Verfügbarkeit: Sem vso noč lutal v krogu | Technische Universität München

Sem vso noč lutal v krogu: simbolika krožnega gibanja v evropski tradicijski kulturi

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Bibliographische Detailangaben
Beteilige Person:	Mencej, Mirjam (VerfasserIn)
Format:	Buch
Sprache:	Slowenisch
Veröffentlicht:	Ljubljana Znanstvenoraziskovalni Center Slovenske Akad. Znanosti in Umetnosti [u.a.] 2013
Schriftenreihe:	Studia mythologica Slavica Supplementa ; 7
Schlagwörter:	Jenseits Diesseits Symbolik Kultur Kreisbewegung Europa
Links:	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027644134&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027644134&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
Beschreibung:	Literaturverz. u. Linksammlung S. 191 - 216
Umfang:	232 S.
ISBN:	9789612546441

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Datensatz im Suchindex

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adam_text	KAZALO Uvod ..............................................................................................................................11 NADNARAVNA BITJA .................................................................................................17 Nadnaravna bitja prisilijo ljudi v krožno gibanje ...................................................17 Nadnaravna bitja se sama krožno gibajo .................................................................19 Ples vkrogu ..............................................................................................................19 Zračni vrtinec ..........................................................................................................21 Vodni vrtinec ...........................................................................................................24 DUŠE UMRLIH ...............................................................................................................25 Zračni vrtinec ..............................................................................................................25 Vodni vrtinec ...............................................................................................................26 TRADICIJSKE EVROPSKE PREDSTAVE O MEJNEM PROSTORU MED SVETOVOMA ŽIVIH IN MRTVIH ................................................................27 Vodni vrtinec ...............................................................................................................27 Mlin ...............................................................................................................................30 Kolo ...............................................................................................................................31 Vreteno ..........................................................................................................................31 Ples vkrogu ..................................................................................................................32 Krožne stopnice ...........................................................................................................33 Vrtečasekoča ..............................................................................................................34 SIMBOLIKA VRETENA, PREDENJA, PREJE IN NITI .........................................37 Nadnaravna bitja predejo ...........................................................................................38 Duše umrlih predejo ...................................................................................................44 Nit kot most na drugi svet .........................................................................................45 Predenje, nit in rojstvo ................................................................................................47 Spředena nit in »učlovečenje« ....................................................................................50 Nit in usoda ..................................................................................................................51 Predenje in smrt ..........................................................................................................55 Simbolika predenja kot krožnega gibanja ................................................................60 PREPOVED PREDENJA V TEKU LETA ...................................................................63 Obdobja prepovedi predenja v teku letnega ciklusa ..............................................69 Nadzornice prepovedi predenja ................................................................................75 Kazni za kršitev prepovedi predenja .........................................................................82 Prepoved predenja v teku življenjskega ciklusa ......................................................85 Interpretacije tabujev predenja.................................................................................. 86 Simbolika prepovedi predenja ...................................................................................88 OBREDI OBKROŽANJA ...............................................................................................91 Omejitev in prilastitev prostora ................................................................................93 Prevzem in demonstracija oblasti nad obkroženim prostorom ...........................96 Obnavljanje meja zaradi zaščite prostora ................................................................98 Zavarovanje svetosti prostora ..................................................................................105 SIMBOLIKA SMERI KROŽNEGA GIBANJA ........................................................111 Simbolika smeri gibanja glede na gibanje Sonca ..................................................112 Simbolika smeri gibanja glede na gibanje v desno - levo ...................................119 Pomen vloge smeri gibanja glede na Cerkev .........................................................127 SIMBOLIZEM KROŽNEGA GIBANJA V OBREDIH ..........................................131 KROŽENJE KOT TEHNIKA KOMUNIKACIJE Z ONIM SVETOM V TRADICIJSKIH MAGIJSKIH PRAKSAH ...................................................139 Vedeževanje ................................................................................................................139 Zdravilski obredi .......................................................................................................141 Plodnostna magija .....................................................................................................142 Klicanje duhov in onstranskih bitij ........................................................................143 KROŽNO GIBANJE KOT TEHNIKA PROFESIONALNIH MEDIATORJEV MED SVETOVOMA ..........................................................145 Šamanizem .................................................................................................................146 Šamanizem Evenkov (Tungusov) .......................................................................146 Šamanizem Nanajcev ...........................................................................................149 Šamanizem Oročijev ............................................................................................150 Šamanizem Saamijev ............................................................................................151 Volhvi ..........................................................................................................................153 Volkodlaki .................................................................................................................154 Srednjeevropski šamanizem ....................................................................................164 Plesivkrogu ................................................................................................................174 Izventelesna potovanja .............................................................................................176 KROŽNO GIBANJE KOT ODSEV SPREMENJENEGA STANJA ZAVESTI.... 179 Obsmrtne izkušnje ....................................................................................................180 Druge izkušnje spremenjenega stanja zavesti .......................................................182 Zakrjuček ........................................................................................................................185 Literatura .........................................................................................................................191 Internetni viri .............................................................................................................216 Indeks ..............................................................................................................................217 Summary .........................................................................................................................223 I WAS WANDERING IN CIRCLES THE WHOLE NIGHT LONG THE SYMBOLISM OF CIRCULAR MOVEMENT IN EUROPEAN TRADITIONAL CULTURE CONTENTS Introduction .................................................................................................................11 SUPERNATURAL BEINGS ..........................................................................................17 Supernatural Beings Make People Move in Circles ...............................................17 Supernatural Beings Move in Circles ........................................................................19 Ring Dance ...............................................................................................................19 Whirlwind ...............................................................................................................21 Whirlpool ................................................................................................................24 SOULS OF THE DEAD ..................................................................................................25 Whirlwind ....................................................................................................................25 Whirlpool .....................................................................................................................26 TRADITIONAL EUROPEAN NOTIONS ABOUT LIMINAL SPACE BETWEEN THE WORLD OF THE LIVING AND THE WORLD OF THE DEAD .....................................................................................................27 Whirlpool .....................................................................................................................27 Mill ................................................................................................................................30 Wheel ............................................................................................................................31 Spindle ..........................................................................................................................31 Ring dance ...................................................................................................................32 Spiral Stairs ..................................................................................................................33 Spinning hut .................................................................................................................34 SYMBOLISM OF A SPINDLE, SPINNING, SPINNING MATERIAL AND THREAD ....................................................................................................37 Supernatural Beings Spinning ...................................................................................38 Souls of the Dead Spinning .......................................................................................44 Thread as a Bridge to the Otherworld ......................................................................45 Spinning, Thread and Birth .......................................................................................47 Spun Thread and Turning Human ........................................................................50 Thread and Fate ...........................................................................................................51 Spinning and Death ....................................................................................................55 Symbolism of Spinning as a Circular Movement ...................................................60 TABOOS ON SPINNING IN ANNUAL CYCLE .....................................................63 Periods of Spinning Taboos in Annual Cycle .........................................................69 Supernatural Supervisor of Spinning Taboos .........................................................75 Punishment for Breaking Taboos on Spinning .......................................................82 Taboos on Spinning in Life Cycle .............................................................................85 Interpretations of Taboos on Spinning ....................................................................86 Symbolism of Taboos on Spinning ..........................................................................88 CIRCUMAMBULATION RITUALS ..........................................................................91 Symbolic Demarcation and Claiming of Land .......................................................93 Seizing and Demonstration of Authority over Territory .......................................96 Protection of an Area .................................................................................................98 Ensuring of the Sanctity of an Area .......................................................................105 SYMBOLISM OF DIRECTION OF CIRCULAR MOVEMENT .......................... Ill Symbolism of the Direction Regarding the Movement of the Sun ....................112 Symbolism of the Direction Regarding Movement to Right or Left ..................119 Symbolism of the Direction Regarding the Church .............................................127 SYMBOLISM OF CIRCULAR MOVEMENT IN RITUAL CIRCUMAMBULATION ................................................................................131 CIRCULAR MOVEMENT AS A TECHNIQUE OF COMMUNICATION WITH THE OTHERWORLD IN TRADITIONAL MAGICAL PRACTICES ........................................................................................................139 Soothsaying ................................................................................................................139 Healing Practices .......................................................................................................141 Fertility Magic ...........................................................................................................142 Summoning of Ghosts and Supernatural Beings .................................................143 CIRCULAR MOVEMENT AS A TECHNIQUE OF PROFESSIONAL MEDIATORS BETWEEN THE TWO WORLDS .......................................145 Shamanism .................................................................................................................146 Evenk s Shamanism ..............................................................................................146 Nanay Shamanism ................................................................................................149 Orochi Shamanism ...............................................................................................150 Saami Shamanism ................................................................................................151 Volhvs ..........................................................................................................................153 Werewolves .................................................................................................................154 Central European Shamanism ................................................................................164 Round Dances .............................................................................................................174 Out-of-Body-Experiences ........................................................................................176 CIRCULAR MOVEMENT AS A REFLECTION OF ALTERED STATE OF CONSCIOUSNESS ......................................................................................179 Near-Death-Experiences ..........................................................................................180 Other Experiences of Altered State of Consciousness .........................................182 Conclusion ......................................................................................................................185 Literature .........................................................................................................................191 Index ................................................................................................................................217 Summary .........................................................................................................................223 SUMMARY I WAS WANDERING IN CIRCLES THE WHOLE NIGHT LONG. THE SYMBOLISM OF CIRCULAR MOVEMENT IN EUROPEAN TRADI¬ TIONAL CULTURE. The aim of this book is to show that according to traditional European concep¬ tions about space, the border between the world of the living and the world of the dead was marked by circular movement, and that the transition between this world and the other was possible through circular movement. Circular movement is one of the key concepts to the understanding of numerous widespread European beliefs, rituals and practices which imply communication between the two worlds. Circular movement is connected with various supernatural beings, their way of moving, the influence they have on people (making people walk in circles) etc. Throughout the whole of Europe one finds numerous beliefs about supernatural beings (especially fairies and witches) dancing in circles, and a whirlwind, i.e. wind whirling in a circular way, often stands for an embodiment of supernatural beings. Travelling through the air in a whirlwind was also common to fairies and witches. Furthermore, whirlpools, places where water circles, are also standard locations filled with supernatural beings. In general, the circular motion is an important dif¬ ferentiating characteristic of nonhuman entities in comparison to movement in the human world, which is manifested through binary principles: forward/backwards, up/down, left/right. There are also plenty of records of belief that relate the souls of the dead to cir¬ cular, whirling motion. According to folk belief narratives the soul after having left the body in the moment of death often circles around the air before it leaves for the other world. The circular movement of the souls on their way to the other world can also be found in beliefs about whirlwinds conveying souls of the suicides. Circular movement in this or some other form therefore appears to be related to supernatural beings, to souls in their passage between the worlds and the souls of the unclean dead who are stuck in the liminal space between the worlds. What unites them all is clearly their status: the fact that they alternate between this and the other world, have either an ability to communicate with the world of the dead or dwell in the liminal space between the world of the living and that of the dead. To understand the connection between circular movement and supernatu¬ ral beings (as well as souls) it is first necessary to look at the conceptions of space found in European folk beliefs and language. In Slavic languages, words indicating 223 a whirlpool or a pool (vortex, locus fluminus profundis) stand for the path to the world of the dead and at the same time for a place where the souls of the dead abide. While the meaning of these words in Slavic languages may vary from pool to whirlpool, there are many additional indications for the vortex (whirlpool) with its circular waters being an entrance to the other world in other Indo-European tradi¬ tions. Other symbols of circular movement, marking a transition and liminal space between this and the otherworld, such as mill (Scandinavian) and wheel (Greenland), spindle (Greek), round dances and spiral stairs (Christian texts) and whirling hut (Russian fairy tales), appear in various European traditions too. But looking at European traditional culture in general, not just at folk concep¬ tions about the liminal space between the worlds, it seems that the spindle acquired the most comprehensive and wide-ranging meaning of all the circular symbols indi¬ cating the liminal space. In the European tradition the spindle, and also the activities related to it, i.e. spinning, spinning materials and thread, are closely related to the symbolic transition between the worlds. This undoubtedly has to do with the role of women as spinsters and as generators of new life, however, the key to the develop¬ ment of the symbolism of spinning is the fact that unspun material has to be made into thread through the circular movement of fingers, a spindle or a spinning-wheel. Thread, yarn, and spinning are also related to supernatural beings, who often spin or carry a ball of thread, and the souls of the dead, especially the restless dead. According to a belief in the French countryside, the souls of the dead returned at night in search of a thread or worked on spinning wheels, in Slovenia the souls of the dead spin or appear in the form of a ball of thread or wound wool. Representations of thread (and spinning) as a link between the worlds of the living and the dead do not appear only implicitly in beliefs about supernatural beings and the restless dead, but can also be seen in Indo-European notions of a bridge that leads to the other world, which is frequently depicted in the form of thread that souls cross on their way to the other world. Children, who according to traditional beliefs are born to our world from the other world, according to certain beliefs also arrive from there by thread: God lowered you on a thread, are parents responses to their children s questions about where they came from in Belarus. In the context of spinning the relationship between living in this or the other world can be symbolised as the opposition between unspun wool and spun thread. The image of the wool-basket has already been interpreted as a symbolic womb and the un-spun wool in the basket as a piece of textile that is not yet made or a person who is not yet born or fully made. One often comes across the allegorical image of the mother-as-a-distaif together with that of the child-as-the-yarn-on-a-spindle in folklore which obviously refers to a symbolic connection between thread and body tissue; in traditional symbolism to spin and to weave means to create body tissue. The 224 symbolism of spinning continues even in the Christian iconography of the Virgin Mary, as well as that of Eve. In the same way that the skin is wrapped around the spindle of a body, fate was also considered to be wrapped around a person - the Greeks conceived fate and phases of fortune (such as misfortune, marriage, age, disease, death etc.) as threads spun by gods or fates and given by the deities to a man as a wreath of wool, a thread, a bond. In many places, the thread of life is a symbol of man s fate. Throughout Europe, as well as among the Hittites and in Anatolia, we find beliefs in supernatural beings and deities who spin and through their spinning decide the fate of a new-born child. Conceptions of supernatural beings, who spin the thread of life, are found in the oldest philosophical texts as well as in more recent folklore. In representations from antiquity, the Greek Moirae and Roman Parcae were spinners and the asso¬ ciation between the Fates and spinning is also attested in modern Greek folklore as well as in folklore about Fates of many European peoples - Slovene rojenice or sojenice, Macedonian and Bulgarian orisnice, narečnice and rečenice, Croatian and Serbian sudjenice, sudice, usude, sudjaje, rođenice, Chechian and Slovakian sudičke, Romanian Ursitoarea, Soartea, and Moartea, Latvian Láimas all spin and at the same time decide the fate of the new-borns. The relation between life and death in the context of the symbolism of thread and spinning can be recognised in language, too. Slovene sayings directly connect thread with the end of life or death: to cut or break the thread of life (figuratively: to cause death), his life is hanging by a thread (figuratively: his life is severely threatened, he is very ill). The meaning to be dead , to die has similar expressions in French, such as to be at the end of your roll , to be at the end of the length of your ball of thread , and in Greek: his spindle is wound full , his thread is cut or his thread is finished . All these language expressions indicate the belief that the Fates appor¬ tion to each man at birth a mass of rough wool from which they go on spinning day by day till the thread of life is completed. Just as a baby is born with a thread wound around the spindle of its body, it also leaves this world wound in thread. A winding-sheet or strip of cloth to wrap around one is closely related to a cord or a coil which is wrapped around the corpse in a spiral, just like thread around a spindle. When the spinning stops, death ensues. Death is therefore a process of drying or unwinding the thread of life from the spindle of the body, or spine. In the light of this symbolism, the process of life can be understood as spinning threads from unprocessed yarn and its winding, which begins at birth and lasts until death, until the spindle of the person s body is full and the spinning is done. At this point the reverse process begins: the thread begins to unwind, unravel, and finally decays once again into unspun wool. This can further clarify the custom, widespread in South-Eastern Europe, of laying yarn, unspun wool, unprocessed cloth 225 (although sometimes also pieces of cloth or even clothing) on graves - thus symboli¬ cally that to which the souls of the dead return and turn into. The notion that death means the beginning of the unravelling of the thread from the spindle of the human body could also explain the symbolism of the unravelling of balls of wool or thread in funereal rituals and throwing them at places of death in northern Moldavia. According to the traditional European conceptions, spinning, the material for spinning (fibres - un-spun wool) and the results of this activity (thread, yarn) there¬ fore bear important symbolic meanings related to the basic aspects of human exist¬ ence - birth, fate and death. Spinning is a means of entering and exiting this world, moreover, it marks the connection between the world of the living and the world of the dead in various ways - it indicates the transition, the link and the liminal space between the two worlds. There are many possible reasons for thread and spinning acquiring such a symbolic function, but the main reason lies in the fact that spin¬ ning always involves circular movement. Spinning, or thread, as a result of circular movement during the process of spinning, is related to supernatural beings and the souls of the dead precisely because the circular movement required for spinning is also characteristic of the liminal space between the two worlds where they dwell. The role of thread as a link between the worlds is therefore not accidental; it connects both worlds precisely because it is itself a result of circular movement, i.e. the movement that is characteristic of a liminal space. The fact that spinning was symbolically understood as an action which allows for communication between the two worlds also had important consequences for the annual and life cycle. The taboo on spinning in the course of the annual cycle of holidays is particularly important for the understanding of the symbolism of circular movement in general. If we ignore individual expressly local saints on whose feast days spinning is forbidden for one reason or another, one of the periods during which taboos on spin¬ ning are most widespread throughout Europe is the Christmas period. This period can undoubtedly be understood as a turning point in the year, a time of the intru¬ sion of the Otherworld. Another period, during which a strict taboo on spinning was most widespread in Europe, was Carnival, another turning point in the annual cycle. Some of the other holidays when spinning is forbidden, also mark the begin¬ ning of spring and the end of winter. All holidays in which we encounter a taboo on spinning in European rituals of the annual cycle therefore have the characteristic of a turning point in the year, a dividing line between the old and the new year, winter and spring, a rupture which implies the intrusion of the Otherworld - the appearance of the souls of the dead, which are represented as masked mummers, witches, demonic or supernatural beings etc. In addition to taboos on spinning in the annual cycle of holidays we also occasionally encounter taboos on spinning during 226 the course of the life cycle, e.g. at birth and at the time of death, especially in Slavic traditional culture, but also elsewhere. We can therefore see that the period of taboos on spinning during the life cycle, i.e. at death, when the dead are still not completely in the other world (according to traditional belief the soul arrives in the Otherworld only on the 40th day after death), and at birth, i.e. up to 40 days after birth (in other words during the period when the child is still not completely born , when they are still somehow between the worlds of the living and the dead), semantically entirely conforms with the periods during the course of the annual cycle: these are liminal periods in which the boundaries between the worlds are fluid and easily moved, and in which communication between the worlds is unobstructed. People justify taboos on spinning in various ways, but in general they relate to the prevention of deformations of people and animals, calling wild, danger¬ ous or harmful animals, prevention of household misfortune and prevention of inclement weather. In addition the taboo on spinning prevents death in the wider sense or contact with it / the dead (the eyes of the deceased from becoming dirty, the dead from returning after death, one from spinning a funeral shroud or a thread which would someday be used to hang a child. James G. Frazer and Paul Saintyves understood these taboos in the context of imitative (homeopathic) magic. However, apart from some, many other explanations of taboos would be difficult to interpret on the basis of sympathetic or homeopathic magic: inclement weather, the appearance of harmful or wild animals, misfortune involving animals and people, misfortune for the linen, calling death etc. The key reason for the fact that spinning is forbidden at certain times of the annual or life cycle is again precisely the fact that spinning always involves circular movement: of a spinning wheel, a spindle or of the thread itself. Therefore it is no surprise that during periods when spinning is forbidden; often it is not just spinning that is forbidden, but the turning of any kind of wheel. If the spinning, circular movement of the thread, spinning wheel or spindle is a way to enter the otherworld, we can understand this taboo as a preventative measure for not bringing death into this world during the time when the door to the other world is open. This explains also the interpretations of the taboos which warn against spinning because of misfortunes in general and because of calling death: deformed children, animals with crooked necks and legs, crooked vegetation, beasts and snakes are representatives of the other world or have a connotation of the otherworld. However, while circular movement was considered dangerous and forbidden in certain periods of the annual and life cycle, as we have seen in case of spinning, in the course of annual cycle one also encounters circular movement, that is, on the contrary, much desired and needed in the community. I am referring here to the circumambulation rituals which are considered important for the community. 227 In traditional European culture we find various types of circumambulation ritu¬ als which are carried out by the entire community and which are part of the annual holiday cycle or are performed as needed. The main forms of circumambulation rituals are walking around (or crawling or walking on one s knees), ploughing, riding around and girding a certain object or place. Four basic functions can be recognised in these rituals: symbolic demarcation and claiming of land, seizing and demonstration of authority over territory, protection of an area and ensuring the sanctity of an area. In (Indo-) European languages and records of belief, the direction of a person s movement during a ritual of circumambulation in the direction of the apparent motion of the sun is generally understood to be that which is considered positive, which brings good luck, plenty and fertility, while movement in the opposite direction to the apparent motion of the sun is understood as negative, unlucky, as that which brings death, misfortune and harm. The sun appears to move around the earth as its centre, in spatial terms it therefore moves to the right, or in other words, from left to right or from the east towards the south, and then towards the west and the north, i.e. clockwise. The Catholic Church adopted sunwise movement, i.e. from left to right from the perspective of an external observer, in its liturgy, while the opposite direction to that understood as positive in European traditional beliefs and in the Catholic liturgy is used in the liturgy of the Orthodox Church, which clearly also influenced folk rituals in Orthodox countries, for instance in Greece, Russia and the Balkans, in which circling rituals and dances are performed in the opposite direction to the apparent motion of the sun, i.e. from right to left, and not from left to right. However, both orientations are motivated according to the motion of the sun, except that in the Catholic liturgy they follow the motion of the sun, while in the Orthodox Church they move opposite to the sun, i.e. facing the sun, meeting the sun . The crucial aspect is therefore orientation with respect to the sun (to the right), which is understood as positive, the one which ensures fertility, health, plenty, and life. On the other hand, movement in the opposite direction to the apparent motion of the sun (movement to the left) was associated with bad fortune, magic, death and the invoking of evil powers, infertility and the deterrence of new life. Angela Della Volpe argues that the ritual of circumambulation actually stems from the ritual worship of the ancestors and the cult of fire; originally it was per¬ formed around the domestic hearth, which represents the Sun on Earth, where the ancestors used to be buried. Later, when the burial place was transferred first to the household and then to the nearby fields, the ritual of circumambulation was performed around the households and fields respectively. Circular movement can thus be understood as a way of making a connection with the otherworld, from where everything people wish for - fertility, health, etc. - originates and from where people can influence the life of a soul after death. Girding, walking around, riding or 228 ploughing in circle as a form of circular movement allow contact with the otherworld because the circular movement imitates the path of the soul on its way from this world to the otherworld at death and back again at birth. Thus in traditional customs of circumambulation, even though they emphasise the function of dividing, making of a borderline between this and that world, the sacred and the profane, an apparent opposite function can be identified: the one that allows people to communicate with the otherworld through circular movement. This becomes clear in Indo-European customs of accepting a new-born child into a community by spinning it around a hearth - since according to traditional conceptions a baby is born to this world from the otherworld, it is precisely the circular movement that allows the passage. In the same way, through a funeral procession s circular movement around a dead body, a grave, a pyre or a graveyard, the dead are led from this world to the other. The aim of these customs is to assure the safe passage of the soul from this world to the otherworld and vice versa and, in a wider sense, the communication between the worlds in general. Round or spiral dances within the framework of funeral customs also had an important function in the accompaniment of the soul to the other world. If circular movement is a way of communication with the other world, then we might expect to find it as a technique used for entering into the other world in tra¬ ditional magic practices, when the entrance to the other world is necessary. In fact many traditional circular practices imply some sort of circular movement. Divinatory rituals, for instance, often require some sort of circular movement: walking three times around the fire on the evening of St. John s day, sweeping around the base of the corn stack with a broom, encircling the church and similar are intended to make the future husband or wife appear, or predict the future in the coming year. Circular movement is also used infertility magic, the purpose of which is to summon the souls of children from the world of the dead, and in healing ritu¬ als when circumambulations around wells and temples or churches are common. Through circumambulation, turning or any sort of circular movement a person can also summon otherworldly beings, i.e. ghosts, spirits, fairies, the Devil etc. In his paper, Menefee claims that circling practices were designed to open an entrance between the practitioners and the otherworld, and he finds circumambulation a manner of unscrewing the barrier between the natural, ordinary world and the supernatural (1985). Circular movement may be found in Siberian and Arctic shamanic séances which implicate the entry of the shaman into the other world, i.e. the journey of his soul to the otherworld, either during an ecstasy or without it. Although we cannot find a great deal of data on the ancient Russian shamans from the 11th and 12th centuries, called volhvy, the existing data indicates that circular movement was also 229 a key element of their ecstatic rituals. Volhvy achieved ecstatic states through ecstatic spinning dances, after which they fell into a state of physical exhaustion and torpor, and then they were able to soothsay. Circular movement as a technique for reaching a state of ecstasy is perhaps most clearly demonstrated in the whirling dance of the dervishes, the members of the Mevlevi Order, whose psychological exaltation of the trance state is similar to the ecstasies of shamans. If circular movement can be understood as a sort of technique which induces altered state of consciousness (ASC), it could shed light on numerous European folk legends about werewolves. The ASC states of shamans are generally labelled as involving soul flight, journeys to the otherworld, and / or transformation into animals. As Claude Lecouteux argues, the roots of European beliefs about werewolves could in fact have arisen from shamanic conceptions of the soul: the transformations of werewolves were not thought to be a metamorphosis of the body, but of a double. According to European traditional beliefs, man had a double (alter ego, soul), which when separated from the body would roam about in the shape of an animal and the metamorphoses of the double gradually fixed on the wolf, although at the begin¬ ning the double could appear in various animal forms. This way, werewolves would actually be people whose doubles could roam around in the shape of a wolf (or an animal) - in other words, people who were capable of reaching a state of ecstasy, i.e. sending the double/soul out of the body, and therefore being a sort of mediator with the other world. If circular movement can be understood as a technique for achieving ecstasy or communication with the other world, and if werewolves can be understood as ecstasy specialists or a type of shaman that was able to communicate with the other world by sending their soul in the form of an animal out of the body, then it is not surprising that in European folk legends in addition to other, better known methods of transforming into a wolf (e.g. wearing wolfskins or belts, applying a special salve or balm etc.), this could also be triggered by circular movement in any of its manifestations: rolling, turning somersaults, spinning, running in a circle etc. The question is, however, why circular movement in all of the above-stated examples is associated with the journey from one world to the other. One explanation that might possibly provide an answer to this question is that circular movement is in some way a reflection of the condition of a person s nervous system at a certain stage of (achieving the) trance, i.e. the stage which he experiences as a passage to the otherworld through a whirlpool, which the shaman or any other religious or magic specialist who achieves that state actually acts out by moving circularly in their performance. Neuropsychological laboratory research has shown that it is possible to identify three stages which people go through when falling into a trance. In the third stage they pass through a descending whirlpool or tunnel, through a rotating dark space which is defined as tunnel, cave, corridor, pipe, well, spiral, swirl 230 and similar. This experience is usually called a mental vortex. It is one of the most common experiences in laboratory experiments investigating the effects of stress or hallucinogens, and often appears in anthropological accounts of shamans and other religious specialists experiences of ASC. As Clottes and Lewis-Williams point out, these three stages are universal and are an integral part of the human nervous system, although each culture ascribes different meanings to them. If the stages of falling into a trance are stages based in the human nervous system, and shamans therefore universally experience a certain stage of the trance (i.e. the transition into the 3rd stage) as a journey through a whirlpool or a tunnel, we can assume that this stage of their falling into a trance is reflected in the performance through the shaman s circu¬ lar movement (spinning, circling, round dances or running in a circle etc.), through which he actually enacts or imitates the experience of travelling through a whirlpool. The shamanic experience of soul journey also shares a common structure and a biological basis with near-death or clinical death experiences, contemporary out- of-body experiences, astral projection, contemporary spiritual practices and other experiences of travelling to the spirit world. Therefore it comes as no surprise that a mental vortex is also characteristic of near-death experiences. Judit Kis-Halas gives a similar description of ecstatic experiences, the so-called crossing the gates between dimensions : her informants told her that they experi¬ enced the crossing through the gate into the other dimension as moving upwards in a spiral, lifted by a colourful energy-beam, like in a whirlwind. On the basis of all of these examples we can see that not just shamans as more or less professional ecstatics who enter ASC intentionally, but also people who have experienced ASC and the transition to another reality sometimes unintentionally, sometimes on purpose, e.g. under the influence of drugs, anaesthetics, during medita¬ tion, dreams etc., share a common element of the experience: travelling to the other world through / as some sort of circular movement. In the rituals of shamans in the narrow sense of the word, specialists who can be indirectly associated with shamanism (werewolves), and in descriptions of other experiences of ASC which occurred unintentionally or intentionally stimulated with drugs, meditation or special techniques, experiences that happen in dreams or during temporary periods of death (NDEs), we frequently encounter a common structural element: circular movement in any of its various forms (whirling, turning, round dance, running in a circle, turning somersaults, rolling, a journey through a spiral tunnel, circling etc.). In the book I have tried to show that circular movement is directly associated with achieving a state of ecstasy and/or with the soul s journey from one world to the other. One possible explanation for circular movement appear¬ ing so frequently in direct connection with ecstasy and the transition between the worlds over such a wide area, such a long period of time and in such varied forms of 231 experiencing ASC lies in circular movement being a reflection of the human nervous system at a certain stage of entering into a trance (i.e. on the transition to the third stage of trance, which is experienced as a passage through a whirlpool or a spiral tunnel to the other world), as has been confirmed through neuropsychological labora¬ tory research. The knowledge that a sense of circular movement is characteristic of a certain stage of trance and the transition to the other world (based on people s own experiences or others narratives), which to some extent probably became a part of the collective tradition, led to the widespread use of circular movement as a technique through which a person could achieve a state of ecstasy at any time and/or enter the other world. This technique thus became a part of magical practice not just by magic specialists, but also ordinary people who in one way or another attempted to establish communication with the other world, for example through fortune-telling, fertility magic and summoning beings from the other world, to mention just a few. Although it is possible that the technique of using circular movement as an intentional way of inducing ASC and other appearances of circular movement in folk legends and magical practices associated with entering the other world came from such cosmological notions, it seems more likely that the primary source of cosmo- logical notions such as a whirlpool at the boundary between the worlds of the living and the dead stems from activities in the human nervous system and not vice versa. But no matter whether the cosmological notions of various peoples which depict the transition between the worlds with images that implicate circling, such as e.g. a whirl¬ pool, mill, wheel or spindle, arise from the activities of the human nervous system or perhaps from observations of the apparent orbiting of the sun and the stars or the earth s rotation around its axis, as had been stated as well, circular movement is in every case one of the key concepts in people s communication with the other world. f Çayerische Staatsbibliothek 232 1 München
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series2	Studia mythologica Slavica : Supplementa
spellingShingle	Mencej, Mirjam Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi Studia mythologica Slavica Jenseits (DE-588)4028567-4 gnd Diesseits (DE-588)4332222-0 gnd Symbolik (DE-588)4184194-3 gnd Kultur (DE-588)4125698-0 gnd Kreisbewegung (DE-588)4758086-0 gnd
subject_GND	(DE-588)4028567-4 (DE-588)4332222-0 (DE-588)4184194-3 (DE-588)4125698-0 (DE-588)4758086-0 (DE-588)4015701-5
title	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi
title_alt	I was wandering in circles the whole night long
title_auth	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi
title_exact_search	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi
title_full	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi Mirjam Mencej
title_fullStr	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi Mirjam Mencej
title_full_unstemmed	Sem vso noč lutal v krogu simbolika krožnega gibanja v evropski tradicijski kulturi Mirjam Mencej
title_short	Sem vso noč lutal v krogu
title_sort	sem vso noc lutal v krogu simbolika kroznega gibanja v evropski tradicijski kulturi
title_sub	simbolika krožnega gibanja v evropski tradicijski kulturi
topic	Jenseits (DE-588)4028567-4 gnd Diesseits (DE-588)4332222-0 gnd Symbolik (DE-588)4184194-3 gnd Kultur (DE-588)4125698-0 gnd Kreisbewegung (DE-588)4758086-0 gnd
topic_facet	Jenseits Diesseits Symbolik Kultur Kreisbewegung Europa
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volume_link	(DE-604)BV037183149
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