ABSTRACT

This essay examines the social efficacy of musically mediated religious feeling, drawing on fieldwork conducted with a community of Balinese Hindus who have become devotees of ISKCON, the international devotional movement popularly known as the Hare Krishnas. Through analysis of my conversations and musical interactions with members of this community, I argue that ISKCON’s narratives and practices of feeling render the affective stirrings that people experience while singing into knowable signs of spiritual progress while at the same time generating the bodily sensibilities that enable participants to experience those affects with greater levels of intensity. Bringing these ethnographic insights into conversation with an interdisciplinary body of scholarship that theorizes a productive ‘gap’ between affective intensity and discursive qualification, this essay proposes that, rather than affect giving way to emotion through a linear process of discursive capture, the two remain in a continual, mutually sustaining interplay. Extending the concept of the affect-emotion gap to the domain of music, the essay offers ethnographic and theoretical insight into the processes by which music’s affective affordances become efficacious in social life.

摘要

本文利用与巴厘印度教徒社区进行的田野调查，考察了音乐介导的宗教情感的社会功效，这些人已经成为ISKCON的奉献者，ISKCON是国际奉献运动，通常被称为野兔克里希纳斯（Hare Krishnas）。通过对我与该社区成员的对话和音乐互动的分析，我认为ISKCON的叙事和感觉实践使人们体验到情感上的激动，同时唱歌产生可知的精神进步迹象，同时产生身体上的感觉，使参与者能够参与以更大的强度体验这些影响。将这些人种学方面的见识与跨学科的学术体系进行对话，从而在情感强度和话语资格之间建立有效的“差距”，本文提出，两者不是通过话语捕捉的线性过程影响情感，而是保持连续，相互支持的相互作用。将情感-情感鸿沟的概念扩展到音乐领域，本文提供了人种学和理论上的洞察力，以了解音乐的情感能力在社会生活中变得有效的过程。