- 著者
- 北沢 裕
- 出版者
- 日本宗教学会
- 雑誌
- 宗教研究. 別冊 (ISSN:21883858)
- 巻号頁・発行日
- vol.88, pp.471-472, 2015-03-30
1 0 0 0 OA 死後世界の体感 : 聴こえない音を語る
In comparison to visual expressions describing the after-life, there are fewer descriptions of its sounds. At first this might seem to be because of a difficulty of expression, but the importance of certain tales of “sound” in the other world may arise from the very fact that it is so difficult to talk about that aspect.In this paper, the expressions of sound in the iconography and tales of the after-life in Europe of the Middle Ages will first be considered. That will be followed by an explanation of the concept of the “music of spheres”existing since the Pythagoreans. This sound is said to be harmonious and perfect, but quite difficult to hear. Thus it is literally the “ideal” sound. This concept became the basis for a common expression of the sounds in the afterlife in the Middle Ages, contrasting the ideal sounds of heaven with real sounds from life on earth describing the cacophony of hell.A further look will then be taken into the Celtic view of the other world, one that is deeply connected to the classification of tales of “journeys to the other world” during the Middle Ages. That examination leads to a consideration of the manner in which there was an intermingling of, on the one hand, the Pythagorean concept of a vertical heavenly scale (scale of spheres) and a rising musical scale with, on the other hand, the Celtic images of a horizontal movement of a journey to the end of this world. This overlaps with the aspiration for a “kingdom of God” that includes an earthly paradise.In the modern age, there has not necessarily been a successful sharing and handing down of tales of the afterlife. Despite this, in some accounts of near-death experience, much like in the tales of the past, confirmation can be made of an eagerness to express the sounds of the other world that 26 ordinarily would be impossible to express. It is also an important fact that the power of sound holds major significance for humans in terminal care who are striving to hurdle the wall of death. It is believed that hearing is the sense that remains until the very end of a person’s life. It is also clear that familiar songs from childhood fulfill a function of providing peace of mind as well as consoling people with worries.Both in the past and today, people ordinarily are unable to hear the sounds of heaven. Nevertheless, people have been trying to hear and describe the “inaudible sounds” of ascending to heaven in the purest, most ideal sounds that they can hear in this world. People may proceed along a journey to an afterlife ringing with unknown sounds that transcend life while being supported by nostalgic songs and the power of sound.
1 0 0 0 IR 死後世界の体感 : 聴こえない音を語る (死後世界と死生観)
In comparison to visual expressions describing the after-life, there are fewer descriptions of its sounds. At first this might seem to be because of a difficulty of expression, but the importance of certain tales of "sound" in the other world may arise from the very fact that it is so difficult to talk about that aspect.In this paper, the expressions of sound in the iconography and tales of the after-life in Europe of the Middle Ages will first be considered. That will be followed by an explanation of the concept of the "music of spheres"existing since the Pythagoreans. This sound is said to be harmonious and perfect, but quite difficult to hear. Thus it is literally the "ideal" sound. This concept became the basis for a common expression of the sounds in the afterlife in the Middle Ages, contrasting the ideal sounds of heaven with real sounds from life on earth describing the cacophony of hell.A further look will then be taken into the Celtic view of the other world, one that is deeply connected to the classification of tales of "journeys to the other world" during the Middle Ages. That examination leads to a consideration of the manner in which there was an intermingling of, on the one hand, the Pythagorean concept of a vertical heavenly scale (scale of spheres) and a rising musical scale with, on the other hand, the Celtic images of a horizontal movement of a journey to the end of this world. This overlaps with the aspiration for a "kingdom of God" that includes an earthly paradise.In the modern age, there has not necessarily been a successful sharing and handing down of tales of the afterlife. Despite this, in some accounts of near-death experience, much like in the tales of the past, confirmation can be made of an eagerness to express the sounds of the other world that 26 ordinarily would be impossible to express. It is also an important fact that the power of sound holds major significance for humans in terminal care who are striving to hurdle the wall of death. It is believed that hearing is the sense that remains until the very end of a person's life. It is also clear that familiar songs from childhood fulfill a function of providing peace of mind as well as consoling people with worries.Both in the past and today, people ordinarily are unable to hear the sounds of heaven. Nevertheless, people have been trying to hear and describe the "inaudible sounds" of ascending to heaven in the purest, most ideal sounds that they can hear in this world. People may proceed along a journey to an afterlife ringing with unknown sounds that transcend life while being supported by nostalgic songs and the power of sound.