Yamaguchi & Simmel: Key Concepts

In this way, display and performance only add meaning that is more profound to the ordinary object getting displayed, but it also acts as a bridge that allows for ones transcendence of time. We see this in Yamaguchi's explanation of Yama: "The word yama originally denoted mountain, but became associated with and assimilated to the place in which deities reside. In this way, yama took on the sense of a mediating space between humans and gods" (Yamaguchi 58).

Another key concept mentioned by Yamaguchi that helps us realize how display and performance lend meaning beyond the actual objects getting displayed is the thought of behind yama. The objects being displayed or performed are incredibly only stand-ins for other meanings to which their specific exhibition refers. The display or exhibition themselves are artifice, but they're used as manifestations of something that is real. For example, the clothing changed on the figurines named osira-sama represents not the transform of costume but the improve of spirituality since changing the clothes purifies the household. As noted by Yamaguchi (59) "Figurines and actors are merely the objects that assist the clothing, which is the real manifestation of gods." In other words, the exhibition, display or performance of specific ordinary objects are created to offer meaning in a visible type to what's insensible or unseen.

For my look for about the problem of meaning through display or exhibition, I interviewed my grandmother for the way she displays a particular group of objects on her bedroom dresser that, similar to the concept of mitate, are arranged as a ways of giving meaning to the invisible through the use of ordinary objects. My grandfather died a few years back. My grandmother has erected a display in her bedroom that is meant to refer to the spirit of my grandfather and the bond they shared between them, a bond my grandmother nevertheless believes they share. So that you can give meaning to this invisible bond, my grandmother has arranged a group of ordinary objects on her bedroom dresser that refer to this spiritual bond. On her dresser, 1 corner is reserved as a display of objects representative of my grandfather and the relationship he shared with my grandmother. There is an old, worn photograph with torn edges that is held onto the dresser's mirror by becoming placed between the slit between the glass and the wood frame. This picture shows my grandmother and grandfather a year after they were very first married. Inside picture, my child father is getting held by my grandmother. Stuck to a single of the upper portions of the photograph is a piece of palm that is twisted into a cross. My grandfather as soon as acquired this piece of palm at a church program when he and my grandmother were younger. At the bottom of the photograph, my grandmother has pinned the medal my grandfather received during his time in the U.S. Army. This ways a great deal to my grandmother simply because they met while my grandfather was enlisted. Finally, there is a gold wedding band that my grandmother has suspended from the piece of palm at the top of the picture. This was my grandfather's and its presence in the display is my grandmother's visible symbol of the eternal invisible bond that she will often share with my grandfather.

tion are culturally particular and extremely elaborate attempts to give meaning

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