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Ann Taves’s argument about “special things” permits religion scholars to analyze secular texts fruitfully. Notably, Ernest Cline’s Ready Player One speculates about humanity’s possible future and how technological advancement could reshape it. Although the narrative assumes an atheistic stance, its central, conceptual tensions are categorically religious. Cline’s imagined cyberworld sensorily immerses users into an alternative kind of space and allows them to inhabit bodies of their own choosing; this represents a kind of transhumanist, utopian impulse similar to shamanism. However, Ready Player One problematizes this created world ontologically and questions whether relationships formed in such a place can be authentically meaningful. Contrasting the book, the film adaptation, and fan fiction illustrates the controversial stakes at play.

This essay reviews the following works: Awukan ka kuxankan zugu Wajmapu mew: Violencias coloniales en Wajmapu. Edited by Enrique Antileo Baeza and others. Temuco: Ediciones Comunidad de Historia Mapuche, 2015. Pp. 331. $20.00 paperback. ISBN: 9789569761003. Thunder Shaman: Making History with Mapuche Spirits in Chile and Patagonia. By Ana Mariella Bacigalupo. Austin: University of Texas Press, 2016. Pp. ix + 275. $ 26.95 paperback. ISBN: 9781477308981. The Mapuche in Modern Chile: A Cultural History. By Joanna Crow. Gainesville: University Press of Florida, 2013. Pp. ix + 281. $74.95 hardcover. ISBN: 9780813044286. Ta in fijke xipa rakizuameluwun: Historia, colonialismo y resistencia desde el pais Mapuche. Edited by Hector Nahuelpan Moreno and others. Temuco: Ediciones Comunidad de Historia Mapuche, 2013. Pp. 378. $14.60 paperback. ISBN: 9789563533330.

The article is focusing on the Buryat local communities in eastern Mongolia and raises the issue of the role of local communities and local places of worship in building identity at the mesostructural level, which may be considered to be the basic level of identity references. These considerations are based on qualitative research conducted in July and August 2019 in eastern Mongolia in four Buryat local communities. The author tries to show that the use of the category of local communities as a starting point for analyses is a fruitful strategy for placing the studied communities in wider social, cultural and political contexts. The article is an attempt to use the categories related to the notion of local communities to describe Buryat local communities in Mongolia and to show how non-European examples of local communities can enrich sociological reflection on local communities and different types of identities. The title “Horizons of Identity” refers to the achievements of landscape anthropology, which inspired the author in the preparation of this work. W niniejszym artykule skupiam się na buriackich społecznościach lokalnych we wschodniej Mongolii. Poruszam kwestię roli społeczności lokalnych i lokalnych miejsc kultu dla budowania tożsamości na poziomie mezostrukturalnym, który można uznać za podstawowy poziom odniesień tożsamościowych. Podstawą niniejszych rozważań są badania o charakterze jakościowym przeprowadzone w lipcu i sierpniu 2019 r. w mongolskim ajmaku wschodnim w czterech buriackich społecznościach lokalnych. W moich rozważaniach staram się pokazać, że zastosowanie kategorii społeczności lokalnych jako punktu wyjścia analiz jest owocną strategią w przypadku analiz umiejscawiających badane społeczności w szerszych kontekstach społecznych, kulturowych i politycznych. Artykuł jest próbą zastosowania kategorii związanych z pojęciem społeczności lokalnych do opisu buriackich społeczności w Mongolii i wskazania, w jaki sposób pozaeuropejskie przykłady społeczności lokalnych mogą wzbogacić socjologiczną refleksję nad tego rodzaju grupami i różnymi poziomami tożsamości. Tytułowe „horyzonty tożsamości” są nawiązaniem do dorobku antropologii krajobrazu, której perspektywa stała się inspiracją w przygotowaniu tej pracy.

The article presents information about ancestral indigenous ethno-knowledge of the indigenous community Shuar; the data was collected through participatory workshops, interviews and expeditions in order to collect plant species, and identify them in situ, always accompanied by local people considered them with experience and knowledge of their territory, this plants are important in the indigenous population and tourists that visit the community because the ancestral architecture that they have its important for the tourism and design of Malocas or ancestral community tourist houses with low environmental impact and improved the ceremony and the intercultural connection between the shaman who has the ancestral heritage.

If our knowledge of shamanism has been so abidingly partial, so impressively uneven, so deeply varied by history, and so enduringly skeptical for so long, how has its study come to occupy such pride of place in the anthropological canon? One answer comes in a history of social relations where shamans both are cast as translators of the unseen and are themselves sites of anxiety in a very real world, one of encounters across lines of gender, class, and colonial incursions often defined by race. This article contends that as anthropologists have cultivated a long and growing library of shamanic practice, many appear to have found, in a globally diverse range of spirit practitioners, translators across social worlds who are not unlike themselves, suggesting that in the shaman we find a remarkable history of anthropology.

This article describes the manifestation of the ancient religious beliefs of the Uzbek and Kazakh peoples in the traditions and ceremonies of the Tashkent oasis in the twentieth century, ethnic and non-ethnic features and ethnic processes.

The founding of what has become the Society for the Anthropology of Consciousness (SAC) can only be understood properly in the cultural context of its heritage, and the world in which it came to life. The author is the last living founder from an original group that included himself, Professor J. Norman Emerson, and Professor Joseph K. Long at the core, with a somewhat larger group advising. The roots of SAC began during the 1974 annual meetings of the American Anthropology Association in Mexico City, where the idea of the society that became SAC was conceived. This paper is an historical narrative tracing the intellectual lineage of this effort up to the time of SAC's affiliation with the AAA in 1990. It describes the conflicts, schisms, and often wrenching disputes that occurred as the organization struggled to define itself and the balance it wanted between the experiential and the intellectual. The paper also places these events in a larger anthropological context, explaining that a world view which had evolved over decades was breaking down in the 1970s, and describing how painful this process was. The academic birth of SAC, the 1974 Rhine-Swanton Symposium on Parapsychology and Anthropology, AAA Session 703, was only one manifestation of this shift. An even larger vortex of struggle centered on the challenge represented by Carlos Castaneda and his writings. Through a series of best selling books, including the publication of his dissertation for the anthropology department of UCLA, Castaneda, had attacked the way a critical part of anthropology was conducted. The argument in his narrative was that one could not understand the shamanic world view without becoming a shaman. No informant could ever convey this, because so much of it was experiential. And it could not be properly known unless one entered with sincerity into the experience as a participant, not just as an observer. Implicit in this was the worldview that non-technological cultures can be as insightful as their technological counterparts; albeit in different areas of human functioning. Two insights central to this thesis were particularly relevant to SAC: There is an aspect of human consciousness that exists independent of time and space that is susceptible to volitional control; and, there is an interconnection between all life forms which must be understood if the universal impulse humans feel toward the spiritual component of their lives is to properly

Karaca Ahmet Sultan Türbesi, Uşak İli Ulubey İlçesi Karaca Ahmet Köyü’ndedir. Türbe, Gözcü Karaca Ahmet olarak da bilinen, Anadolu pirlerinden Karaca Ahmet Sultan’ın makam türbelerinden biridir. Altıgen planlı türbe, sekizgen kasnaklı bir kubbe ile örtülüdür. Türbenin giriş kapısı üzerinde bir hayat ağacının iki yanına ayna usulü simetrik olarak yerleştirilmiş iki tavus kuşu figürü işlenmiştir. Antik çağdan günümüze kadar olan süreçte, pek çok kültürde, kuş, simgesel bir figürdür. Bazen öleni öteki dünyaya taşımış, bazen ona eşlik etmiş ya da ölenin ruhu kuşa dönüşmüştür. ruhu kuşa dönüşmüştür. Kuş figürü edebiyat başta olmak üzere çeşitli sanat dallarının bezeme repertuarında sevilerek kullanılan bir motif olmuştur. Bu çalışmada Karaca Ahmet Sultan Türbesi’nde yer alan tavus kuşu motifi ele alınarak, Türk kültüründeki ve ikonografisindeki yeri değerlendirilmekte; söz konusu motifin köken ve ikonografik anlamı üzerinde durulmaktadır. Avrasya hayvan üslubunda şaman ve astrolojik sembollere dayanan insan veya hayvan figürlü sanatlar yüzyıllardan bu yana varlığını sürdüre gelmiş olup, Anadolu’nun farklı bölgelerinde karşımıza çıkmaktadır. Bu geleneğe bağlı figürlü örnekler sivil mimaride çok sayıda görülürken, dini mimaride nadiren ama anlamlı bir şekilde karşımıza çıkarlar. Türbe, ayrıca Karaca Ahmet’in şifacı kimliğine-hekimliğine ithafen çeşitli ritüellerin gerçekleştirildiği bir ziyaret merkezidir. Türbede gerçekleştirilen dedeye bağlanma uygulamalarının, taşıdığı unsurlar sebebiyle İslam öncesi Orta Asya Türk inançlarına dayandığı görülmektedir. Türbeye yapılan ziyaret ve çocuk sahibi olma konusunda beklenen yardım, bu uygulama ve inanışın atalar kültünün bir devamı olduğunu göstermektedir. Ayrıca gerçekleştirilen işlemler sırasında karşımıza çıkan el taşı, tomruk, sandukanın üzerinden alınan tülbent, dilek taşı gibi nesnelerin benzer kullanımları, İslam öncesi Türk uygulamalarında da görülmektedir. Türbede gerçekleştirilen uygulamalar sırasında okunan sure ve dualar ile kılınan namaz, geleneksel Türk dini ve İslam öncesi Türk inanışlarına dayalı uygulamalara, İslami bir karakter kazandırıldığını ve bu şekilde uygulamaların günümüze kadar devam ettirildiğini göstermektedir. Türbedeki bu liturjik objeler ve tavus kuşu motifi hem Karaca Ahmet’in görsel yadigarları hem de iyileştirici ve koruyucu özelliğe sahip güçlü araçlar olarak işlev görmektedir. Bu özellikleriyle de gerek psikosomatik gerek Batıni düzeyde, türbeyi ziyaret eden kişinin manevi gelişimine katkıda bulunuyor ve kutsalın alanıyla temas kurma arzusuna da yardımcı oluyordu. Anahtar Kelimeler: Uşak, Türbe, Karaca Ahmet Sultan, Tavus Kuşu, Bezeme.

This research aims to find the function and symbolic meaning of Pakarena Dance in Bugis Makassar society which is the dance movements represented the principal life. The research was conducted in South Sulawesi, Makassar. The data were collected from Library Research. The researcher used descriptive qualitative methods. The research showed the four functions of Pakarena Dance; (1) King's accompaniment (2) The means of Da'wah through its movements (3) The form of Gratitude (4). Entertainment Facilities. And Pakarena Dance has 13 parts symbolic meaning; (1). “Samboritta” (making friends) (2). Jangang leak-leak (rooster crows) (3). Ma'biring kassi(4). Bisei ri lau '(rowing to the east) (5). Angingkamalino (wind without blowing) (6). Anni-anni (spinning yarn) (7). Dalle tabbua (enduring fate patiently) (8). Nigandang (repeatedly) (9) So'nayya (dreaming) (10). Iyolle ', (looking for the truth) (11). Lambassari (disappointment) (12). Leko 'bo'dong(13). Sanro beja '(birth shaman). In this case, sign, idea and object have relation to show the symbolic meaning of Pakarena Dance.

Resumen: Esta exposición intenta comprender las formas culturales de comunicación y fijación mnémica en una narración específica que Davi Kopenawa, chamán Yanomami, expone al antropólogo Bruce Albert, en virtud de los modos de existencia amazónicos, refiriéndose en particular a la intensidad de los espíritus selváticos y a la experiencia chamánica con los mundos espirituales. En el contexto de una extensión vegetal dispersa y sobresaliente, afirmamos una sociabilidad cotidiana en el marco de una “ética respetuosa o amorosa” entre todas las formas de vida, expresada estéticamente en formas significantes y transportadoras de emociones desarrolladas por la cosmología amazónica. Para ello utilizamos las nociones que Aby Warburg emplea en su estudio de la cultura de las imágenes, en tanto curso por el que estas pueden entenderse como organismos vivientes susceptibles a transformación, preservando su propia biología en la trasmisión codificada de la memoria.

This article describes the Nanai shamanic set, combining two images—a dog and a tiger. The Nanai shamanic sculpture is viewed as a phenomenon reflecting both the subjective and the objective reality constructed by traditional cultural practices. Parallels with Siberian and Pacific cultures reveal the significance of the domestic animal and the wild predator for the people of the Lower Amur. Using folkloric and lexical data, findings of field studies, and ethnographic evidence, folk images of the dog and the tiger are reconstructed. Viewing the problem in the context of collective knowledge about the world reveals the archetypical and modified layers in the image’s construction. The idea of the dog, typical of all the peoples of Siberia and the Russian Far East, is that of a draft animal, assistant, sacrifice, and guide to the afterworld. Its image in the Nanai shamanic sculpture was meant to enhance the power of the spirit. It was often combined with the image of the tiger, personifying shaman’s power and the progenitors. The analysis of the terminology relating to the tiger attests to the Southeast Asian roots of its cult. The tiger semantics in the Nanai culture resulted from a blend of Tungus, Paleoasiatic, and Manchu (Chinese) elements. These images were used by shamans not only as assistants in “capturing” spirits and holding them in “detention”, but also as a means of communicating with the world of spirits.

This article examines the role of dance art in the actual lifeways of the Kazakh people. The origin of traditional dance dates back to early times. This study considers early Kazakh dance forms and movements from the perspective of considering dance as the manifestation of human impressions of the surrounding world, in which dance developed syncretically with oral arts and the kuys, aitys and epics of the people. This article discusses the role of arts in the context of various stages of the development of dance culture using the concepts of Kazakh art scholars. In order to identify the real actualities of traditional dance art in the everyday lifeways of the Kazakh people, the authors use the methods of historical and chronological systematization, ranking, comparison, and observation. The article discusses how despite the fact that the shaman's game? ritual was associated primarily with religion, its influence was reflected in the formation of the main movements in the dance art. As is well known, art forms are constantly evolving and undergoing changes in connection with the historical periods of the development of society. From this point of view, traditional dance art (based on simple movements and an integral part of the people’s culture) is constantly developing and evolving. The author's position is that the teaching of Kazakh dance art should be based on the traditions and customs of the people. Dance is the art of expressing a person's mood, reflecting a musical rhythm, and making an impression through various gestures. Dance expresses the beauty and grace inherent in a person, where his or her spiritual state and attitude to life are manifested. Thus, the formation and development of the dance art of various peoples is directly influenced by the characteristic features of their lifeways, traditions and culture. This research has been funded by the Science Committee of the Ministry of Education and Science of the Republic of Kazakhstan (Grant No. AP09260151).

This essay examines the intersections between divination and psychiatry in the context of modern Chinese history. Throughout the 20th century, subsequent political regimes attempted to drive an ontological wedge between psychiatry, which was deemed scientific, and divination, which was deemed superstitious. While the dichotomy between science and superstition remains a powerful ideology today, it belies the use of divination as a psychotherapeutic tool. Occult practices such as fortune telling and shamanism complement the application of technical psychiatric skills by serving a crucial moral and interpersonal function, one that has important implications for the practice of mental healthcare both within and beyond Asia.

This work is a fragment of a book in preparation: Eisejuaz,chaman. Germenes y materiales. It addresses the novel Eisejuaz, by Sara Gallardo, few knowed until a few years ago and a marginal masterpiece that immerses itself in the universe and speech of the Wichi people, through its protagonist, Eisejuaz —imaginary or fictional, but in its origin very real— , whose links with ancient shamanism were not entirely dissociated from the actions of the so-called “Shamans of God”, and above all —through the figure of Santos Aparicio, or “Vicente Aparicio” in the novel—, with the intervention of cebil, the “hallucinogenic” plant.

Notions of visualism and individualism have long been employed to elucidate the contours of Western subjectivity. It is therefore not surprising to find the indigenous Amazonian shamanic brew ayahuasca being adopted by Australian neoshamanic practitioners as a medicine that provides personalized visions delivering unambiguous moral import. While this adoption represents a radically new style of its practice, ayahuasca drinking emerged from indigenous societies characterized by robust forms of individualism and visualism of a different kind. Indigenous approaches to ayahuasca drinking have emphasized synesthetic and socially partible configurations of personhood while entangling the visionary content of inebriation in a morally ambiguous field of everyday life. In this article, we argue that the individual of ayahuasca neoshamanism reproduces European Enlightenment modes of property ownership by integrating visions into the self as inalienable objects of healing. The article illustrates how ayahuasca vision is a marker of divergent forms of individualism among indigenous Amazonian and Australian neoshamanic groups.

A pandemia do coronavírus COVID-19 revelou fragilidades nos sistemas sócio-técnicos modernos. No Sul global, ela tornou visível o projeto político/empresarial que se beneficia de opressões enquanto se esquiva de discursos internacionais de preservação das pessoas e da natureza. Através do entrelaçamento dos conceitos de inversão infraestrutural, dos estudos de infraestrutura, com os conceitos de Omama, Urihi-a, Hutukara e Xawara do xamanismo yanomami, este ensaio busca compreender as conexões político-ecológicas que se tornaram aparentes durante o fenômeno da pandemia no Brasil. O trabalho reconstrói a narrativa da pandemia a partir do mapeamento das relações históricas de opressões que emergiram durante este processo. O texto se encerra com reflexões e apontamentos metodológicos sobre possibilidades de mudança de foco nas práticas de projetos de infraestruturas de informação a partir do pensamento ameríndio.

A pandemia do coronavírus COVID-19 revelou fragilidades nos sistemas sócio-técnicos modernos. No Sul global, ela tornou visível o projeto político/empresarial que se beneficia de opressões enquanto se esquiva de discursos internacionais de preservação das pessoas e da natureza. Através do entrelaçamento dos conceitos de inversão infraestrutural, dos estudos de infraestrutura, com os conceitos de Omama, Urihi-a, Hutukara e Xawara do xamanismo yanomami, este ensaio busca compreender as conexões político-ecológicas que se tornaram aparentes durante o fenômeno da pandemia no Brasil. O trabalho reconstrói a narrativa da pandemia a partir do mapeamento das relações históricas de opressões que emergiram durante este processo. O texto se encerra com reflexões e apontamentos metodológicos sobre possibilidades de mudança de foco nas práticas de projetos de infraestruturas de informação a partir do pensamento ameríndio.

Зооморфные изображения, найденные на значительном пространстве евразийского континента от Восточной Азии, Южной Сибири, Монголии, Тувы, Алтая, Казахстана до Поволжья, Приуралья, Кавказа, Причерноморья и относящиеся к сакской/скифской культурам, обладают как общими типологическими закономерностями, так и собственной спецификой. Как известно, сакский/скифский зооморфный стиль оказал исключительное влияние на культуру народов Центральной Азии, отголоски которого, словно эхо веков, можно проследить в материальной культуре и в настоящее время. В статье рассматриваются вопросы символической репрезентации религиозных представлений и верований на примере зооморфного стиля в искусстве Центральной Азии второй половины — середины I тысячелетия до н. э. В географическом и хронологическом плане анализу подвергаются артефакты и находки, относящиеся к так называемому сакскому периоду (оленные камни и херексуры, элементы конской упряжи, воинского снаряжения, ювелирные украшения и искусство в зооморфном стиле), найденные в Туве, на Алтае, в Семиречье. В методологическом плане данная репрезентация изучается на основе кросс-дисциплинарного подхода, с использованием элементов теории структурного функционализма в теоретической социологии религии (Т. Парсонс), семиотического подхода в культуре (Ю. Лотман) в их соотношении с уровнями развития и религиозными верованиями. Показывается, что в зооморфном стиле могут отражаться (в разной степени) элементы, относящиеся к различным религиозным верованиям, спектр которых широк — солярные культы, культы Неба, культ предков, зооморфные культы, магия, тотемизм, шаманизм. Делается вывод, что зооморфный стиль в искусстве и материальной культуре является синергетической репрезентацией древнейших и базовых религиозных представлений в целом; результатом своеобразной трансформации знака, через информацию и смысл, в символ.

This study interprets Siberian shaman costumes from the perspective of Siberian shamanism’s spiritual culture by combining theoretical and empirical studies. According to the natural environment and language families, the Siberian people are classified into the Altai, Tungus, Ural, and Paleo-Siberian groups. Se Yin’s research classifies the spiritual culture of Siberian shamanism as cosmic, spiritual, and nature view. Eliade’s research has divided Siberian shaman costumes into form, headdress, and ornament. According to the present study, shaman costume form and decoration reflect the Siberian three-tiered cosmic view, such that the shaman’s head, body and feet correspond to the upperworld, middleworld and underworld. In addition, animism, totemism and ancestral worship appear in the shamanism’s spiritual view. For example, the costume’s form shows the totem of each tribe, while the costume accessories reflect animal worship, plant worship and ancestral worship. Finally, shamanism’s nature view mainly manifests through three processes: personification, deification, and ethics. As an intermediary between man and the spirits, shaman use their clothing to reproduce the image of half man and half spirit. The shaman’s costumes are deified and considered to have divine power. For example, the animals represented on the costume help the shaman travel through space. Generally, good animals help a shaman enter the upperworld, while animals that help a shaman enter the underworld are considered evil. Also, the number of hanging accessories represents the shaman’s ability.

Various scholars have suggested that the main function of Korean shamanic rituals is the change of the participants’ feelings. I elaborate what these scholars potentially mean by “function”, challenge what I take to be their core claim, and argue that at least in the case of Korean shamanic healing rituals their sponsorship has rather to be explained based on the clients’ ostensible motivational and belief-states. Korean clients sponsor such rituals because they want their beloved ones to be healed and because they believe that the shamanic ritual can potentially accomplish such healing. I underpin this thesis by two representative actual Korean shamanic healing rituals.

Purpose. The purpose of this work is to highlight the complex of Buryats’ traditional ideas about the lark tales. Results. The first section of the work gives a general description of the image of the lark in Buryat culture. The Buryat names of larks contain certain information about these birds (about their habitat, nesting sites, size, ability to sing). The lark, from the point of view of the Buryats, was a harmless bird. Buryats paid attention to some morphological features of the lark, especially its acoustic capabilities (the ability of a male bird to sing for a long time). The second section of the article deals with traditional mythological representations of the Buryats about the lark. This bird had a high semiotic status, in particular, it was recognized as a winged preacher of Buddhist prayer. It was believed that it served the good heavenly forces. Buryats attached importance to the symbolism of the color of the bird’s plumage. It is revealed that they associated the idea of werewolves with the lark. In the mythological representations of the Buryats, this feathered animal reflected the natural rhythms (the arrival of early spring) and the time of day (morning) and was likely associated with the concept of time. In the epic of the Buryats, the interchangeability of images of birds personifying the arrival of spring was characteristic, and it was associated with birds of the order of passerines. The ambiguity of the lark’s characteristics in traditional mythological representations of the Buryats is noted. Conclusion. In traditional mythological representations of the Buryats, the lark had a predominantly positive characteristic. It is attributed to the revered birds, supposedly servants of the good heavenly forces: in Buryat shamans’ epics they assist the mother of gods, while the Buryat-Buddhists recognize the lark as a bird that prays and sanctifies the water. The symbolism of color, highlighted in the image of this bird, primarily reflected gender division: the white color indicated the male principle, while the gray – female. The idea of shapeshifting is associated with the lark among the Buryats. It was associated with the onset of spring and the time of day (morning). In the image of this feathered bird, the negative connotation in its connection with demonic forces and in the chthonic beginning of the bird is weakly manifested. Some traditional ideas of the Buryats about the lark (for example, as a winged singer of religious hymns) have analogies in the worldview of other peoples, which is explained by their universal character.

The Magical Ironist. On "Shamanic Disease" by Jacek Hugo-Bader The purpose of this paper is to analyze Jacek Hugo-Bader’s novel reportage “Shamanic Disease” ("Szamańska choroba") understood as a blend of reportage and the conventions of magical realism. By utilizing ironic self-creation of the narrator in the reportage, Hugo-Bader’s discussion of belief in terms of problematization and thematization rather than as a fact-finding process through research does not violate the referential pact. The case study is a part of the discussion on both the literary reportage, which boldly combines the elements of journalism with licentia poetica, and on Melchior Wańkowicz’s “extension of the convention” of the reportage genre in Poland. In addition to the categories of realistic fiction and fantastic fiction – understood in the context of non-fiction – this paper will discuss a third element: magical fiction, which will be related to contemporary theories of performative ethnography. Celem artykułu jest analiza "Szamańskiej choroby" Jacka Hugo-Badera, rozpatrywanej jako reportażowa realizacja konwencji realizmu magicznego. Problematyzowanie i tematyzowanie wiary (a nie faktów i prowadzącego do ich poznania researchu) nie powoduje zerwania paktu referencjalnego dzięki ironicznej autokreacji podmiotu reporterskiego. Studium przypadku wpisuje się w dyskusje na temat literackiego reportażu, śmiało łączącego dziennikarskość z licentia poetica, oraz postulowanego przez Melchiora Wańkowicza „poszerzenia konwencji” tego gatunku. Uruchamiane w kontekście literatury faktu kategorie fikcji realistycznej i fikcji fantastycznej uzupełniam o element trzeci: fikcję magiczną, odnosząc się m.in. do współczesnych teorii etnografii performatywnej.

В работе представлена подробная мифоритуальная характеристика крупного рогатого скота у бурят. Источниками для исследования послужили этнографические, фольклорные, лингвистические и полевые материалы. Рассматривается хозяйственное значение данного вида скота в жизни этноса. Приводится бурятская лексика, обозначающая крупный рогатый скот, его морфологические признаки, половые различия и др. Показаны включенность образа быка в традиционные способы счисления времени у бурят, традиция присвоения охранительных имен, омонимичных названиям крупного рогатого скота. Анализируются традиционные мифологические представления бурят об этих животных. Отмечается бытование в прошлом у булагатов, одного из основных этнических подразделений бурят, племенного культа Буха-нойона. По народным воззрениям, бык символизировал Буха-нойона, был связан с идеей оборотничества, выступал символом мужского начала. Освещается космогоническая идея связи быка с разными сферами обитания (небом, землей, водой) и их объектами (небесными светилами, горой), огненной стихией. Показано, что положительная характеристика образов быка и коровы выражалась в суждениях о сверхъестественных свойствах бычьей шерсти и мочи, коровьего молока и плаценты, а также хозяйственных предметов (бычьего ярма, волосяной веревки зэлэ), связанных с этими животными. Вместе с тем крупный рогатый скот соотносили с Нижним миром и его обитателями, он выполнял медиативную функцию, мог нести символику смерти. Детально рассматривается образ крупного рогатого скота в традиционной обрядности бурят.

В работе текст памятника развитого жреческого политеистического культа рассматривается как манифестация ритуальной вербальной практики, сохранившей проявления архаической шаманской сакральной деятельности. Исследование осуществлялось на языковом материале «Ригведы» — корпуса древнейших текстов, генетически восходящих ко времени праиндоевропейского единства и в ряде черт типологически близких евразийскому шаманизму. В фокусе внимания оказывается коммуникативный характер речевой деятельности шамана — наделенного особыми способностями представителя сообщества, который вступает в вербальное взаимодействие с миром духов. Предмет исследования составляют вопросительные речевые акты, которые предстают одним из важных элементов шаманской обрядности. Актуальность исследования обусловлена существенным влиянием шаманизма на становление современной культуры. Достижению цели способствовало решение таких исследовательских задач, как описание и анализ разных типов вопросительных речевых актов «Ригведы», а также выявление их коммуникативных интенций в контексте гимна и связанной с ним ритуальной практики. В работе функциональный анализ вопросительных речевых актов продуктивно дополняется привлечением методов и данных таких дисциплин, как коммуникативистика, прагмалингвистика, история, этнография, религиоведение. Методы лингвистического наблюдения и описания, контекстуального и статистического анализа, фонематические, синтаксические и семантические наблюдения дополнены компаративистским анализом изданного обрядового материала сибирского шаманизма. В работе находит применение и историко-генетический анализ текста «Ригведы». Выявление разных по времени напластований памятника позволяет точнее установить прагматику принадлежащих им вопросов. Автор приходит к выводу о том, что как в шаманской практике, так и в ведийских гимнах вопросы выполняют основные функции коммуникации: сообщение, общение и воздействие. Исследование демонстрирует, что помимо неспецифической прагматики вопросы в ритуальной практике реализуют магико-заклинательную функцию речи. Устанавливаются происхождение и функции вопросов космогонических гимнов. Доказывается их поздний характер и переходное положение от магических вербальных действий к функциям компонента в структуре спекулятивных построений. The subject of the study is interrogative speech acts which appear to be one of the markers of the shamanic ritualism. The research work was carried out on the linguistic data of the Rigveda genetically traced to the times of Proto-Indo-European unity and in the range of traits typologically relevant to the Eurasian shamanism. The author raises the issue if the questions presented in the monuments of developed priestly cult refer to the shamanic verbal practice. The achievement of the outlined objective was provided by solving such research problems as description and analysis of different types of interrogative speech acts of the Rigveda, revealing their communicative intentions in the context of hymns and ritual practice. In the paper the functional analysis of interrogative speech acts is productively complemented with appealing to approaches and data of such scientific disciplines as communication studies, pragmalinguistics, history, ethnography, folklore and religion studies. In addition to the descriptive method as well as the contextual analysis and the statistical technology the author makes use of comparative analysis of the published ceremonial material of shamanism. Historical and genetic analysis of the text of the Rigveda also finds its application in the study. The author elicits that both in shamanic activity and in the Vedic hymns questions fulfil general functions of communication: message, interaction and impact. The paper demonstrates that apart from nonspecific pragmatic the questions in ceremonial practice objectivate the magical and invocatory speech function. Light is thrown upon the genesis and functions of questions of the cosmogonic hymns.

This study attempts to analyze the social and cultural meanings of the ethnic groups to which different types of shamans belong in Siberia from the appearance characteristics in terms of clothing through Roland Barthes’s semiotic theory. The research method here is to analyze three types of shaman costume classified by Holmberg, which are bird-type, deer-type, and bear-type, through theoretical research and to investigate the analysis process of Roland Barthes’s semiotics theory. Roland Barthes’s approach to semiotics presents an analysis model that can explore the sociocultural meaning of the Siberian shaman costume. The research results are as follows. In the first type, to be closer to the god of the upperworld, shamans transform themselves into birds by decorating their costumes with the characteristic elements of birds such as feathers and wings. In the second type, the shamans’ costumes are made of deerskin, and the headdress is shown in the shape of antlers to make it easier to receive messages from the upperworld and run fast in the underworld. In the third type, the shaman’s costume is made of bearskin, the head is covered with bearskin, and the body is decorated with bear pendants. Through the power of the bear, the shaman is sent to the underworld to defeat evil gods and remove diseases. Shamans can show their particularity of being a demigod and non-binary gender through clothing. They use this to reflect their authority as a medium of communication between man and god.

This article is dedicated to the analysis of the multidimensional character of Korkyt – the primal shaman and the creator of the ancient bow instrument kobyz, which for the first time became the object of choreographical representation in a ballet by Damir Urazymbetov “Korkyt’s wanderings”. Combining the healing musical power of the invented kobyz and mysterious and sacral actions of rituals of shaman, Korkyt elevated the art and recognized it at the level of spiritual values of his Tengrian fellow tribesman. Spiritual values play a major role in the Tengrian perception of the world – they express main meaningful objects of the macro and micro universe of the nomads. It’s the three-level Universe divided into Upper World – possession of Tengri (Eternal Blue Sky) and Aruakhs (ancestors’ spirits); Middle world – Zher–Su (Earth–Water); Lower world – home of the dead. Tengri instills order in the Universe maintaining the harmony in the presence of binary oppositions. Shaman Healer is a mediator between the worlds. In the folk fables Korkyt seeks immortality while wandering four parts of the world. In libretto by D. Urazymbetov, the character travels in time – from the Middle Ages to the 21st century establishing a dialogue between cultures of different periods. The author of the article considers it appropriate to view the play from the perspective of M. Bakhtin’s dialogism developed within the concept of the “current” and “created” dialogue of N. Kolyadenko and S. Lysenko. Korkyt’s “Immersion” in another historic and cultural context creates a dialogue between the past and the present allowing to reveal long-standing ethical and aesthetic values untouched by the change of eras. In this combination of archaic and modern elements, category of time becomes key and the author of the article views it from the perspective of time cyclicity in the Tengrian world, from the position of cosmogonic understanding of oneness of the past and the present among nomads as well as from the point of view of differentiation of notions of physical and artistic time in art. The author recognizes the relevance of the play “Korkyt’s wanderings” in attempt to reveal the philosophical meanings of traditional Kazakh culture affecting the artistic culture of the 21st century. These meanings unfold through the combination of synthesized codes of both cultures. The play aims at connecting time periods, since Korkyt is a representative of essential values of the past which haven’t lost its relevance up to this day. Keywords: Korkyt, Korkut, shaman, shamanism, kobyz music, rethinking of the legend, dialogue of cultures, category of time, semantic images of the performance, national ballet, Kazakh ballet.

Introduction. In mythologies of the world, the image of the snake ranks among the most studied characters and has various interpretations. In folklore of Turko-Mongols, it has also been a subject of multiple analyses. Still, the article makes a first attempt at revealing the image of the snake as a taboo sacred character in ritual folklore of the Mongolic peoples. Goals. The paper primarily seeks to identify functions of the snake therein, delineate the symbolic framework, reveal positive and negative connotations. Materials and Methods. The main research method employed is that of comparative analysis instrumental in examining the image of the snake as a semiotic sign. Interdisciplinary analysis of ethnographic and folklore materials, as well as comparisons to Turkic ritual actions, expand the boundaries of identifying the semantics of the image. Results. The snake in shamanic mythology of the Mongolic peoples appears in the hypostasis of the otherworldly Spirit closely associated with the shaman. Images of snakes in cave drawings, petroglyphs, shamanic ongons (sanctuaries), and costumes emphasize their sacred function. In shamanic practice, a snake image can be used as a protective element in the form of a walking-stick or whip. Symbolically, a snake in the form of straps implies a connotation of the animal’s magical abilities. The role of a mediator between worlds allows the snake simultaneously performing the function of a protective force. Functions of the snake in rites are interchangeable and complement each other. Shamanic texts of the Mongolic peoples consistently mention the main function of the snake is that of a carrier between worlds, which is closely related to its transforming abilities. Conclusions. The study resumes the snake in shamanic ritual actions of the Mongolic peoples — with positive connotations — functions as an assistant, intermediary, carrier, and envoy from another world that provides communication between realms. It also reveals patterns of transcoding the snake image in different semiotic systems, interconnectedness and interchangeability of sacral reptile functions.

A proposição do presente texto é abordar a produção da escrita, a constituição do texto como ato coletivo, como expressão de múltiplas vozes. Uma escrita em multidão, cujos sentidos e significados são desenvolvidos a partir de transfigurações de outras vozes, outros ensinamentos, intuídos pela perspectiva ameríndia. Texto-gira, cujas palavras são incorporadas pelos autores-outros que integram a escritura comum desse movimento. Um texto que não se faz sozinho, assim como o xamã, conforme desenhado por Davi Kopenawa, que se desenvolve em-relação-a, tornando-se outro, e que se abre para o saber-do-corpo, dando forma, assim, à carne da vida na escritura do texto.

The article reviews the archetypical nature of the image of the Old Man in Buryat literature, which originates from the character of Buryat-Mongol myths, the White Elder (Sagaan Ubgen). The article aims to reveal the typological properties of the archetype of the Old Man in a key genre for national literature, a novel, involving also dramatic and lyrical epic works. This goal necessitates involving a comparative typological analysis, as well as mythopoetic and comparative-genetic methods used in the study of traditional culture. Their use in literary criticism is important and relevant since the authors try to explain the strengthening of the universal interpretation of man in the art of the 20th century, and the desire of writers to outline ways out of the acute crisis relations between man and the world, man and nature. Earlier in the texts of national culture the socially determined explanation of these relations was sought; but at the present time another interpretation is getting up to date, precisely an interpretation based on the writers’ appeal to the deep layers of mythological thinking, their reliance on universally existent, ontological causes of the crisis phenomena. The analysis of the “sacred / profane” dichotomy which is peculiar to mythological thinking showed that this hero of Buryat literature is committed to search for ancestral memory as for truth; he considers serving his kinship the essence of human existence. The presence of an axiological aspect leads to the universal ontological values inherent in the archetype of the Old Man. The leading method of analysis was comparative-typological, aimed at establishing typological patterns in the field of representation of archetypes in the literature and ensuring specificity in the results obtained. The usage of this method made it possible to distinguish such typological features and properties of the Old Man’s archetype as ambivalence, poetry and ontology of binary oppositions, craving for a miraculous outcome. It is concluded that these archetypal properties impart the analyzed images the symbolic meaning of eternal rebirth, the cyclicity of life and its harmonious order

This study aims to analyze the function and realization of the meaning contained in the Poda ni Namonangon Ribut as an ancient script text contained in the Ulu Pungkut sub-district, Mandailing Natal district. This study uses a qualitative method with the documentation method in which the data is sourced from the Medan Archeology Agency. Data were analyzed using Systemic Functional Linguistics theory on Ideational Functions and to find metaphors of ideational meaning. The results of this study indicate the distribution of the relational process dominates from Participant, Cirmuntance. The realization of the meaning of the ideational function can be seen in the first, metaphor as a description of the community who want to have offspring, where the aim of Poda is ido napajadi boru "what makes a daughter". In the second, there is a metaphor that explains the word Na sundat realized with the words "Heavy Rain", "Divorce", "Birds perch", "ravine". In the third, shows that Poda has methafora like when the expectation is reached, it is the services of the writer "Shaman”. then when the writer has explained what the ingredients are. Social context of text that has a narrative and the author's conclusion about the solution to the problem of everyone who wants offspring in his family. The tradition of writing with the mandailing script (sumurat) became quite a tradition so that there are ancient texts in the traditional house became the animist beliefs and ideologies which can be seen in Bagas Godang.

The subject of this research is the theme of the mission of poet and poetry in works of the pioneer of Yakut lyrics A. I. Sofronov-Alampa. The goal of this article consists in comprehensive analysis of the image of poet in his lyrics. The theme of poet and poetry is traced throughout his artistic journey. Alampa’s poetic heritage features 43 compositions on this topic, which is 12.6% of all his poems. It is noted that the aesthetic views and principles of Alampa were formed under the influence of the poetry of A. Pushkin and M. Lermontov. Reminiscences, constant references to the image of Prophet allow concluding that adoption of traditions of the classics led the poet to portraying the image of the Creator – a mediator between the divine powers and a human. However, the poet took a different approach towards this matter, through the “prism of the spiritual heritage of his nation”, and introduced into his native literature the image of Shaman as the higher force possessing the power of healing and word. Reflecting on the genesis of nature and poetic talent, Alampa refers to the founder of Yakut literature Alexey Kulakovsky as the Shaman – a Creator from God. But first of all, the Shaman at Alampa is a benevolent person – Algyschyt, who heals the wounded and lost souls with power of the word, and guides to the path of happiness. Sofronov grants a special mission and higher purpose to the Shaman-poet – “touch the hearts of the people with the word”. The scientific novelty consists in the attempts to examine the image of poet in the lyrics of Alampa.

This article examines the issues of literary translingualism in its Russian-Tuvan and Russian-Kazakh representations. National literatures, which are sustained by the ethnogenetic “soil” of the authentic culture of an ethnic group, can be described in modern terminology as translingual, Russian-speaking and Russophonic (U. M. Bakhtikireeva). Although its external form is indeed Russophonic, the literary text keeps transmitting into the external communicative space primary cultural codes (basic concepts), which are elements of the national world picture. The article demonstrates this, using the case of poetry by two outstanding poets of the present times — Eduard Mizhit, a Tuvan and Bakhyt Kairbekov, a Kazakh. We focus on such Russian-language poetic texts by E. Mizhit as his collections “The Voice of Silence”, “The Drops of Eternity”, “Roots”, “Facets of Loneliness”, “The Transient”, “Through Oneself”, “The Abyss”, and “Beads of Centuries”, and B. Kairbekov’s "Behind the Lattice of Words", "Mysterious Holidays", "Against the Sun", and "Parts of the Whole". Both poets share a reflective tone which finds its expression in specific genres: ozhuk dazhy (a classic Tuvan three-liner) and tolgau (a genre of Kazakh literature combining contemplation and reflection). A special polycentric organization of space and time is also shared by both poets, as well as a pantheistic outlook, conditioned by the fusion of religious and worldview paradigms (from shamanism to Buddhism, from Tengrism to animism), is also important. A lyrical hero in both poetic universes is a lonely wanderer in a search of Truth, who takes on cultural masks of the Hunter and Nomad, of Baksa and Batyr.

Over the past decades, public consciousness has undergone reconsideration of the spiritual values. This heightened the interest towards the works of the classics of world literature, including Yakut. Among the compositions of Yakut literature, the dramatic poem by P. A. Oyunsky “The Red Shaman” is of definite interest. This work, as an example of high art, continues to heat the imagination and gives food for thoughts. Since its first publication, “The Red Shaman” arouses interest of multiple literary scholars and linguists. There is an urgent need for revising its ideological content through the prism of universal outlook upon the world as demanded by time. An attempt is made to reveal the true content of P. A. Oyunsky’s dramatic poem The Red Shaman” from the perspective of new generation of the audience, by detection of literary techniques applied by the author, examination of conflict situations, interaction between the images that requires axiomatic method, as well as usage of the method of abstraction within the framework of anthropomorphic principle of research that suggests reference to the primary source for ethical-philosophical interpretation based on the new approach. The attention of both, audience and researchers is currently focused on comprehension of the authentic content of P. Oyunsky's compositions outside the influence of traditional interpretations. For the contemporary audience “The Red Shaman” disclosures the new sides of its ideological-literary content. This work contains the author's profound reasoning on the trends of development of modern society, which requires a different approach towards the artistic heritage of the prominent poet.

Ajirna is the one of the most common disease which is originate from digestive insufficiency (Agni). Agni is one of the basic biological elements of the living body. Agnimandya is the root cause for the development of many diseases. Agni present in the Jathara which digest and metabolize the food and assist in growth of the body. All the diseases arise as a result of less, excessive and irregular digestion of food known as Mandagni, Tikshnagni or Vishamagni respectively. Agni may get disturbed by erratic lifestyle and abnormal dietetic regimen. Disturbed functions of Agni cause indigestion of food are termed as Ajirna (indigestion). Ajirna is the most important source of production of Ama and favors genesis of diseases. Arjina are described as Lakshan as well as Vyadhi. In the Ajirna, so many other conditions are described under common and specific etiological factors. Langhana, Vaman, Swedan Chikitsa was mentioned by Sushruta while treating Ajirna. According to condition of the situation and strength of the patient, this patient was successfully treated with Shaman Chikitsa like Langhan, Dipan, Pachan and Anuloman. A case study of 72 years old female patient with complaints of Kshudhamandya, Shiroshula, Urodaha, Udarshula, Asamyaka Malapravrutti, Bhramaprachiti for 5-6 months was treated with Shaman Chikitsa. A case recorded and treated in our institute. Significant results were seen in patient. Encouraging results were obtained which are presented in full paper.

There is a lot of debate about the myth, its specificity, and essence of the meaning of this term. The article contains information about various doctrines. And under the influence of these teachings we can see that the classification of myths has taken place. The well-known Uzbek folklorist M. Juraev emphasized that the myth was the first conscious notion of the occurrence of natural phenomena of our ancient ancestors [10.p.12.].

This article is devoted to the analysis of Uzbek mythological notions related to the image of a faerie. Based on the analysis of ethno-folkloric materials, the symbolic-ritual functions of the fairy image in the folklore of the shamanic ritual are revealed.

Javanese ethnic still upholds local wisdom including marriage customs. Traditional wedding ceremonies inherited from ancestors are still practiced up to present in the Boyolangu subdistrict, Tulungagung District, East Java Province. Traditional wedding ceremonies in this area are often carried out by utilizing plants during the procession, especially at the procession of temu manten. The use of plants in this procession is closely related to ethnobotany. Ethnobotany is an ecological discipline and the principle of the community's conception of local plants sources that can be used as a protector of cultural values. This research aims to find out the types of plants that are used as in the traditional wedding ceremonies and to provide an understanding of conservation of certain plants typically used for traditional wedding ceremonies. This research used quantitative descriptive design and applied a purposive sampling technique. It involved 10 respondents of community and 1 key informant (dukun manten or shaman). Based on the results of the study, the community in this area uses a total of 14 species of plants of 11 families at a traditional wedding ceremony. Commonly, the community utilizes the leaves and other parts of plants such as fruit, seeds, stems, and flowers. They are directly arranged in a certain way and used. The plants are obtained from around the yards of the community’s house

В статье представлены результаты изучения современной литературы двух регионов территории Саяно-Алтая — тувинской и хакасской — на основе этнопоэтического подхода для выявления этнопоэтических констант. В поэзии такие константы рассматриваются как образы-символы, стилистические формулы (В. Н. Захаров, В. М. Гацак и др.). Источниковой базой для анализа стали «прецедентные» тексты современной тувинской и хакасской поэзии и их переводы на русский язык, взятые из сборников отдельных тувинских авторов: М. Б. Кенин-Лопсана, А. А. Даржая, Н. Ш. Куулара. Для исследования творчества хакасских авторов нами были использованы сборники стихов В. Г. Майнашева, изданные на хакасском и русском языках (в переводе автора); Н. М. Ахпашевой, С. А. Майнагашева (Сибдей Том). В произведениях тувинских поэтов выделены этнопоэтические константы, которые репрезентируют тувинскую картину мира (небо, мать-земля, степи, горы, реки) и индивидуально-авторские образы-символы (материнская (отцовская, дедовская) юрта, артыш, зеленый чай, сизый дым, очаг, дверь и порог юрты, опорный шест Багана, звезды и др.). У хакасских поэтов также выделены традиционные этнопоэтические константы (солнца, неба, степи, горы, курганов, коня, волка и др.) и индивидуально авторские образы-символы (богородская трава, жарки, ковыль, герои-алыпы, Салбык, шаман, бубен, Запад-Восток, Европа-Азия и т. д.). Исследование подчеркивает генетическое родство обеих литератур, основанное на родственности культур. Каждый из рассмотренных авторов является национальным поэтом, вскрывающим мировоззренческие и эстетические богатства своего народа.