entrancement: M. Ripinsky-Naxon The Nature of Shamanism. Albany,
shamanic figure: "It concerns a drawing in Lascaux
Cave from the Old Stone Age, that is, from about sixteen to seventeen
thousand years ago. The cave was discovered near the French village
of Montignac in the Dordogne in 1940. It contains a profusion of
drawings of animals executed with consummate skill, but also a
drawing of a human figure. At a cursory glance, this naked man
seems to have fallen over backward, right in front of a huge wounded
aurochs. It has usually been assumed that the two images represent
an integral composition, that the enormous beast had something
to do with the fallen man--that the man was frightened or killed,
or perhaps was carrying out some hunting magic. At closer inspection,
however, it seemed to me, that certain feature of the drawing of
the man did not fit any of these conjectures." F.D. Goodman, Where
Ride the Wind. Bloomington, ID., 1990.
view: "these rock carvings invite a response from
us, the infusion of our subjectivity. The carvings present a vocabulary,
a cosmological thematics, which not only allows but necessitates
a variety of readings. There is no fixed meaning and we must remember
that images cannot in fact be reduced to words 'read'. This 'reading'
always results, is intimately linked, with textual production which
both inevitably goes beyond the carvings themselves and yet simultaneously
portrays a lack, a failure....understanding of this material, and
'data' in the human sciences does not conclude. It just stops when
bored or do not have anything else to say." C.Y. Tilley, Material Culture
Text: Art and Ambiguity. London, 1991.
rock art: L. Martineau, The Rocks Begin to Speak.
man: F. Dostoyevsky, The House of the Dead. H.S.
Edwards, translator. New York, 1975.
a host of men, the shaman's spirit helpers pour into Muu's gate.
Forcing their way through, they overcrowd her house, which is gorgeously
bedecked with cloths (molas), cutting, tearing, and gathering
up the molas and the threads that obstruct them. The song
pauses and gathers force here, repeating again and again the actions
of the (predominantly male) spirit helpers as they are urged by the
shaman into tearing and winding up and gathering the molas--the
quintessential sign of femininity amongst the Cuna, and their signature
as a species of
people in the eyes of the outside world." M. Taussig, "The Nervous
Homesickness and Dada." Stanford Humanities Review #1 (1989)
simple: W. Davis, "The Origins of Image Making." Current