請幫我翻譯~英文翻中文!(急)

民族音樂學的書~當中一段文章~ If, in possession, dance oscillates between two poles, the figurative and nonfigurative, the one being dance as identificatory behavior, the other dance as trance behavior, this is because it provides the adept with the means of assuming his new personality and living intensely at the motor... 顯示更多 民族音樂學的書~當中一段文章~

If, in possession, dance oscillates between two poles, the figurative
and nonfigurative, the one being dance as identificatory behavior, the other dance as trance behavior, this is because it provides the adept
with the means of assuming his new personality and living intensely
at the motor level. Depending on the type of cult, one or the other of these aspects will predominate, but both usually seem to be present;
either simultaneously, if the trance takes on both aspects at once (as in the case of the spider dance in tarantism), or else alternately.
In possession, then, dance is a representation of the gods, in other
words theater — sacred theater, but also theater that one enacts not
only for oneself, as Leiris has shown, but also for others. But dance
also is physical exercise, as it is by definition, in any circumstance.
Viewed from either of these aspects it is esthetic activity and play. But in all of its aspects it is, above all, communication — with oneself and with others.
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