By Raquel Romberg
During this intimate ethnography, Raquel Romberg seeks to light up the performative importance of therapeutic rituals and magic works, their embodied nature, and their effectiveness in reworking the states of individuals through concentrating on the noticeable, albeit in most cases vague, ways that therapeutic and magic rituals continue. The questions posed via Romberg emerge without delay from the actual pragmatics of Puerto Rican brujeria (witch-healing), formed via the eclecticism of its rituals, the heterogeneous personality of its members, and the heterodoxy of its ethical economic system. What, if any, is the function of trust in magic and therapeutic rituals? How do earlier discourses on ownership input into the performative adventure of formality within the the following and now? the place does trust cease, and the place do stories of the flesh start? whereas those are questions that philosophers and anthropologists of faith think about, they gather a distinct that means while requested from an ethnographic viewpoint. Written in an evocative, empathetic kind, with theoretical ruminations approximately functionality, the senses, and mind's eye woven into tales that spotlight the drama and humanity of consultations, this ebook is a vital contribution to the cross-cultural figuring out of our ability to event the transcendental in corporeal methods.
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Extra resources for Healing Dramas: Divination and Magic in Modern Puerto Rico
Inspired by the trajectories of key characters in literary masterpieces by Cervantes, Stendhal, Proust, and Dostoyevsky, Girard suggests that the mimetic desire is based on a fascination with the Model, who has something the Subject lacks and therefore wishes to possess, and which is materialized in the desire to possess the Object of desire of the Model. In the case of Don Quixote (the Subject), for example, his expressed wishes to imitate in every detail the life and adventures of the Amadis de Gaule or his chivalrousness (the A Flight Perfected at Death | 35 Object of desire of the Model) mediates his envy of and wish to become the Amadis de Gaule (the Model), a wish that responds to a basic lack Don Quixote perceives in himself.
Mr. 10 Tonio no doubt executed this work in the same slow and profound voice I hear him now recount Mr. Allen’s long-ago appeal to him. As Tonio utters the magical words of the past, his eyes open wide; I feel that Changó himself is there in front of me, directly casting his spell on me. I watch Tonio trace in the air with his long fingers the contours of an invisible calabash, delightfully taking his time to mime with exquisite care the motions of stuffing it with honey, pieces of bark, fresh aromatic plants, and all sorts of inebriating perfumes, before offering it to Changó in exchange for his interventions in bringing back estranged spouses or lovers.
Also, to another woman, Isidora, nicknamed Tindora, I responded [as a form of dare], “If your lemon has spines, my orange tree will spike them” [I will overpower you]. 5 After almost three-quarters of a century treating hundreds—perhaps even thousands—of clients from dawn to dusk, he had to stop a few years ago, Tonio says. Trance and spirit possession had become too strenuous for his frail body. Even his protecciones (guardian spirits), which had helped him “overpower any brujo in the past,” could not shield him in his condition now.
Healing Dramas: Divination and Magic in Modern Puerto Rico by Raquel Romberg