具体描述
copied from google books: https://books.google.nl/books?id=EGovxxqEdeMC&hl=zh-CN&source=gbs_ViewAPI&redir_esc=y
Upon the 25th anniversary of his passing, this collection features contributions reflecting the wide application of Victor Turner's thought to cultural performance in the early 21st Century. From anthropology, sociology and religious studies to performance, cultural and media studies, Turner has had a prodigious interdisciplinary impact. The collection of 17 essays demonstrates that, in the face of challenges from poststructuralism and postcolonial studies, Turnerian ideas remain compelling with international scholars located in a range of disciplines illustrating how these ideas have been reanimated, renovated, and repurposed in studies of contemporary cultural performance and experience. Contributions to this collection are grouped in four thematic sections : 'Performing Culture' covering new ritual, drama, media and reflexivity; 'Rites of Passage and Popular Culture' on popular 'transition' rites and popular investment in the ideas of Turner; 'Pilgrimage and Communitas' with contributions covering contemporary manifestations; and, 'Edith Turner' on her role in the Turnerian project. Volume contributors address themes ranging from dark communitas and techno tribalism to liminal sports and the mediatisation of social dramas, from backpacking, shopping and protest pilgrimage to what Barbara Babcock calls the "gynesis" of Victor Turner's work. Applying, critiquing and reworking Turner's cultural processualism, with attention to such diverse themes as performing "sorry business" within the context of settler and indigenous Australian reconciliation, improvised ritual-theatre within a tertiary education context, pilgrimage to the Burning Man Festival in Nevada's Black Rock Desert, and recognition of the critical role of Edith Turner in the development of the Turnerian perspective, this collection demonstrates the broad and evolving appeal of the Turnerian project.
《镜厅中的回响：二十世纪文化研究的新视角》 引言：解码时代脉动 本书深入探究了二十世纪中后期至二十一世纪初，文化研究领域内一系列关键理论的演变与碰撞。我们不再将文化视为一个统一、静止的实体，而是将其视为一个充满张力、不断流动的场域。本书旨在梳理出一条清晰的脉络，勾勒出学者们如何从结构主义的坚固堡垒中走出，转向对实践、身体、空间和媒介的复杂互动进行细致入微的考察。我们将重点关注那些挑战既有二元对立、强调日常经验细微差别的理论进路，这些进路深刻地重塑了我们理解社会意义生产和权力运作的方式。 第一部分：从文本到现场——“意义的物质性”的转向 本部分首先回溯了文化研究早期对文本和符号的中心化解读。然而，随着研究的深入，一股强大的思潮开始质疑纯粹的文本分析是否能完全捕捉到文化现象的“在场性”。我们考察了那些强调文化“在场”（Presence）和“发生”（Happening）的研究者，他们认为意义并非仅仅被编码在媒介中，而是鲜活地在社会互动中被生产和协商的。 我们详细分析了将身体视为关键“文本”的视角。身体不再仅仅是符号的载体，而是权力和意识形态的战场，是实践和记忆的物质载体。这种视角促使研究者将目光投向日常生活中的微小举动、姿态、着装规范和身体的自我管理。我们探讨了“身体政治”在这一时期的具体表现形式，例如对公共空间中身体行为的规范化研究，以及对边缘群体身体体验的重新聚焦。 同时，空间理论的介入为文化研究带来了革命性的变化。城市空间、私密领域、虚拟网络——这些物理和非物理的界限如何塑造了我们的文化体验？本书探讨了文化地理学与文化研究的交汇点，特别是对于“地方感”（Sense of Place）和“空间实践”的深入剖析。我们关注异质性空间（Heterotopia）如何成为抵抗和重塑身份的场所，以及全球化进程中，地方性经验是如何在全球性的叙事中被不断地修正和协商的。 第二部分：实践的褶皱——能动性、技巧与“做文化” 本书的第二部分将核心论点聚焦于“实践”的中心地位。如果说文化是已经被建构好的，那么研究的重点就应该转移到人们“如何”进行文化活动上。我们深入探讨了对消费者行为和日常习惯的细致考察。这些研究不再将受众视为被动的接收者，而是视为积极的参与者和意义的再创作者。 关键在于对“技巧”（Know-how）和“技艺”（Skill）的重新评估。这些看似琐碎的日常操作——如何使用工具、如何与他人交谈、如何布置家居——实际上构成了文化实践的底层逻辑。我们考察了学者们如何通过民族志的方法，深入到特定的文化场景中，记录和分析这些“隐性知识”的运作方式。这涉及到对“品味”的社会学分析，即品味如何作为一种社会区分的机制，通过日常的文化消费和实践被内化和展示。 此外，我们对“能动性”（Agency）的概念进行了批判性反思。在面对强大的结构性约束时，个体和群体展示出怎样的抵抗和创造力？本书展示了，能动性并非是天赋的自由意志，而是在特定历史、物质和权力条件下被反复争取和构建的结果。我们通过对亚文化、流行文化参与者和非正式经济活动的案例研究，揭示了在看似被动的文化接受背后，蕴藏的精妙的策略性移动和意义的重新定位。 第三部分：媒介、拟像与后真实境域 进入后现代语境的文化研究，不可避免地要面对媒介技术的爆炸性发展及其对现实认知的重塑。第三部分着眼于电子媒介、大众传播及其在建构我们对“真实”的理解中所扮演的角色。 我们审视了关于“拟像”（Simulacra）的经典论述，并将其置于数字时代进行再评估。当图像、信息和体验可以被无限复制、编辑和分发时，原始的“实在”的界限变得何其模糊。本书探讨了文化研究者如何应对这种“后真实”（Post-Truth）的现象，特别是在政治宣传、新闻报道和娱乐工业中，叙事和真实性的交织关系。 我们同时关注技术本身如何成为文化的塑造者。媒介理论不再仅仅关注媒介信息的内容，更关注媒介的物质结构、传播的逻辑以及它们如何潜移默化地改变了人类的认知模式和社交结构。从广播到互联网，技术媒介如何创造了新的公共领域、新的社群模式以及新的权力集中点，是本部分重点探讨的问题。我们考察了在媒介景观中，身份是如何被碎片化、重组，并作为一种可供展示和交易的“表演性自我”而存在的。 结论：持续的张力与未来的挑战 本书的总结部分将回顾前述的理论进路所揭示的文化研究的共同特征：对二元对立的解构、对语境和实践的重视，以及对权力如何在细微之处运作的敏感性。文化研究并非提供终极答案，而是培养一种批判性的“视域”，使我们能够警惕那些自以为是、试图将文化“固定”下来的企图。 未来的挑战在于如何整合对物质世界（环境、资源）的考察与对数字文化现象的分析。文化研究必须继续在宏观的结构性分析和微观的日常实践之间保持一种富有成效的张力，不断挖掘在看似寻常的文化现象中所隐藏的复杂性和动态性，从而为理解我们身处的这个不断重塑的社会提供必要的工具和深刻的洞察。本书致力于提供一个理论的框架，用以辨识和分析那些在社会变迁的“镜厅”中回响着的、来自不同视角的文化声音。
作者简介
目录信息
copied from: https://www.jstor.org/stable/j.ctt9qd62m
0. Victor Turner and Contemporary Cultural Performance: An Introduction (pp. 1-38)
Graham St John
Held by Edward Bruner (1993: 332f.) to be the “archetype of the creative spirit in anthropology,” a prolific contributor to the anthropology of ritual, symbols, and performance, Victor Turner died in 1983 at the age of 63. Yet, as countless graduates and scholars maintained interest in the interstices and margins of (post) modern culture, applying and reworking Turner’s cultural processualism in explorations of manifold cultural performances, his legacy continued, and endures still. Inspired by the results of field research conducted with wife Edith Turner on the rituals of the Ndembu of northwestern Zambia, and by the post-African scholarship, cultural anthropologists,...
1.Performing Culture:: Ritual, Drama, and Media
Chapter One Toward a Unified Theory of Cultural Performance: A Reconstructive Introduction to Victor Turner (pp. 41-58)
J Lowell Lewis
As an academic who teaches both in anthropology and in performance studies, I am indebted to the work of Victor Turner which has been central to my thinking about cultural events since the beginning of my postgraduate career. Turner’s influence has been widespread in many disciplines because his ideas were innovative, clearly presented, and generally applicable to many areas of humanistic study. Indeed, this is surely one reason why Richard Schechner saw him as the ideal person with whom to collaborate on the creation of a new academic discipline. This influence has also brought with it criticism, of course, although...
Chapter Two The Ritualization of Performance (Studies) (pp. 59-75)
Ian Maxwell
This essay is about the allure of this fructile chaos Turner described; both the allure that such an intensity of experience holds for participants, and, no less, the allure of that state as a theoretical construct: one that is foundational to the project of performance studies. Inaugurated by the collaboration between Turner and theater director-theorist Richard Schechner, performance studies takes its ideological lead from Turner’s faith, implicit in the layering of maternal images in the passage quoted above, in a fundamental, nascent human goodness. Indeed, Turner’s commitment to a liberatory, salvational, “grace”-ful essence of the deep, fundamental human states predicated...
Chapter Three Performing “Sorry Business”: Reconciliation and Redressive Action (pp. 76-93)
Michael Cohen, Paul Dwyer and Laura Ginters
The phrase “sorry business” carries a number of meanings in Australian English. For speakers of our parents’ generation it may convey an air of resignation.¹ “It’s a sorry business,” one might say while contemplating someone’s misfortune. For Indigenous Australians, on the other hand, the phrase implies an altogether more active engagement with kin and country. When a family member dies, for instance, an Indigenous person will speak of “having sorry business” in the sense of having things to do. The sorrowful event propels you and the rest of your community into a set of mutually binding, ritual obligations, such as...
Chapter Four Liminality in Media Studies: From Everyday Life to Media Events (pp. 94-108)
Mihai Coman
Of all the concepts configured by cultural anthropologists in the analysis of ritual/ceremonial events, one in particular has enjoyed special attention in the analysis of mass media processes:liminality. Inspired by the French ethnologist Arnold van Gennep, Victor Turner coined the term to describe and define the in-between status of initiates during rites of passage. Turner integrated the concept of liminality into a general theory of ritual and its social functions, central elements of which are:
a) In all societies (traditional and modern) rituals control social change: “ritual is by definition associated with social transition” (1977: 77); in other words,...
Chapter Five Social Drama in a Mediatized World: The Racist Murder of Stephen Lawrence (pp. 109-124)
Simon Cottle
Victor Turner’s schema of “social dramas” continues to hold analytical and explanatory promise for understanding public rituals and their complex dynamics and transformative impacts within contemporary societies. This chapter sets out to demonstrate how this is so. Based on recent research into the media’s representations of the racist murder of the black teenager Stephen Lawrence and how through time this became a major “ social drama” raising issues of injustice, identity, and racism in British society and releasing cultural reflexivity and social reform, I argue that Turner’s ideas offer deep insights into the transformative capacities of contemporary rituals.¹ In today’s...
2. Popular Culture and Rites of Passage
Chapter Six Modern Sports: Liminal Ritual or Liminoid Leisure? (pp. 127-148)
Sharon Rowe
Sport is classified by Victor Turner as a liminoid phenomenon, in contrast to a genuinely liminal, or ritual form of cultural performance.¹ Turner names sport in several enumerations of “industrial-liminoid” phenomena, a classification of performative genres that includes the full spectrum of modern art and entertainment.² Not alone among anthropologists in excluding sport from the realm of ritual,³ his exclusion is based on a distinction that becomes unduly arbitrary when analyzed against the phenomenon of modern sport. Indeed, by relying on the very terms he uses to develop his liminal/liminoid distinction, I hope to show that modern sport compares more...
Chapter Seven Trance Tribes and Dance Vibes: Victor Turner and Electronic Dance Music Culture (pp. 149-173)
Graham St John
Does anyone who has experienced the benevolent, expectant, and even millenarian “ vibe” of a dance party not recognize what Turner meant by this statement?¹ Excavating and renovating his ideas, scholars of electronic dance music culture (EDMC)² have indeed begun looking to Turner for insights. While other youth, music, and alternative cultural phenomena—including Deadheads (Sardiello 1994), New Age Travelers (Hetherington 1998, 2000), the Maleny “Fire Event” (Lewis and Dowsey-Magog 1993), ConFest (St John 1997, 2001a) and Burning Man (Gilmore and Van Proyen 2005; Kozinets 2002)—have received illumination via Turnerian thought, EDMC (especially the genre and culture of “trance”)...
Chapter Eight Backpacking as a Contemporary Rite of Passage: Victor Turner and Youth Travel Practices (pp. 174-189)
Amie Matthews
After spending twenty-four hours on a flight from Sydney to London, in November 2001 I touched down in England.¹ I was twenty and it was my firstrealflight, my first overseas experience, and my first time traveling alone. It was 5:30 AM when I arrived at Heathrow, and yet despite the cold, despite the jet lag, all that I was aware of as I hoisted my backpack onto my shoulders was a pervading sense of freedom, of liberation, of a “world-is-youroyster” kind of optimism. As I traipsed my way around the United Kingdom and continental Europe, I was struck...
Chapter Nine Walking to Hill End with Victor Turner: A Theater-Making Immersion Event (pp. 190-208)
Gerard Boland
It begins in November, three months prior to their commencement of study in Bathurst, New South Wales (Australia). The participants have presented themselves for audition and interview in the hope of securing one of thirty places within the BA Communication (Theater/Media) program at Charles Sturt University. In one room, a woman and a man watch the three audition pieces that each of the applicants has prepared. In another room, two men put questions to the applicants. Many of these are of a type that one would expect to be asked, but some them are surprising, insofar as this is an...
3.Contemporary Pilgrimage and Communitas
Chapter Ten Of Ordeals and Operas: Reflexive Ritualizing at the Burning Man Festival (pp. 211-226)
Lee Gilmore
At summer’s end in the Black Rock Desert, over 50,000 revelers seeking an alternative to the ordinary will gather in this remote corner of northwestern Nevada for an eclectic annual celebration of art and fire known as Burning Man. For one week, this temporary community—termed Black Rock City—becomes the fifth largest metropolis in the state of Nevada before fading back into the dust, as all physical traces of this momentary habitation are completely eliminated at the festival’s conclusion. Participants—collectively known as “Burners”—dwell in tents and imaginatively designed shelters laid out along a carefully surveyed system of...
Chapter Eleven “Shopping For a Self”: Pilgrimage, Identity-Formation, and Retail Therapy (pp. 227-241)
Carole M Cusack and Justine Digance
Since the mid nineteenth century Western society has been characterized by rapid change that has significantly affected the understanding of self, society, and religion.¹ Bruce (1998: 23– 32) argues cogently that the process of secularization, whereby “sectors of society and culture are removed from the domination of religious institutions and symbols” (Berger 1967: 107), and the related rise of individualism have altered the religious context of the West by creating a marketplace where adherence or nonadherence depends on personal taste and inclination, rather than family or community allegiance. This is manifested in the declining influence of the Christian churches and...
Chapter Twelve Turner Meets Gandhi: Pilgrimage, Ritual, and the Diffusion of Nonviolent Direct Action (pp. 242-257)
Sean Scalmer
Protests cross national boundaries. Campaigns often gain fresh recruits in foreign lands. Causes are joined, tactics borrowed, symbols recycled, alliances fashioned, and new methods applied. This is a venerable process. The diffusion of collective action extends back several centuries. It shaped the language of “revolution,” the technology of the barricade, and the ferment of 1848. It brought Marxism to Russia and Leninism to the world. In the contemporary period, global diffusion happens with particular frequency and ease (Meyer and Tarrow 1998: 11). Over the last few years, the anticapitalists of Seattle have inspired their comrades in Prague, Genoa, and Melbourne;...
Chapter Thirteen Dramas, Fields, and “Appropriate Education”: The Ritual Process, Contestation, and Communitas for Parents of Special-Needs Children (pp. 258-272)
Margi Nowak
In his bookDramas, Fields, and Metaphors, Victor Turner notes, in agreement with Freud, “that disturbances of the normal and regular often give us greater insight into the normal and regular than does direct study” (1974: 34). He develops this point further, acknowledging the “tragic quality” of the course of events likely to take place in a social drama (which, by definition, is full of disturbances of the normal and regular) where so much pressure bears upon loyalty and obligation. “Conflict,” he says, “seems to bring fundamental aspects of society, normally overlaid by the customs and habits of daily intercourse,...
4. Edith Turner
Chapter Fourteen An Interview with Edith Turner (pp. 275-296)
Matthew Engelke
The following interview is taken from a much longer life history conducted over the course of several months in 1997 as a project sponsored in part by the Historical Archives Program of the Wenner-Gren Foundation for Anthropological Research.¹ The original motivation for that project was to explore the life and writing of Edith Turner, her marriage to Victor Turner, and how the dynamics of gender and marriage affect the production of anthropological work. This interview has been framed to touch brie fly on the issues raised in the longer work. In a few instances, we have found it necessary to...
Chapter Fifteen Woman/women in “the Discourse of Man”: Edie Turner and Victor Turner’s Language of the Feminine (pp. 297-308)
Barbara A Babcock
In 1970, I was a postgraduate fellow in anthropology at the University of Chicago, completing my doctorate there in comparative literature. I’d heard much about Victor Turner’s “Myth, Ritual, and Symbol” seminar, but what I experienced on those Thursday nights was beyond anything I could have imagined. In the first place, it was in his home—something that no other professor at the University of Chicago did in those days. There were Rory and Alex in their pajamas on the stairs, and there was Edie back and forth between the seminar, the kitchen, and putting children to bed. Soon, some...
Chapter Sixteen Faith and Social Science: Contrasting Victor and Edith Turner’s Analyses of Spiritual Realities (pp. 309-323)
Douglas Ezzy
Academics engage in a form of reflexive sequestration of religious experience in which they silence their own religious experiences, and the experiences of those they write about. The social sources of this silencing are not hard to identify. As Edith Turner herself notes, at the time that Victor Turner was working on his PhD in the 1950s “almost everyone in anthropology was a left-leaning atheist” (Engelke 2000: 847, the interview is reproduced in this volume). The successful completion of Turner’s PhD required that he sequester his interests in, and accounts of, religious experience. In other words, an endemic methodological atheism...
Chapter Seventeen Challenging the Boundaries of Experience, Performance, and Consciousness: Edith Turner’s Contributions to the Turnerian Project (pp. 324-337)
Jill Dubisch
In her essay “Works and Wives: On the Sexual Division of Textual Labor,” Barbara Tedlock comments on the fact that “[u]ntil recently, it has been mainly women who have published experiential fieldwork materials. Where husband and wife worked in the same region, it was usually the woman who adopted the narrative mode and the man the expository one” (1995: 267). She goes on to discuss some of the ways in which the wives of anthropological husbands (whether they themselves were trained as anthropologists or not) have contributed to, yet effaced themselves in, their husbands’ research, and, when writing themselves, have...
· · · · · · (收起)
0. Victor Turner and Contemporary Cultural Performance: An Introduction (pp. 1-38)
Graham St John
Held by Edward Bruner (1993: 332f.) to be the “archetype of the creative spirit in anthropology,” a prolific contributor to the anthropology of ritual, symbols, and performance, Victor Turner died in 1983 at the age of 63. Yet, as countless graduates and scholars maintained interest in the interstices and margins of (post) modern culture, applying and reworking Turner’s cultural processualism in explorations of manifold cultural performances, his legacy continued, and endures still. Inspired by the results of field research conducted with wife Edith Turner on the rituals of the Ndembu of northwestern Zambia, and by the post-African scholarship, cultural anthropologists,...
1.Performing Culture:: Ritual, Drama, and Media
Chapter One Toward a Unified Theory of Cultural Performance: A Reconstructive Introduction to Victor Turner (pp. 41-58)
J Lowell Lewis
As an academic who teaches both in anthropology and in performance studies, I am indebted to the work of Victor Turner which has been central to my thinking about cultural events since the beginning of my postgraduate career. Turner’s influence has been widespread in many disciplines because his ideas were innovative, clearly presented, and generally applicable to many areas of humanistic study. Indeed, this is surely one reason why Richard Schechner saw him as the ideal person with whom to collaborate on the creation of a new academic discipline. This influence has also brought with it criticism, of course, although...
Chapter Two The Ritualization of Performance (Studies) (pp. 59-75)
Ian Maxwell
This essay is about the allure of this fructile chaos Turner described; both the allure that such an intensity of experience holds for participants, and, no less, the allure of that state as a theoretical construct: one that is foundational to the project of performance studies. Inaugurated by the collaboration between Turner and theater director-theorist Richard Schechner, performance studies takes its ideological lead from Turner’s faith, implicit in the layering of maternal images in the passage quoted above, in a fundamental, nascent human goodness. Indeed, Turner’s commitment to a liberatory, salvational, “grace”-ful essence of the deep, fundamental human states predicated...
Chapter Three Performing “Sorry Business”: Reconciliation and Redressive Action (pp. 76-93)
Michael Cohen, Paul Dwyer and Laura Ginters
The phrase “sorry business” carries a number of meanings in Australian English. For speakers of our parents’ generation it may convey an air of resignation.¹ “It’s a sorry business,” one might say while contemplating someone’s misfortune. For Indigenous Australians, on the other hand, the phrase implies an altogether more active engagement with kin and country. When a family member dies, for instance, an Indigenous person will speak of “having sorry business” in the sense of having things to do. The sorrowful event propels you and the rest of your community into a set of mutually binding, ritual obligations, such as...
Chapter Four Liminality in Media Studies: From Everyday Life to Media Events (pp. 94-108)
Mihai Coman
Of all the concepts configured by cultural anthropologists in the analysis of ritual/ceremonial events, one in particular has enjoyed special attention in the analysis of mass media processes:liminality. Inspired by the French ethnologist Arnold van Gennep, Victor Turner coined the term to describe and define the in-between status of initiates during rites of passage. Turner integrated the concept of liminality into a general theory of ritual and its social functions, central elements of which are:
a) In all societies (traditional and modern) rituals control social change: “ritual is by definition associated with social transition” (1977: 77); in other words,...
Chapter Five Social Drama in a Mediatized World: The Racist Murder of Stephen Lawrence (pp. 109-124)
Simon Cottle
Victor Turner’s schema of “social dramas” continues to hold analytical and explanatory promise for understanding public rituals and their complex dynamics and transformative impacts within contemporary societies. This chapter sets out to demonstrate how this is so. Based on recent research into the media’s representations of the racist murder of the black teenager Stephen Lawrence and how through time this became a major “ social drama” raising issues of injustice, identity, and racism in British society and releasing cultural reflexivity and social reform, I argue that Turner’s ideas offer deep insights into the transformative capacities of contemporary rituals.¹ In today’s...
2. Popular Culture and Rites of Passage
Chapter Six Modern Sports: Liminal Ritual or Liminoid Leisure? (pp. 127-148)
Sharon Rowe
Sport is classified by Victor Turner as a liminoid phenomenon, in contrast to a genuinely liminal, or ritual form of cultural performance.¹ Turner names sport in several enumerations of “industrial-liminoid” phenomena, a classification of performative genres that includes the full spectrum of modern art and entertainment.² Not alone among anthropologists in excluding sport from the realm of ritual,³ his exclusion is based on a distinction that becomes unduly arbitrary when analyzed against the phenomenon of modern sport. Indeed, by relying on the very terms he uses to develop his liminal/liminoid distinction, I hope to show that modern sport compares more...
Chapter Seven Trance Tribes and Dance Vibes: Victor Turner and Electronic Dance Music Culture (pp. 149-173)
Graham St John
Does anyone who has experienced the benevolent, expectant, and even millenarian “ vibe” of a dance party not recognize what Turner meant by this statement?¹ Excavating and renovating his ideas, scholars of electronic dance music culture (EDMC)² have indeed begun looking to Turner for insights. While other youth, music, and alternative cultural phenomena—including Deadheads (Sardiello 1994), New Age Travelers (Hetherington 1998, 2000), the Maleny “Fire Event” (Lewis and Dowsey-Magog 1993), ConFest (St John 1997, 2001a) and Burning Man (Gilmore and Van Proyen 2005; Kozinets 2002)—have received illumination via Turnerian thought, EDMC (especially the genre and culture of “trance”)...
Chapter Eight Backpacking as a Contemporary Rite of Passage: Victor Turner and Youth Travel Practices (pp. 174-189)
Amie Matthews
After spending twenty-four hours on a flight from Sydney to London, in November 2001 I touched down in England.¹ I was twenty and it was my firstrealflight, my first overseas experience, and my first time traveling alone. It was 5:30 AM when I arrived at Heathrow, and yet despite the cold, despite the jet lag, all that I was aware of as I hoisted my backpack onto my shoulders was a pervading sense of freedom, of liberation, of a “world-is-youroyster” kind of optimism. As I traipsed my way around the United Kingdom and continental Europe, I was struck...
Chapter Nine Walking to Hill End with Victor Turner: A Theater-Making Immersion Event (pp. 190-208)
Gerard Boland
It begins in November, three months prior to their commencement of study in Bathurst, New South Wales (Australia). The participants have presented themselves for audition and interview in the hope of securing one of thirty places within the BA Communication (Theater/Media) program at Charles Sturt University. In one room, a woman and a man watch the three audition pieces that each of the applicants has prepared. In another room, two men put questions to the applicants. Many of these are of a type that one would expect to be asked, but some them are surprising, insofar as this is an...
3.Contemporary Pilgrimage and Communitas
Chapter Ten Of Ordeals and Operas: Reflexive Ritualizing at the Burning Man Festival (pp. 211-226)
Lee Gilmore
At summer’s end in the Black Rock Desert, over 50,000 revelers seeking an alternative to the ordinary will gather in this remote corner of northwestern Nevada for an eclectic annual celebration of art and fire known as Burning Man. For one week, this temporary community—termed Black Rock City—becomes the fifth largest metropolis in the state of Nevada before fading back into the dust, as all physical traces of this momentary habitation are completely eliminated at the festival’s conclusion. Participants—collectively known as “Burners”—dwell in tents and imaginatively designed shelters laid out along a carefully surveyed system of...
Chapter Eleven “Shopping For a Self”: Pilgrimage, Identity-Formation, and Retail Therapy (pp. 227-241)
Carole M Cusack and Justine Digance
Since the mid nineteenth century Western society has been characterized by rapid change that has significantly affected the understanding of self, society, and religion.¹ Bruce (1998: 23– 32) argues cogently that the process of secularization, whereby “sectors of society and culture are removed from the domination of religious institutions and symbols” (Berger 1967: 107), and the related rise of individualism have altered the religious context of the West by creating a marketplace where adherence or nonadherence depends on personal taste and inclination, rather than family or community allegiance. This is manifested in the declining influence of the Christian churches and...
Chapter Twelve Turner Meets Gandhi: Pilgrimage, Ritual, and the Diffusion of Nonviolent Direct Action (pp. 242-257)
Sean Scalmer
Protests cross national boundaries. Campaigns often gain fresh recruits in foreign lands. Causes are joined, tactics borrowed, symbols recycled, alliances fashioned, and new methods applied. This is a venerable process. The diffusion of collective action extends back several centuries. It shaped the language of “revolution,” the technology of the barricade, and the ferment of 1848. It brought Marxism to Russia and Leninism to the world. In the contemporary period, global diffusion happens with particular frequency and ease (Meyer and Tarrow 1998: 11). Over the last few years, the anticapitalists of Seattle have inspired their comrades in Prague, Genoa, and Melbourne;...
Chapter Thirteen Dramas, Fields, and “Appropriate Education”: The Ritual Process, Contestation, and Communitas for Parents of Special-Needs Children (pp. 258-272)
Margi Nowak
In his bookDramas, Fields, and Metaphors, Victor Turner notes, in agreement with Freud, “that disturbances of the normal and regular often give us greater insight into the normal and regular than does direct study” (1974: 34). He develops this point further, acknowledging the “tragic quality” of the course of events likely to take place in a social drama (which, by definition, is full of disturbances of the normal and regular) where so much pressure bears upon loyalty and obligation. “Conflict,” he says, “seems to bring fundamental aspects of society, normally overlaid by the customs and habits of daily intercourse,...
4. Edith Turner
Chapter Fourteen An Interview with Edith Turner (pp. 275-296)
Matthew Engelke
The following interview is taken from a much longer life history conducted over the course of several months in 1997 as a project sponsored in part by the Historical Archives Program of the Wenner-Gren Foundation for Anthropological Research.¹ The original motivation for that project was to explore the life and writing of Edith Turner, her marriage to Victor Turner, and how the dynamics of gender and marriage affect the production of anthropological work. This interview has been framed to touch brie fly on the issues raised in the longer work. In a few instances, we have found it necessary to...
Chapter Fifteen Woman/women in “the Discourse of Man”: Edie Turner and Victor Turner’s Language of the Feminine (pp. 297-308)
Barbara A Babcock
In 1970, I was a postgraduate fellow in anthropology at the University of Chicago, completing my doctorate there in comparative literature. I’d heard much about Victor Turner’s “Myth, Ritual, and Symbol” seminar, but what I experienced on those Thursday nights was beyond anything I could have imagined. In the first place, it was in his home—something that no other professor at the University of Chicago did in those days. There were Rory and Alex in their pajamas on the stairs, and there was Edie back and forth between the seminar, the kitchen, and putting children to bed. Soon, some...
Chapter Sixteen Faith and Social Science: Contrasting Victor and Edith Turner’s Analyses of Spiritual Realities (pp. 309-323)
Douglas Ezzy
Academics engage in a form of reflexive sequestration of religious experience in which they silence their own religious experiences, and the experiences of those they write about. The social sources of this silencing are not hard to identify. As Edith Turner herself notes, at the time that Victor Turner was working on his PhD in the 1950s “almost everyone in anthropology was a left-leaning atheist” (Engelke 2000: 847, the interview is reproduced in this volume). The successful completion of Turner’s PhD required that he sequester his interests in, and accounts of, religious experience. In other words, an endemic methodological atheism...
Chapter Seventeen Challenging the Boundaries of Experience, Performance, and Consciousness: Edith Turner’s Contributions to the Turnerian Project (pp. 324-337)
Jill Dubisch
In her essay “Works and Wives: On the Sexual Division of Textual Labor,” Barbara Tedlock comments on the fact that “[u]ntil recently, it has been mainly women who have published experiential fieldwork materials. Where husband and wife worked in the same region, it was usually the woman who adopted the narrative mode and the man the expository one” (1995: 267). She goes on to discuss some of the ways in which the wives of anthropological husbands (whether they themselves were trained as anthropologists or not) have contributed to, yet effaced themselves in, their husbands’ research, and, when writing themselves, have...
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这本书的文本张力十足，语言风格充满了学者的热情与批判性的反思。作者的遣词造句，既保持了学术的精确性，又不失文学性的韵味，使得阅读过程本身也成了一种享受。我特别喜欢他引用和讨论那些经典人类学家的观点时所展现出的那种既继承又超越的态度。他不是简单地重复前人的理论，而是将它们置于当下的文化情境中进行“再激活”和“再定位”。每一次对既有理论的批判性重估，都让人感受到一种强大的思想活力。这种对思想史的深厚积累和对当代现象的敏锐捕捉的结合，使得这本书的论述充满了生命力。它不仅仅是在记录文化现象，更是在参与一场关于文化本质的持续对话。对于那些渴望在自己研究领域中寻求突破的读者来说，这本书提供的参照系和方法论工具无疑是宝贵的财富。
我发现这本书在处理跨文化案例时的敏感度极高，展现出了一种罕见的全球视野和人文关怀。作者在分析不同地域和不同群体的表演实践时，始终保持着一种克制而尊重的态度，避免了将任何一种文化简化为刻板印象的陷阱。他关注的焦点始终是“意义是如何在互动中协商和被理解的”，这使得他的分析超越了简单的文化比较，上升到了对人类社会互动普遍规律的探索。书中那些生动的田野细节，像是电影镜头一样在我脑海中播放，让我仿佛能听到现场的声音、闻到那种特有的气息。这种对“在场感”的极致追求，极大地增强了理论的说服力。它提醒我们，理论必须扎根于真实的生活经验，脱离了具体的语境，再宏大的理论也只是一纸空文。
这本书的论证逻辑严密得令人惊叹，仿佛一座用思想搭建起来的精妙迷宫，每一步都走得扎实而有力。我尤其欣赏作者在处理复杂概念时的那种游刃有余，他能够娴熟地在宏大的理论框架和微观的案例分析之间自如切换，没有丝毫的突兀感。阅读过程中，我多次停下来，反复咀嚼那些精炼的句子，思考它们背后的深层含义。这不是一本可以囫囵吞枣的书，它要求读者投入百分之百的专注力，去跟上作者思想的脉搏。每当我觉得自己似乎抓住了某个核心观点时，作者总能以更进一步的分析将我带到更高的层次。这种智力上的挑战性，恰恰是我对学术著作最渴望的部分。它不像一些入门读物那样试图简化一切，而是毫不避讳地直面复杂性，并以其强大的分析能力，将这份复杂性梳理得井井有条。读完一个章节，那种智力被充分激发后的酣畅淋漓感，是难以言喻的。
这本书的封面设计本身就给人一种强烈的视觉冲击力，那种大胆的色彩搭配和充满现代感的排版，立刻抓住了我的眼球。我原本对这个主题了解不多，但仅仅是翻阅目录和前言，我就被作者那种深入骨髓的洞察力所折服。他似乎拥有一种魔力，能将那些抽象的文化理论，转化为可以触摸、可以感知的具体场景。读起来，我仿佛不是在看一本学术著作，而是在跟随一位经验丰富的导游，穿梭于不同的文化现场，亲身参与到那些充满活力的表演之中。尤其是他对仪式和日常生活中“表演性”的挖掘，简直是醍醐灌顶。作者的笔触细腻入微，对于那些潜藏在社会互动中的权力关系和意义生成过程的剖析，让我对我们习以为常的社会实践有了全新的认识。那种感觉，就像是突然被赋予了一副能看穿表象的眼镜，所有的社会互动都变得立体而复杂起来。这本书无疑为我打开了一个全新的视角，让我开始重新审视我周围的世界。
对于一个长期关注文化研究领域的学习者而言，这本书的出现无疑是一次及时的“理论补给”。它不仅对既有的研究范式提出了挑战，更重要的是，它提供了一套清晰的、可操作的分析框架，来审视当下这个媒介高度发达、表演无处不在的时代。我感觉作者正在引领我们进入一个“后剧场”或“超现场”的分析领域，在这个领域里，舞台与生活、观众与参与者之间的界限变得前所未有的模糊。这本书的价值，并不仅仅在于它解释了某些现象，更在于它激发了读者去提出更深刻、更复杂的问题。读完之后，我迫不及待地想将书中的某些概念应用于我正在思考的某些当代数字文化现象，这本身就说明了这本书在方法论层面的强大效能和持久影响力。它真正做到了启发而非说教。
