Abstract
From earliest times, serious collective performances, rituals, ceremonies, parades, dances have been concerned with war. They have evolved extraordinary splendor and given rise to the high art of Egypt, Anghor Wat, Chichin-Itza, and San Juan de Compostelo. However, splendor closes in upon itself and evolves with its own logic. This essay studies this evolution in Carnival in Rio de Janeiro and the Mount Hagen Show in Papua-New Guinea.
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Notes
- 1.
Victor Turner, From Ritual to Theatre: The Human Seriousness of Play (New York: PAJ, 1982), 32.
- 2.
Ibid, 81.
- 3.
“The study of other peoples’ cultures… involves discovering who they think they are, what they think they are doing, and to what end they think they are doing it…” Clifford Geertz, Available Light (Princeton: Princeton University Press, 2000), 16.
- 4.
Ibid, 362–363.
- 5.
Ibid, 134–135.
- 6.
“Symbols… are tangible formulations of notions, abstractions from experience fixed in perceptible forms, concrete embodiments of ideas, attitudes, judgments, longings, or beliefs.” Ibid, 91.
- 7.
Ibid, 449.
- 8.
Ibid, 177, 179.
- 9.
Donald Cordry, Mexican Masks (Austin/London: University of Texas Press, 1980), 23–31.
- 10.
Barbara Babcock, “Too Many, Too Few: Ritual Modes of Signification,” Semiotica 23: 296.
- 11.
Geertz, The Interpretation of Cultures, 118–119, 181.
- 12.
Paula Brown, Highland Peoples of New Guinea (Cambridge: Cambridge University Press, 1978), 156.
- 13.
Friedrich Nietzsche, The Gay Science, trans. Walter Kaufmann (New York: Vintage, 1974), § 337.
- 14.
Friedrich Nietzsche, Thus Spoke Zarathustra, trans. Walter Kaufmann in The Portable Nietzsche (New York: Viking, 1968), III, “The Convalescent,” 2.
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Lingis, A. (2012). Violence and Splendor: At the Limits of Hermeneutics. In: Halsall, F., Jansen, J., Murphy, S. (eds) Critical Communities and Aesthetic Practices. Contributions To Phenomenology, vol 64. Springer, Dordrecht. https://doi.org/10.1007/978-94-007-1509-7_8
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