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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In this paper the author tries to point out the diversity of numerous rituals found in the world of siberian shamanism. An Altaic ritual and two Buryats' rituals are analysed in the text.
In the second chapter an Altaic ritual (thanksgiving ceremony to Ulgen) is closely discussed. The ritual is described as a well made play. And the performing shaman is a well trained actor who shares whole procedure of the play (ritual) with the audience (attendants). The author confirms that there are more elements of play in Altaic ritual (more play than ritual).
In the second chapter two Buryats' rituals are described. In comparison with the Altaic ritual we can not find the play-performing role shaman of the altaic ritual in Buryats' rituals. The performances of buryats shamans are mainly confined to the trans-performance. So it is hard for the author to find the dramatic development of the play which is characteristic for the altaic ritual. In Buryats' rituals the author finds that there are more elements of ceremonial ritual than those of artistic play.
After careful description of the altaic and buryats' rituals author cautiously tries to points out that there are so many different kinds of rituals in the world of Siberian Shamanism that we may not easily explain all the rituals and phenomena under one term-Siberian Shamanism.
It may not be even proper to use a single terminology 〈shamanism〉 or 〈siberian shamanism〉 to refer all the various religious phenomena of Siberia which have 〈the elements of shaman and performances〉 as Siberian Shamanism. May be it is necessary for the researchers to analyse all the local phenomena as local rituals apart from the system of Siberian Shamanism.
The author tries to point out that the-called korean shamanism also needs to be analysed again apart from the view points of Siberian Shamanism. If we do not use the term of shamanism to analyse the phenomena of korean shamanism, then we may understand more deeply about the nature of korean folk-rituals as koreans' own typical performances and cultural heritage.
In the second chapter an Altaic ritual (thanksgiving ceremony to Ulgen) is closely discussed. The ritual is described as a well made play. And the performing shaman is a well trained actor who shares whole procedure of the play (ritual) with the audience (attendants). The author confirms that there are more elements of play in Altaic ritual (more play than ritual).
In the second chapter two Buryats' rituals are described. In comparison with the Altaic ritual we can not find the play-performing role shaman of the altaic ritual in Buryats' rituals. The performances of buryats shamans are mainly confined to the trans-performance. So it is hard for the author to find the dramatic development of the play which is characteristic for the altaic ritual. In Buryats' rituals the author finds that there are more elements of ceremonial ritual than those of artistic play.
After careful description of the altaic and buryats' rituals author cautiously tries to points out that there are so many different kinds of rituals in the world of Siberian Shamanism that we may not easily explain all the rituals and phenomena under one term-Siberian Shamanism.
It may not be even proper to use a single terminology 〈shamanism〉 or 〈siberian shamanism〉 to refer all the various religious phenomena of Siberia which have 〈the elements of shaman and performances〉 as Siberian Shamanism. May be it is necessary for the researchers to analyse all the local phenomena as local rituals apart from the system of Siberian Shamanism.
The author tries to point out that the-called korean shamanism also needs to be analysed again apart from the view points of Siberian Shamanism. If we do not use the term of shamanism to analyse the phenomena of korean shamanism, then we may understand more deeply about the nature of korean folk-rituals as koreans' own typical performances and cultural heritage.
목차
Ⅰ. 들어가는 말
Ⅱ. 사례1 - 알타이 의례 사례 (샤먼 영혼여행의 연극적 표출)
Ⅲ. 사례2, 3-부리야트의례 (약화된 연극성과 주술성의 강화, 내림굿의 특성)
Ⅳ. 나가는 말
〈참고문헌〉
〈Abstract〉
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