《造影者》和《迷失迷宫》中的阿福克斯和文化实践

D. Pérez
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引用次数: 0

摘要

在丹尼尔·约瑟夫·奥尔德的青少年小说《造影者》(2015)和佐拉伊达·Córdova的《迷失迷宫》(2016)中,塞拉·圣地亚哥和亚历山德拉·莫蒂兹在各自的文化社区中继承了强大的力量:造影,通过绘画、壁画、雕塑或讲故事为灵魂提供物理形式的能力;以及忌日,庆祝巫女(或巫女)获得特殊能力的仪式,包括元素控制、治疗和/或防御等。然而,最初,通过拒绝的行为,这些年轻女性被排除在她们所在社区的物质、仪式和文化习俗之外。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Afuerxs and Cultural Practice in Shadowshaper and Labyrinth Lost
In the young adult novels Shadowshaper (2015) by Daniel José Older and Labyrinth Lost (2016) by Zoraida Córdova, Sierra Santiago and Alejandra Mortiz are the inheritors of great power in their respective cultural communities: shadowshaping, the ability to provide spirits with a physical form through drawing, murals, sculpture, or storytelling; and the Deathday, a ceremony to celebrate a bruja (or brujo) receiving her particular ability, including elemental control, healing, and/or defense, among others. Yet initially, through acts of refusal, the young women are outside of the material, ritual, and cultural practices of their communities.
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