Thèse--Lettres--Paris X, 1976. / Bibliogr. p. 547-567. Index. Thèse soutenue sous le titre : "Le Néolithique de tradition capsienne en Algérie orientale, la grotte Capéletti au Kanguet Si Mohamed Tahar (Aurès).

After making an observation that young people wish to maintain traditions, but they themselves do not wish to attend, lead to a curiosity to examine if traditions serve any purpose for the young people of today. The discrepancies between that the young people say that it is important to preserve traditions versus that themselves do not wish to participate leads us to believe that traditions fills some kind of function but the question is – What function is this? The purpose of this research is to find out what purpose traditions have for young people and also look for the answer to why young people refrain from participating in certain traditions. The results are built from answers from interviews with 36 young people (19 girls and 17 boys) in the ages of 17 – 19 years old. Theoretical frames that helps answer the questions in this paper are represented by theories from Anthony Giddens, Pierre Bourdieu, Émile Durkheim and Erving Goffman. The results shows that traditions fills the following function, - maintaining social relationships and connections at different times and in different contexts, - contributing to interaction and connectedness, - legitimately be allowed to be family-oriented, - opportunity to provide a desirable appearance and a desired identity. The results also shows that traditions have a function to exclude when a person is not included in a social context The results show that choosing to refrain from participating has to do with that we live in a post–traditional society that opens up opportunities to make choices. Our desire to keep traditions is based on our upbringing and in our habits

The focus of this project is to reconstruct a lute as originally made by Sixtus Rauwolf. Rauwolf was a lute maker active in Augsburg from 1577 until ca.1625; only six of his lutes are known at the present time, and all of them have been altered to keep up with musical trends throughout the last four centuries. These six instruments encompass the entire extant corpus of the lute making tradition of the late Renaissance in Augsburg. The reconstruction of this lute strives to achieve a conceivable historical correctness. Yet, without any Rauwolf lute in original condition available, or any other lute made in the same city as a means of comparison, and due to the lack of tangible evidence of how he conceived and constructed his instruments, the enterprise of reconstructing an archetypical Rauwolf lute in its intended shape and style is essentially a combination of historical research and creative process. To understand Sixtus Rauwolf and his work, part of this research aimed to gather biographical, archival and published material, as well as an in-depth study of the documentation of the known extant lutes by Rauwolf held in public and private collections: The Metropolitan Museum of Art in New York, Musikmuseet in Copenhagen, The Fugger Museum in Babenhausen, Scenkonstmuseet in Stockholm, and two more in private collections in London. In addition, the research process is solidly based on a thorough study of the lute, its characteristics and construction, during the late Renaissance in Europe through printed music and treatises, iconography, and the extant lutes of that period. Nevertheless, none of these resources suffice individually; the separate pieces of information gathered through research underwent a cross examination, and the unanswered questions were solved by means of a creative process reliant also in lute-making experience and ergonomics. The final result of this project is materialized in the construction of a fully functional lute, as newly-made by Sixtus Rauwolf.

This research aims to analyse the role and consequence of state patronage and promotion of Thai classical dance after the revolution of 1932, when the patronage of court dance changed from royal to state support. This research examines connections between the authority of the state, nationalism, Thai identity, and the invention of tradition, by focussing on the reconstruction of Thai classical dance, the promotion of spirituality in the Wai Khru ceremony, and dance pedagogy. This study uses historical research and ethnography through participant-observation, and interviews with senior dance teachers, national artists, masters of the Wai Khru ceremony, and dance artists in the Fine Arts Department, and also draws on the researcher’s personal experience in dance training as a dancer and dance teacher for several years. The thesis offers a detailed analysis of the socio-political context and cultural policy in relation to the establishment of the Fine Arts Department and the Dramatic Arts College; the national institutions whose main roles were to preserve, perform and offer training in traditional dance. After the revolution of 1932, the Fine Arts department played an important role to authorise, preserve, and standardise Thai classical dance. The function and meaning-making processes surrounding dance changed in accordance with the development of Thai identity and cultural policy. During the period 1932-1945, state policy emphasised the homogeneity of ‘Thai-ness’ and civilization, and traditional dance was adapted and combined with classical, folk and western elements. However, after the mid-1940s, the socio-political and cultural policies changed; the state operated the project of cultural revivalism. The court dance style and its rituals were revived with the establishment of a code of ‘classicalism’ which became the central aesthetic identification of Thai identity. The newly-coined classicalism has become the standard, and has been passed on to succeeding generations in the new educational system. These new invented traditions were preserved as if they were sacred, a practice which continues to the present.

The present work examines the role played by oral tradition in the evolution of the Persian (written) epic tradition, which virtually began with the Shadhname of Ferdowsi (ShNF). The text is also the culmination of a long development that stretches back into ancient times. In the process of transmission of narratives, both writing and oral tradition are assumed to have played a role. While Ferdowsi's written sources have been studied, the influence of oral tradition on his work remains largely unexplored. In order to explore oral influence on the ShNF, the thesis suggests a new approach. Based on formal characteristics of naqqali (the Persian storytelling tradition as it is known from later times), a set of criteria is proposed to demonstrate the extent to which a written text shows structures which could be explained as deriving from oral composition, here called "Oral Performance Model" (OPM). The OPM consists of formal and thematic criteria. The former consider whether a text can be divided into a sequence of instalments, and the latter examine how instalment divisions affect the thematic organisation of the story. By applying the OPM to the ShNF, it becomes clear that Ferdowsi used techniques associated with oral storytelling. Such findings on the ShNF throw new light on the later epics, which are not only influenced by the ShNF as a model but are also influenced by oral performance. To demonstrate this, the OPM is applied to the Garshaspname of Asadi (GN). While oral performance continues to influence the structure of the text, it is also clear that literary elements play a greater role in the GN than in the ShNF. Despite his literary ambitions, Asadi displays his implicit dependence on oral performance, which seems to have fundamentally shaped his perception and appreciabon of heroic stories.

Apesar de milenar e ricamente inserido na cultura, o consumo de drogas ainda é encarado como um tabu na sociedade de hoje. Este trabalho visa entender e discutir de maneira crítica as características do consumo de drogas na sociedade contemporânea. Para isso, no primeiro capítulo é estudado a história da formação do sujeito e da sociedade Moderna, que nas revoluções burguesas e nas guerras mundiais definem o cenário de ascensão do consumismo. No segundo capítulo é feito um breve levantamento da história das drogas com suas diferentes inserções na vida dos homens, marcando que seu consumo é histórico, e posteriormente é traçado o atual estado da discussão sobre drogas nos âmbitos políticos e científico. No terceiro capítulo discute-se sobre o sujeito que consome a droga e sua formação subjetiva e psíquica e a intima relação que esta formação tem com o social. No quarto capítulo é explorado as características sociais em que o sujeito consumidor de drogas se insere e é analisado as características contraditórias que constituem o consumo de drogas na contemporaneidade. Amplamente utilizada, as drogas são divididas em categorias quanto a sua legalidade ou sua finalidade e desse modo se incentiva o consumo de alguns tipos e se proíbe o consumo de outros. Tal contradição permite que se projete nas drogas, pelo seu consumo e pelo seu combate, toda a agressividade do instinto de morte gerado por um sistema que idolatra o novo e é excessivamente repressivo, cobrando o máximo de desempenho dos sujeito. Neste contexto, o consumo torna-se a principal atividade mantenedora do sistema produtivo, tanto pela parte econômica de dominação, quanto por romper os vínculos com o passado e com toda a tradição que poderia oferecer algum tipo de suporte ao sujeito que se encontra desamparado. O consumo de drogas, irreflexivo, serve bem a esse sistema pois dele se ignora todo o passado e o possível futuro, exigindo apenas o prazer máximo e momentâneo / Although ancient and richly inserted in culture, drug use is still seen as a taboo in today\'s society. This work aims to understand and discuss critically the drug use characteristics in contemporary society. For this, the first chapter is studied the history of the formation of the subject and the Modern society, which in bourgeois revolutions and world wars define the rise of consumerism scenario. The second chapter made a brief survey of the history of drugs with their different inserts in the lives of men, marking its consumption is historical, and is later traced the current state of the drugs on discussion in the political and scientific fields. In the third chapter discusses about the subject consuming the drug and its subjective and psychological training and the close relationship that this training has with the social. In the fourth chapter is explored social features in the drug consumer subject is inserted and is analyzed the contradictory characteristics that make up the drug use nowadays. Widely used, the drugs are divided into categories as its legality or its purpose and is thus encourages the consumption of certain types and prohibits the consumption of others. This contradiction allows you to design on drugs, its consumption and its combat, all the aggressiveness of the death instinct generated by a system that worships the new and is overly repressive, charging the maximum performance of the subject. In this context, consumption becomes the main sponsor activity manufacturing, both for the economic part of domination, as to break ties with the past and with all the tradition that could offer some kind of support to the individual who is helpless. Drug use, unreflective, serves well to this system because it is ignored all the past and the possible future, requiring only the maximum and momentary pleasure

Approaching the subject of 'orality' as a complex social-historical practice containing fissures of technological inversion and spatial-acoustic transgression, this thesis seeks to understand the implications of an electronically realised 'secondary orality'. In particular, it seeks to understand this idea as it is elaborated in the media theory of Marshall McLuhan. The approach taken here attests to a vitally important, if often' ghosted', materialism of acoustic space, a context which is immediately and ambivalently implicated in the institutionalising and ideologising of communications technology. It is argued that a cultural media theory must address those forms of managed communicative experience that serve to diminish the everyday vernacular. The Introduction of the thesis identifies developments that have brought the idea of a 'secondary orality' into being. Chapter One examines Havelock's and Innis's privileging of technology in the orality question, as well as the general denial of acoustic practice within the orality-literacy debate. Chapter Two explores Ong's ideas on 'presence' as well as Derrida' s critique of Western phonocentrism in terms of the larger historical denial of sound. Chapter Three explores McLuhan's position on the techno-evolutionary overcoming of rationalism in the new electronic landscape and argues that his 'electronic materialism' is a form of interiorisation. Chapter Four turns to a discussion of the ancient world to consider oral ambivalence and the paradox of orality in the transition to literacy. Consideration is also given to the early modern emergence of a paradigm of abstract visualisation. Chapter Five examines the modern emergence of an oral resistance found in the acoustic otherworld of the' chapbook' and the poetics of Wordsworth, Blake, and Clare. Chapter Six discusses issues of the oral 'other' as found in the theories of Bakhtin, Volosinov, and Kristeva. Chapter Seven investigates a varied postmodern neo-McLuhanism in relation to issues of ecology, intertextuality, and the feminisation of technology. The Conclusion argues that 'secondary orality' involves a technological inversion of oral powers serving an electronic hegemony. The mimetically engineered spatial disorientation of transgressive sociality is further considered.

L’image de la Perse et des Perses occupe une place importante dans l’œuvre d’Ammien Marcellin, un Syrien hellénisé du IVe siècle, auteur d’un ouvrage historique écrit en latin. La présente recherche, qui replace le sujet dans le reste de la tradition romaine et la tradition arabo-persane, s’articule en trois parties : « Ammien, une source majeure ? », « L’image de la Perse chez Ammien : l’art de la description », et enfin « Les Perses dans le récit du conflit romano-perse de 354 à 378 : l’art du portrait et de la narration ». Il en ressort qu’Ammien a adopté un point de vue romain, tout en se distinguant de la tradition historiographique romaine antérieure. Il se démarque également de la tradition arabo-persane. Ammien, auteur atypique de par ses origines et du sujet qu’il traite, l’est aussi par son écriture. / The image of Persia and Persians occupies an important place in the work of Ammianus Marcellinus, a hellenized Syrian of the 4th century, author of a historical written in latin. The present research, which replaces the subject in the rest of the roman tradition and the arabo-persian tradition, is articulated in three parts : « Ammianus, a major source ? », « The image of Persia at Ammianus : the art of description », and finally, « The Persians on the account of the Romano-Persia conflict from 354 to 378 : the art of the portrait and the narration ». This reveals that Ammianus adopted a roman point of view, while being distinguished from the former roman historiographical tradition. He also dissociates arabo-persian tradition. Ammianus, author atypical from his origins and the subject which it treats, is also by its wrinting.

The production of knowledge has become a matter of power rather than truth and can serve either serve as a tool of liberation or domination. This creative project seeks to explore the interaction of power, knowledge and media in Africa given its history with European colonialism. This period painted Africa as an uneducated and dark continent that had no history and no knowledge. This belief has led to assumptions about knowledge production which are embedded in racist conventions rather than the free and fair pursuit of complete knowledge. The processes of knowledge production are ranked in a hierarchy and in this system of classification, focus on the written word has dominated curriculums while other systems of knowledge production, specifically the oral tradition, have largely been undervalued and ignored. As such, what is a vibrant, complex and active tradition of African orality in the pursuit and preservation of knowledge has been relegated to the back rooms of academia and scholars are not allowed to access to a variety of methods that can be used to know and understand the world. In analysing the current climate of knowledge production and the role media plays in Africa one must examine several questions: How did the West become the centre of knowledge production? What value can be extracted from the African oral tradition in the pursuit of knowledge in the current system of knowledge production? What are the implications of this on Africans as producers of knowledge and Africa's media landscape? While this creative project does not answer these questions entirely, it opens conversations about how we understand and experience knowledge, media, and power in an African context. Guided by the frameworks of power and postcolonial theory and decolonisation, this creative project aims to offer a critical but open-ended analysis of the state of African knowledge production and media while centring the African oral tradition. This project also aims to begin the work of creating a collection of oral stories to highlight the wisdom and insight that comes from the African oral tradition and what it can offer. Ultimately, this project is a call to widen our epistemological landscapes by including African ways of knowing and media use.

Ce travail doctoral cherche à répondre à la question : « Comment innover dans un métier traditionnel ? » et se concentre sur l’étude empirique de nature qualitative d’un secteur spécifique, celui lié au métier d’entrepreneur du paysage en France. Après une présentation de ce secteur, une conceptualisation de la tradition est proposée comme point de départ. La question est ensuite traitée successivement à quatre niveaux d’analyse distincts, du niveau de l’entrepreneur à celui de la société, en s’appuyant sur des cadres conceptuels adaptés à chaque niveau étudié : l’intermédiation d’innovation, le travail institutionnel et la tétranormalisation. L’ensemble du travail aboutit sur un certain nombre de contributions théoriques, mais également managériales, destinées autant aux entreprises qu’aux institutions, qu’elles s’inscrivent dans des métiers traditionnels ou non. De nombreuses voies de recherche donnent finalement des pistes fécondes pour les chercheurs qui souhaiteraient se lancer dans l’étude de la relation entre innovation et tradition. / This dissertation addresses the following question: “How to innovate in a traditional craft?” It is based on a qualitative empirical study conducted within the specific sector of French landscaping. After having introduced this sector, a conceptualization of tradition is suggested as a starting point. The question is then treated successively at four distinct levels of analysis—from the individual to the societal level—with adequate conceptual frameworks (i.e. innovation intermediation, institutional work, and tetranormalization). The overall dissertation raises several theoretical contributions, as well as managerial implications for both firms and institutions, either related to traditional craft or not. Finally, many fruitful research avenues dedicated to the relationship between innovation and tradition are identified.