Tangentially, I was actually thinking of writing some comment/post on this in other cultures with beliefs in rebirth. Sometimes ‘names’ are literally a separate factor in rebirth apart from the soul or spirit that relate to what incarnation someone is and their personal identity. The Kwakiutl, for instance, have complex naming systems related in part to their rebirth eschatology. What’s interesting is how nāmarūpa as a concept is still relevant and applicable to other non-Indic cultures in discussing and analyzing their rebirth models — it is not necessarily a useless Brahmanical vestige.
(The same can be said of Western conceptions of reincarnation: What do people mean when they say “John was reborn”? Not all notions of the soul, identity, or personhood are uniform, and many people have non-atomic notions of a soul, allowing the soul of one individual to go several places or several souls to inhabit one individual).
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Also, I wanted to cite Jurewicz’ ‘Playing With Fire.’ In a footnote, she discusses nāmarūpa as cognized by viññāna compelled by sankhārā and avijjā being parallel to the Vedic structure / cosmogony as well. That is to say, she also acknowledges what Olalde calls the objective/external nāmarūpa which is outside of oneself as faithfully represented by the model of paticcasamuppāda. This is not to say we must agree with her that it is relevant in the context of DA (I think she mentions it as tangential either way with a clear correspondence), but it is there nonetheless. Being a footnote, I imagine it is easily overlooked (unfortunately):
49 This may also be expressed in the terminology of the pratityasamutpdda: the poets meet an unknown object (symbolized in the Rigveda mainly by a rock or the night), which corresponds to the image expressed in the pratitya- samutpdda as avidya; then they assume the subjective form (vijidna), which is probably preceded by the will to get the object (samskāra; the presence of this will is guaranteed by the sexual metaphor used to describe the poets’ activity). The next stage is the recognition of the object and its creation (nāmarūpa). This correspondence with the pratityasamutpdda is especially clear at BU 1.4.4. The idea that man repeats the Absolute’s creative activity is also present in the interpretation of the ritual in SB which is the step-by-step repetition of the cosmogony of Prajapati.
Mettā