Idea Of Reincarnation Research Articles

니브흐인의 전통 신앙과 전통 의례 연구

The traditional culture of tribes contains their unique way of life and provides clues to distinguish their cultural similarities and unique characteristics. In this paper, we examined the Nivkh people's worldview, cult of water, the idea of the soul and afterlife and bear worship in terms of their traditional beliefs, and examined traditional funerals and traditional weddings in terms of traditional rituals. The Nivkh people, who have lived at the mouth of the Amur River for a long time, reflect the surrounding natural environment in their traditional beliefs. The Nivkh people, whose main livelihood was related to water, not only divided the world into the upper world, the middle world, and the lower world, but also divided the middle world into the three worlds of rivers, seas, and lakes. The importance of water to the Nivkh people is demonstrated by periodic offerings to the water god Tol yz. In the Nivkh people's view of the soul, the repetitive transition of the soul to the afterlife continues and each time the soul gets smaller in size and eventually turns into dust. And the idea of reincarnation in this world coexists. The Nivkh people's view of the underworld is characterized by the belief that the underworld is nearby and that it is not difficult to get there. The Nivkh people's bear festival clearly shows the clan characteristics, the kinship relationship between bear and the Nivkh people, and the exchange relationship between bear and the Nivkh people. The traditional funeral of the Nivkh people was cremation, which changed to burial after the 1940s, but some elements of past cremation continued. The most characteristic feature of the Nivkh traditional wedding is the pot-stomping ritual.

Национальные имена, личные песни и семейные предания как способы трансляции семейно-родовой истории в культуре коряков-чавчувенов

The paper explores how the Koryak culture preserves and transmits family and ancestral values despite challenges such as assimilation, language decline, and economic structure transformations. Until the 1920s, the Chavchuven and Nymylan Koryak descendants, even those from mixed marriages, possessed both national names and names recorded in official documents. The choice of name is conditioned by the idea of reincarnation that implies the soul of an ancestor to be reborn in a descendant. The recollection of older relatives can be preserved by performing their personal songs. In the context of rituals, such a performance of ancestors’ songs is regarded as a form of communication with them. This study analyzes the compositional and harmonic features of personal songs of relatives performed by N. S. Kuznetsova-Kerguvie (Nuteŋewyt, 1949–2023). The paper provides the notes of the songs accompanied by links to audio and video illustrations. Family narratives under analysis offer a comprehensive account of the life histories of ancestors, reflecting traditional Koryak cultural practices such as matchmaking, bride kidnapping, conspiracy, and marriage under the law of levirate. The peculiarity of family narratives lies in the specifics of their functioning: they are the heritage of a narrow family circle. The enduring relevance of borderline life situations experienced by ancestors persists within the descendants of the family, thereby ensuring their transmission from one generation to the next.

«Маньчжурская принцесса» А. Хейдока и «Весна в маленьком городе» Сяо Хун: сопоставительный анализ

<p>The article compares two works — «Manchurian Princess» by Russian emigrant writer A. Heidok and «Spring in a Small Town» by Chinese writer Xiao Hong, which were created in approximately the same epoch and reproduce the same place of action — the north-east of China. Heidok’s work appealed to the mystical ideas of Chinese culture (the idea of reincarnation); Xiao Hong’s work was deeply influenced by Russian classical literature. Both stories present a story of tragic love, which breaks the traditions of a conservative society and radically changes the lives of the characters. The meaning of the characters’ lives lies in returning to the true nature of man — love, because only in it does existence find meaning; at the same time, the theme of love is closely intertwined with the theme of death. In both works there is an intersection of different epochs — the past and the present; at the same time, it is the past that determines the course of events of the present. Specific situations of the characters’ lives are revealed in a broad historical and cultural space, which allows the author to put before the readers the most important ethical and philosophical problems. A. Heidok’s story shows how life in the previous birth influences the actions of a person in subsequent births; in Xiao Hong’s story «the past» is the power of tradition, which does not allow a girl to get an education and determine her own destiny.</p>

윤회 사상과 해탈의 미학

The purpose of this paper is to discuss Hwang Dong-kyu's poetry and Buddhist spirituality by focusing on the value of spiritualism. The theory of the Four Noble Truths, the core of Buddhist doctrine, is used as a framework for analysing Hwang's poetry. In Hwang's poetry, the analyses encompass the entire text, while at the same time paying attention to the images that persist in each poem. To this end, the variations and regressions of the water and fire images set up a model of methodology for textual analysis. By naming his poetic images as departure and harvest, repeated sorrow, sublimation of death, premiere and regression of life, the analysis of Hwang Dong-gyu's poetry confirmed the connection between the Buddhist spirit and the idea of reincarnation in his poetry.

The etymological reconstruction of the concept of "reincarnation"

The idea of ​​reincarnation, the belief in the possibility of reincarnation is now one of the most interesting topics. She increasingly attracts the attention of philosophical, religious, and above all scientific thought. It is difficult not to agree with the depth of the circle of existential issues that it covers, because it is a whole range of problems of human existence: despair, life and death, hope, immortality of the soul. As a result, on the basis of attempts to follow the ways of their solution, vital projects of cultures, valuable landmarks are lined up. In the scale of religious values, the idea of ​​immortality of the soul is in higher hierarchical layers as a goal and an ideal, a condition for the achievement of the otherworldly, kingdom of God. In the context of this gradation, the phenomenon of reincarnation, as containing the idea of ​​eternal existence of the soul, has a value aspect, succinctly fits into the hypothetical problem of human immortality and, in our opinion, requires more in-depth study.

시각예술에서의 리인커네이션의 개념

Reincarnation, literally means be made flesh again. It is a mystical belief that the soul lives again in a new body after death. In this study, both material and spiritual elements are reincarnated in the form of the formative art in our life. This is similar to the notion of transmigration of the souls in Buddism and Taoism. Even a work of low merit can be an artifact when we give a new meaning and value through the reincarnation. Reincarnation opens another dimension in the formative art and it can be a new source of energy Andy Warhol, who is a central figure in the pop art movement, seems to have an idea of reincarnation in the base of his work. In Korea, there are many experimental arts in design and advertising which shows reincarnation. In the modem society, the activity and mind of reincarnation have been enhanced through Internet and digital medium and people consider reincarnation as a universal philosophy in the art. Especially, the reincarnation as a continuum of design has many implementations. Now the object will be freely adopted, and transformed and it will open a new age in the formative art. We should be ready to enjoy the arts.

Reincarnation As A Metaphysical Principle Of Explanation In African Traditional Thought: A Critique

Reincarnation is a belief taught by many of the World's religions. It is the doctrine of second birth to earthly life. It is held that though the physical body decays at death, the life-force, or soul or spirit reincarnates in another body on earth. It is as if our physical bodies are like a suit of clothes that has to be discarded for a new one when it is worn out. The belief in reincarnation has engaged the attention of great Western philosophers for ages. From Pythagoras through Epicurus, Socrates, Plato, Aristotle, St. Augustine, down to the contemporary period, varying views on reincarnation have been held. The belief in reincarnation also exists in African traditional thought. In this write-up, a critical exegesis of the African idea of reincarnation is our task. Attempt will be made to show whether there is a rational justifiable ground for holding this belief among the Africans. Our particular aim is first to examine the peculiar logic of reincarnation with a view to illuminating understanding of the phenomenon and discovering the value of holding the belief in reincarnation and then mount a rebuttal of the belief. Global Journal of Humanities Vol.3(1&2) 2004: 15-19

Mizuko Kuyō and New Age Concepts of Reincarnation

This essay is an attempt to apply the religious views of people who follow New Age ideas, based on particular beliefs concerning reincarnation, to the question of abortion and memorial rites for the aborted. The performance of mizuko kuyŌ???? (memorial rites for aborted or stillborn children) expanded dramatically from the 1970s. Two of its characteristics are the threat of a curse from the aborted fetus, and sexual discrimination based on fixed gender roles. The performance of these rites has spread, however, without any religious answers to questions concerning the meaning of abortion and when life begins and ends. In contrast, the idea of reincarnation, which sees life in this world as continuing from past lives and into the present and future lives, offers a new perspective to the act of abortion as a choice involving human relationships for the fetus and the mother who bears it. In this article I present the findings of a survey of people whose ideas on life are based on New Age beliefs of reincarnation, and show how these beliefs allow them to accept the experience of abortion as women and offer support to continue their lives in a positive way.

論《紅樓夢》的三世生命説與兩種聲音 ——説《紅樓夢》思想之精髓

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 本文認為：《紅樓夢》中有個相似於佛敎三世生命觀的三世生命説，即大觀園中的「風流冤孽」們，他們來自「太虚幻境」，歷劫「詩禮簪縷之族」，最後又復歸「太虚幻境」，而不論他們在「現世」其「業」如何。與此相應的是，作品也以三段式情境結構線索作為它的基本構架，即以「幻境」起，以「幻境」結，其間以主要篇幅寫發生在「王道樂土」上的一切。於是，書中也就發出了兩種聲音：一是令人熱耳酸心的，那就是「救救青年」，這是在整個大觀園變作一座「花塚」時發出的；一是令人如飲清泉的，那就是「四海之內皆姊妹也」，這有別於「四海之內皆兄弟也」的聲音是從太虚幻境發出的。一個反映了作者對現實的認識，ー個反映了作者對「花塚」那邊的遐想。因此，如果説，這三世生命説是把握作品創作本旨的通幽曲徑，那麼，這兩種聲音則是探得的作品創作本旨的精髓。它與「色空觀念」是無緣的，所謂「太虚幻境」只不過是種「以神道設敎」而已！This paper argues that, in The Dream of the Red Chamber, there is an assumption about reincarnations which is very similar to the concept of reincarnations in Buddhist theology. That means the characters in the novel originated in the Ethereal World of the Immortals, who lived for a while in a cultivated and elegant milieu, and then returned to the Ethereal World, whatever their attainment or experience in the mortal world. The narrative structure is also modelled on the three-phase progress between these two realms: beginning with the Ethereal World and ending with the same Ethereal World, while the main action takes place in the mortal world. It follows then that there are two voices in the novel. One is the pitiful voice which pleads for the salvation of the young people as the whole mansion (that is the whole world in the novel) turns into “one vast grave for the flowers within”. The other is the pristine voice from the Ethereal World, counterpointing it with the observation that “all the blossoms are sisters” though not in the same way that “All men are brothers” in the novel Water Margin. One voice reflects the author's realization about the realities of this world, the other voice tells about the author’s reveries on the other side of “the grave for flowers”. If the idea of reincarnation is the clue to the point of the novel, then the two voices are the guides to that point. The novel is not a treatise on the illusory nature of life. The Ethereal World is used only as a vehicle to convey a didactic message.

On the Genesis of the Glasperlenspiel

In his letter of January 1955 to Rudolf Pannwitz, Hesse stated that the initial impulse for the work was the idea of reincarnation as an Ausdrucksform fur das Stabile im FlieBenden, fur die Kontinuitit der Uberlieferung und des Geisteslebens iiberhaupt. He goes on to state that years before he began to compose he had the vision of an iiberzeitlichen Lebenslauf . . . einen Menschen, der in mehreren Wiedergeburten die grolen Epochen der Menschheitsgeschichte miterlebt.' Carried over from this plan are the Lebensliiufe, the three historical ones and the Castalian and of course the omitted eighteenthcentury Lebenslauf which has since been published in the NachlaBband.2