传统节庆、身体与展演空间——基于人文地理学视觉量化方法的研究

采用人文地理学视觉量化的研究方法,结合照片评定、眼动分析及定性分析对广东汕头澄海区上社村传统节庆活动（其“拖神”活动具有鲜明的身体表达特征）的空间进行了解译。研究发现,在传统节庆活动中,身体的仪式化实践和体验可对特定的节庆时间—空间进行生产和维持,身体成为传统节庆意义生产的最小空间尺度。身体所能感受和分享的节庆情感作用于地方共同感和认同的建构,而持续的身体参与是传统节庆活动得以不断再生产和保持强盛生命力的关键。在具体研究中,照片评定和眼动仪实验等视觉量化方法的使用,通过对地方居民的空间情感体验进行直观而有效的测度,借助眼动轨迹的热点及瞳孔数据,有力地表明在传统节庆的展演空间内外,现场观众和外界“他者”的“凝视”与身体化的感知存在不同,表现出身体的空间差异性。研究对身体地理学内容的拓展和人文地理学新方法的应用都有一定价值。

Analysis of the traditional festival,body and performative space:A human geographical method from the perspective of visual quantitative research

"Dragging the Gods" (tuo shen in Chinese) is a form of traditional religious festival in Shangshe Village, Chenghai District, Shantou City, which has been endowed with apparent features of bodily expressions and thus gained much attention from the public. Following interest in this empirical case, this paper adopts multifaceted methods of visual analysis, pictorial analysis, eye movement analysis and qualitative analysis to investigate the spatial practice in the bodily expression in such festivals. The empirical evidence shows that, in such religious activities, the embodied practice and experience to significant extent have played influential roles in maintaining the time-space features of these religious festivals. In so doing, the human body has become the most minimum scale for meaning-making, in particular in the process of the practice of religious rites. Specifically, the emotional process of subjective feelings and shares in such traditional festivals have greatly contributed to the construction of place togetherness and identity; while the lasting and physical body engagement can be considered as the most crucial component that inoculates the vitality and vigor for maintaining and reproducing such spatial practices and religious festivals. Focusing on pictorial analysis, eye movement analysis, visual analysis and qualitative analysis of data collected from local residents, in particular their hotpots of eye movements and their changes of pupil sizes, this paper directly and effectively assesses their emotional practice and experience in the spatial behaviors of "Dragging the Gods". The result strongly suggests that, both inside and outside the performative space, there is significant distinction between the live audiences and the outside "gazers" from the perspective of the embodied sense, which, to a great extent, demonstrates the spatial heterogeneity of the human body. This research can be read as an expansion of the geography of human body, particularly from the lens of emotional geography, as well as a contribution to the development of new research methods in the subject of human geography.