and to the study of phenomena in their own right as a fertile approach to comprehending ritual dynamics.

How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.

Bringing Ritual to Mind explores the psychological foundations of religious ritual systems. Participants must recall their rituals well enough to ensure a sense of continuity across performances, and those rituals must motivate them to transmit and re-perform them. Most religious rituals the world over exploit either high performance frequency or extraordinary emotional stimulation (but not both) to enhance their recollection (literacy does not affect this). McCauley and Lawson argue that participants' cognitive representations of ritual form explain why. Reviewing a wide range of evidence, they explain religions' evolution.

Whether initiating girls or healing cattle, bringing rain or protesting taxation, many in Africa share a vision of a world where the cultural, symbolic and cosmic categories of 'male' and 'female' serve, through ritual, to both reimagine and transform the world. Those Who Play With Fire introduces recent gender theory to the analysis of African ethnography, exploring the ways in which ideational gender categories permeate African systems of thought and ritual practices. Thus, the book provides a powerful framework with which to evaluate previous ethnographic material on Africa. In addition, Those Who Play With Fire presents a broad range of new case studies - of hunter-gatherers, agriculturalists and pastoralists - revealing the varied and complex ways in which African ideas and ideals of what it means to be 'male' and 'female' broadly inform and give meaning to a wide range of transformative rituals.