No description available.

O objetivo central da presente dissertação é analisar a concepção de humano para os maias segundo suas histórias e cosmogonias produzidas no período colonial. Portanto, buscamos os atributos e qualidades do humano maia. Para tal fim, fazemos uma análise também dos predicados dos outros seres que habitam o cosmos maia (deuses, entes sobre-humanos e animais), para compará-los aos humanos e, assim, aproximar-nos dos atributos especificamente humanos para os maias. A análise é feita através de 3 histórias e cosmogonias maias: o Popol Vuh, o Memorial de Sololá e o Chilam Balam de Chumayel. Através dos três relatos nos foi possível perceber que para os maias não existe uma linha rígida que separa humanos e não-humanos, sendo que essas duas categorias de seres que habitam o cosmos convivem, compartilham de algumas características, e tem, cada qual, seu papel na manutenção do universo. Ou seja, humanos e não-humanos possuem papéis sociais, estão envoltos numa mesma sociedade, o que pode apontar para uma visão maia da noção de pessoa bastante diferente da visão ocidental, aproximando-se da visão que possuem os indígenas da América Amazônica / The purpose of this dissertation is to analyze the idea of human for the Maya, according to their histories and cosmogonies produced during the Colonial period. Seeking the attributes and qualities of the Mayan human, we also analyze the predicates of other beings that inhabit the Mayan cosmos (gods, animals, non-humans entities) so that, by comparison, we can approach the specifically human attributes. The investigation is done through three Mayan histories and cosmogonies: the Popol Vuh, the Memorial de Solalá and the Chilam Balam of Chumayel. Throughout the three documents it was possible to notice that, for the Maya, there isnt a rigid line separating humans from non-humans, and these two categories of beings that live in the cosmos share characteristics in common, having, each of them, its part in the maintenance of the universe. That is, humans and non-humans each possess a social role, and are bound together in the same society; which could point to a Mayan perspective on the notion of human that is very distinct from the western approach, and similar to the Amazonian societies

O objetivo central da presente dissertação é analisar a concepção de humano para os maias segundo suas histórias e cosmogonias produzidas no período colonial. Portanto, buscamos os atributos e qualidades do humano maia. Para tal fim, fazemos uma análise também dos predicados dos outros seres que habitam o cosmos maia (deuses, entes sobre-humanos e animais), para compará-los aos humanos e, assim, aproximar-nos dos atributos especificamente humanos para os maias. A análise é feita através de 3 histórias e cosmogonias maias: o Popol Vuh, o Memorial de Sololá e o Chilam Balam de Chumayel. Através dos três relatos nos foi possível perceber que para os maias não existe uma linha rígida que separa humanos e não-humanos, sendo que essas duas categorias de seres que habitam o cosmos convivem, compartilham de algumas características, e tem, cada qual, seu papel na manutenção do universo. Ou seja, humanos e não-humanos possuem papéis sociais, estão envoltos numa mesma sociedade, o que pode apontar para uma visão maia da noção de pessoa bastante diferente da visão ocidental, aproximando-se da visão que possuem os indígenas da América Amazônica / The purpose of this dissertation is to analyze the idea of human for the Maya, according to their histories and cosmogonies produced during the Colonial period. Seeking the attributes and qualities of the Mayan human, we also analyze the predicates of other beings that inhabit the Mayan cosmos (gods, animals, non-humans entities) so that, by comparison, we can approach the specifically human attributes. The investigation is done through three Mayan histories and cosmogonies: the Popol Vuh, the Memorial de Solalá and the Chilam Balam of Chumayel. Throughout the three documents it was possible to notice that, for the Maya, there isnt a rigid line separating humans from non-humans, and these two categories of beings that live in the cosmos share characteristics in common, having, each of them, its part in the maintenance of the universe. That is, humans and non-humans each possess a social role, and are bound together in the same society; which could point to a Mayan perspective on the notion of human that is very distinct from the western approach, and similar to the Amazonian societies

<p>The Gravity Control for Maya will be extraordinary</p><p>beneficial to an animator trying to create realistic</p><p>animation, by calculating the center of gravity and area</p><p>of balance. This control will provide the animator with</p><p>the ability to rotate around the center of gravity and</p><p>keep the character in a balanced pose. With that ability,</p><p>the animator can easily create accurate poses and</p><p>animation, such as mid-air flips. The system also</p><p>supports a vast number of characters with different</p><p>shapes, sizes and number of limbs.</p>

The main objective of this research was to exploit the interrelations between the rheological behavior and nano-microstructure of complex fluids in solving two state-of-the-art problems, one in the field of biomedical engineering: controlling the amount and characteristics of bioaerosol droplets generated during coughing, and the other in the bitumen-heavy oil industry: characterizing the nano-microstructure of asphaltene particles in bitumen and heavy oil from their rheological behavior. For the first problem, effect of viscoelastic and surface properties of artificial mucus simulant gels on the size distribution and amount of airborne bioaerosol droplets generated during simulated coughing were investigated. The results revealed that suppressing the generation of bioaerosol droplets and/or reducing the number of emitted droplets to a minimum during coughing are practically achievable through modulation of mucus viscoelastic properties. While variation of surface tension did not show any change in the droplet size distribution, an increase in particle size was observed as the samples changed from elastic solid type to viscoelastic type to viscous fluid type samples. This knowledge will help in the development of a new class of drugs being developed at the University of Alberta, aimed at controlling the transmission of airborne epidemic diseases by modifying the viscoelastic properties of mucus. For the second problem, studies of viscoelastic behavior of Athabasca bitumen (Alberta) and Maya crude (Mexico) oil samples, along with their Nano-filtered and chemically separated-plus-reconstituted samples were performed. The results revealed that the rheological behaviors of the bitumen-heavy oil samples are governed by their multiphase nature. The rheological behavior of all feeds, permeates and retentate samples followed a single master curve over the entire temperature interval, consistent with that of a slurry comprising a Newtonian liquid plus a dispersed solid comprising non-interacting hard spheres. The behavior of asphaltenes in the reconstituted samples, however, was found to be significantly different from that in nanofiltered samples. The information about the characteristics and behaviors of asphaltenes obtained in this study will help better understand the asphaltene structures, and support the effort to determine solutions for numerous asphaltene-related industrial problems. In the long run, this knowledge will help to create more efficient extraction and upgrading processes for bitumen and heavy oils. / Thermo Fluids

The college commencement address is traditionally regarded as the low point of an otherwise auspicious occasion. An ephemeral form of ceremonial oratory, the commencement speech is reviled for its conventional platitudes, its easy piety, and its abstractions on the well-lived life, the sunny future, and the ethics of adulthood. The South may differ, however, in its approach to the commencement speech genre, especially in the years between World War II and the millennium, when one of the South’s most significant assets became the southern writer. Throughout this dissertation, I have tried to situate eight commencement addresses given by such prominent and dissimilar writers as W.J. Cash, William Faulkner, Wendell Berry, Will D. Campbell, Lee Smith, Clyde Edgerton, Maya Angelou, and Fred Chappell, within the context of the times in which they were delivered and within the speakers' written works. Through my analysis of these graduation talks, I discovered that southern writers typically abandon those repetitious conventions that render the commencement address forgettable in favor of the innovative techniques that were already at work in their written works.

The following work presents a hypothesis which identifies the origins and meaning of an ancient Mesoamerican concept known as the three stones of creation. Previous interpretations have tended to apply astronomical, spatial, or geographical models, while many conclusions have been made on the basis of one Classic Maya monument, Stela C of Quirigua. This thesis builds an argument for the temporal nature of these “stones,” used to metaphorically represent a sequence of separate units of time, referred to as eras, ages, or creations. A primary goal is to demonstrate that Quirigua Stela C provides in brief, summary form a chronology which is better defined through inscriptions in the Cross Group at Palenque, and in a sequence of panels at Yaxchilan containing beliefs about the origins of the ballgame. In constructing an argument for the temporal nature of the three stones of creation, every available context from a set of hieroglyphs mentioned in the Quirigua Stela C “creation” text—including Na Ho Chan (“First 5-Sky”) and “6-Sky”—is discussed in Chapter 2. In Chapter 3, these glyphs are shown to aid in the organization of the deeper past within the Palenque and Yaxchilan mythologies. When compared chronologically and thematically, these sites seem to point to the 24th century B.C.E. as the important termination of a time period (i.e., the planting of a creation stone) related to a mythic complex involving the death and underworld journey of the Maize Lord, followed by his resurrection, emergence, and/or accession to power. Key questions addressed include the antiquity of these beliefs and where the metaphors used to arrange time observed among the Classic Maya originate. In Chapter 4, earlier expressions of this time ideology are interpreted through iconographic conventions, ritual deposits, and monumental architecture at the Olmec site of La Venta. Similarly, Chapter 5 proposes that the Humboldt Celt, the earliest known example of the three stones of creation, arranges units of time into a sequence. These and other interpretations suggest the existence of an ancestral, Mesoamerican era-based time model to which later Postclassic, colonial, and contemporary beliefs, such as those expressed in the K’iche’-Mayan Popol Vuh, are fundamentally related. / text

No description available.

Le Popol Vuh, récit historique du peuple maya quiché, a été traduit des dizaines de fois. Jusqu’au milieu du 20e siècle, bon nombre de ces traductions se fondaient sur la version réalisée en 1861 par Brasseur de Bourbourg, un missionnaire français. Pour souligner le travail du traducteur, nous avons étudié sa traduction non pas d’un point de vue comparatif des deux textes, mais du point de vue du paratexte, c’est-à-dire ce qui entoure le texte (page de titre, préface, notes, illustrations, etc.). Pour ce faire, nous avons dressé le cadre théorique du paratexte à l’appui des écrits de Genette et de Lane, puis nous l’avons appliqué à celui de la traduction du Popol Vuh de Brasseur de Bourbourg. D’une taille colossale, ce paratexte nous renseigne sur ce qui a motivé le travail du traducteur et sur ce qu’il a fait. L’étude de son avant-propos nous indique clairement que son but est de faire connaître la culture des Amériques sous un jour nouveau, et le Popol Vuh est pour lui l’exemple parfait d’une richesse littéraire, historique et culturelle jusque-là largement ignorée. Cette partie du paratexte de Brasseur de Bourbourg nous prépare à la lecture, alors que les nombreuses notes de bas de page nous guident pendant celle-ci. Force est toutefois d’admettre que le paratexte de cet ouvrage est si imposant qu’il porte ombrage à la traduction. Bref, l’étude du paratexte nous amène à aborder la traduction de Brasseur de Bourbourg d’un oeil critique, en fonction de ce que nous dit le paratexte. La lecture du paratexte et la connaissance de ses tenants et aboutissants devraient donc faire d’un simple lecteur un véritable lecteur averti, qu’il s’agisse d’une traduction ou de tout autre texte. / The Popol Vuh is a historical tale of the Maya Quiché people which has been translated many times. Until the mid 20th century, many of those translations were based on Brasseur de Bourbourg’s version published in 1861. In order to situate the translator’s work, we approached his translation from the perspective of paratext, i.e. what ccompanies the text (title page, preface, footnotes, illustrations, etc.), rather than comparing the source text to the translation. In order to do so, we have established the paratext’s theoretical framework, based on the works published by Genette and Lane, and we have applied it to Brasseur de Bourbourg’s translation of the Popol Vuh. Brasseur de Bourbourg’s paratext is colossal; it allows us to understand what motivated his work and what he has done. The study of the translator’s preface clearly demonstrates that his goal was to present the culture of the Americas from a different standpoint, and the Popol Vuh is, for him, the perfect example of a rich literary, historical and cultural heritage that has long been overlooked. The preface to the translation prepares the reader to read the text, whereas the many footnotes guide him when he’s reading the translation. Nevertheless, the amount of paratext is so imposing that it overshadows the actual translation. In short, paratext analysis allows us to look critically and advisedly at Brasseur de Bourbourg’s translation, with a good knowledge of what paratext actually tells us. Therefore, reading the paratext and being aware of its meaning should transform a simple reader into a well-informed and critical reader, whether it is a translation or any other kind of document.

The Maya of Central America developed a complex society: among their many achievements they developed a writing system, complex calendar and were prolific builders. The buildings of their large urban centres, such as Copan in Honduras, were decorated with painted stucco, moulded masks, carving and elaborate murals, using a range of coloured pigments. In this study the paints used on the buildings of Copan and some ceramic sherds have been investigated, non-destructively, using micro-Raman spectroscopy, micro-ATR infrared spectroscopy, environmental scanning electron microscopy with energy dispersive X-ray analysis (ESEM-EDX) and FTIR-ATR imaging spectroscopy. The paint samples come from four buildings and one tomb covering three time periods in the four hundred year history of Copan. The main pigment used in the red paint on these samples was identified as haematite, and the stucco as a mixture of calcite particles dispersed throughout a calcite-based lime wash stucco. The composition and physical nature of the stucco changed through time, indicating a refining of production techniques over this period. A range of minor mineral components have been identified in each of the samples including rutile, quartz, clay and carbon. The presence and proportion of these and other minerals differed in each sample, leading to unique mineral signatures for the paint from each time period. Green and grey paints have also been identified on one of the buildings, the Rosalila Temple. The green pigment was identified as a celadonite-based green earth, and the grey pigment as a mixture of carbon and muscovite. The combination of carbon and mica to create a reflective paint is a novel finding in Maya archaeology. The high spatial resolution of the micro-FTIR-ATR spectral imaging system has been used to resolve individual particles in tomb wall paint and to identify their mineralogy from their spectra. This system has been used in combination with micro-Raman spectroscopy and ESEM-EDX mapping to characterize the paint, which was found to be a mixture of haematite and silicate particles, with minor amounts of calcite, carbon and magnetite particles, in a sub-micron haematite and calcite matrix. The blending of a high percentage of silicate particles into the haematite pigment is unique the tomb sample. The stucco in this tomb wall paint has finely ground carbon dispersed throughout the top layer providing a dark base for the paint layer. Changing paint mixtures and stucco composition were found to correlate with changes in paint processing techniques and building construction methods over the four hundred years of site occupation.