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Comment développer l’agriculture de petits paysans au Guatemala ? C’est la question que l’État guatémaltèque se pose depuis 1944, lorsque le Printemps démocratique tenta, sans y parvenir, d’organiser la transition du régime des grandes plantations latifundiaires à une agriculture de petites et moyennes exploitations modernisées. Nous nous intéressons dans cette thèse au cas des villages mayas-q’eqchi’ de la vallée de Cahabón au Guatemala. Face aux différentes politiques de développement qui leur ont été « proposées » avec plus ou moins de contraintes, par les élites locales, nationales ou relevant des ONG, les paysans q’eqchi’ se sont efforcés de construire leur relative autonomie actuelle grâce à une longue lutte juridique contre le dispositif du colonat dans l’Hacienda, puis en essayant de s’adapter non sans douleurs aux politiques de « transformation agraire » de l’État militarisé, et enfin à la privatisation et la parcellisation des terres imposée par la démocratie libérale. La comparaison de la version q’eqchi’ de cette histoire avec la version « occidentale » et la version de l’élite ladina locale, permet de comprendre les enjeux et la complexité des conflits, ainsi que la façon dont les Q’eqchi’ organisent leur résistance et leurs luttes, au travers d’une cosmovision et de paroles propres. En même temps, on tentera de décrire les institutions originales (travail mutuel, abstinence, confrérie) qui régulent la production de denrées commerciales (café, cardamome, cacao, piment) et vivrières (maïs, haricot, courges, etc.) et la relation à l’argent qui en découle. Cela permettra de comprendre les réussites et les échecs des différents programmes de développement actuels. / How to develop peasant agriculture in Guatemala? Such is the challenge the Guatemalan State faces since 1944, that is, since the “Democratic Spring” tried, without success, to organize the transition from the large latifundios plantations to an agriculture based upon small and medium sized modernized exploitations. The thesis takes the case of Maya-q' eqchi' villages of the valley of Cahabón in Guatemala. Considering the different development policies which “were proposed to them” with their constraints, by national and local elites or by ONG, Q’eqchi’ peasants built their relative autonomy thanks to a long legal fight against the device of the colonato of the Hacienda, then by the painful adaptation to the policies of “agrarian transformation” of the militarized State and to privatization and the parcelization of land imposed by the liberal democracy. The comparison between the Q’eqchi’ version of this history with the “western” and the local ladino elite version provides a detailed ethnographic picture of the complexity of these conflicts and the way Q'eqchi' have organized their resistance and their fight, through their own cosmovision, words and ritual. Through the description of the original institutions (mutual work, abstinence, brotherhood) which control the production of commercial food products (coffee, cardamom, cocoa, hot pepper) and food (corn, bean, marrows, etc) and the relation with money, it relates the successes and the failures of various current programs of development.

Dès les débuts de l’archéologie préhispanique, au XIXe siècle, le temple maya sous sa forme commune de pyramide est devenu la figure de proue d’une discipline qui s’est construite dans un contexte intellectuel bien particulier. Entre la redécouverte du patrimoine archéologique italien et égyptien et l’esprit romantique des premiers explorateurs, les constructions mayas perdues dans la végétation du Yucatán et du Petén ont su enflammer l’imagination. L’étude du monde méso-américain a donc pris naissance dans le creuset de l’évolutionnisme européen et de la tradition chrétienne, dès la Conquête espagnole, au XVIe siècle. En réalité, la pensée cosmographique maya, née du fonds culturel méso-américain formé à l’époque olmèque, est beaucoup plus complexe, et l’on ne peut se contenter d’interprétations consensuelles. Le temple maya, réitération du macrocosme, est l’une des expressions spécifiques d’une conception de l’univers qui se manifeste au travers d’un véritable discours d’imbrication et de démultiplication interne de signes. Fondée sur l’examen précis et systématique d’un vaste corpus de sites des Basses Terres de la péninsule yucatèque et du Petén, datés du IIIe au Xe siècle (époque III ou Classique), cette étude use de la sémiologie comme outil d’analyse de l’organisation spatiale des centres urbains mayas. Elle se propose d’apporter une nouvelle lecture du processus intellectuel et matériel de construction, afin de révéler l’ensemble de la sémantique formulée par le temple et l’architecture rituelle et sacrificielle mayas. / From the beginning of pre-Hispanic archaeology, in the end of the 19th century, the Maya temple as a pyramid has become the figurehead of a discipline built in a very specific intellectual context. Between the rediscovery of the Italian and Egyptian archaeological heritage and the Romantic spirit of the early explorers, Maya buildings lost in the forest of Yucatán and Petén were able to fire the imagination. The study of the Mesoamerican world has thus been formed based on European evolutionism and Christian tradition, starting from the Spanish Conquest in the 16th century. Actually, the Mayas’ cosmographic thought, born of the Mesoamerican cultural unit – first formed by the Olmecs – is so much more complex that we can not just settle for consensual explanations. Not only is the Maya temple a reiteration of the macrocosm, but also a particuliar expression of their conception of the universe which is a true speech made of internal multiplication and interweaving signs. Built on a systematic and accurate observation of a huge site corpus of the Lowlands of the Yucatecan peninsula and Petén (3rd to 10th century, Classic period), this study uses semiology as a real tool for analysing the spatial organization of Maya cities. Its aim is to provide a new understanding of both the intellectual and material construction process, in order to reveal the whole semantics behind the temple and the Maya ritual and sacrificial architecture.

In der heutigen Filmindustrie bietet das 3D-Design ein anerkanntes Mittel, um virtuelle Welten oder Charaktere zu erschaffen. Doch das 3D-Design dringt mittlerweile auch in andere Bereiche vor, so etwa der Medizin und der Architektur. Dabei bietet die virtuelle Rekonstruktion auch vielfältige Möglichkeiten für die Archäologie/Ägyptologie. Beispielsweise können von kleineren Objekten oder Papyri virtuelle 3D-Modelle erstellt werden. Der große Vorteil dabei ist, dass die Originale nicht beschädigt werden und mehrere Wissenschaftler zur gleichen Zeit an ein und demselben Objekt forschen können. Selbst für die Bauforschung dürfte das 3D-Design immer bedeutender werden. Gebäude, die sich heute nur in ihren Grundrissen erhalten haben, können mithilfe des 3D-Designs nahezu vollständig rekonstruiert werden. Nicht zu unterschätzen ist dabei auch die Wirkung, die virtuelle Rekonstruktionen von ägyptischen Tempeln, Gräbern, Gebäuden auf die Gesellschaft erzielen. Durch die 3DRekonstruktionen kann nicht nur Wissenschaftlern, sondern auch Interessierten ein anschaulicher Eindruck von der Lebenswelt des Alten Ägypten vermittelt werden. Bislang steht das 3D-Design allerdings in dem Ruf, besonders schwer erlernbar und sehr kostenintensiv zu sein. Doch gibt es neben einigen aufwendigen 3D-Design-Programmen auch nahezu kostenfreie Alternativen, die man sowohl privat wie beruflich nutzen kann. Diese Programme sind dabei sehr anwenderfreundlich gestaltet und relativ leicht zu erlernen. Ziel des Vortrages ist es, diese Programme und ihre Möglichkeiten für die Ägyptologie vorzustellen.

I denna studie kommer jag gå igenom hur man kan gå till väga för att förmedla personlighet till icke-levande objekt genom 3D-animation. Syftet med studien är att få en bättre förståelse för animation, samt hur man kan få icke-levande objekt att kännas mer levande genom att ge dem personlighet som förmedlas genom 3D-animation. Studien ska ses som ett första steg för de som är intresserade inom animation och vill lära sig mer om hur man kan förmedla personligheter till olika karaktärer genom animation. Sättet som jag har valt att utföra denna undersökning är att gestalta en kortfilm där karaktären man följer är en mjölpåse som försöker överkomma sin rädsla för höjder med hjälp av sin vän som hejar på. Det jag hoppas på att åstadkomma med min undersökning är att uppmuntra personer som är intresserade inom animation, men som inte har någon grund i ämnet, till att ta första steget och börja animera. Det finns mycket till animation och att ha en bättre förståelse för personligheter i animation underlättar. Personligheter i karaktärer är en viktig del inom spelbranschen samt filmbranschen. Utan personligheter blir det svårt för användarna att bli investerade i det man vill försöka förmedla. Resultatet kommer gå djupare in på hur man kan förmedla personlighet genom känslor, samt om en intervju med en animerare för att få inblick i spelbranschen. / In this article, I will go through how to go about conveying personality to non-living objects using 3D-animation. The purpose of the article is to get a better understanding of animation and to make 3D-objects feel alive by giving them a personality conveyed by animation. This article should be seen as a first step for those who are interested in animation and want to learn more about how to convey personalities to different characters through animation. The way I have chosen to go with this study is to make a short film where the character you follow is a flour bag who tries to overcome his fear of heights with the help of his friend who cheers for him. What I hope with my research is to encourage people who are interested in animation, but who have no basis in the subject or do not dare to take the first step, to make their first animation. Personalities in characters are an important part of the gaming industry and the film industry. Without personalities, it will be difficult for users to be invested in what is conveyed. The result will go deeper into how to convey personality through emotions as well about an interview with an animator to get insight in the gaming industry.

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Music is a powerful force. It highlights social hierarchies and relationships. It is a means by which the ordinary everyday can be transformed into the sacred. It has the ability to change our daily routine. How though, was music used, and in what ways did it function in the courtly society of the ancient Maya? In Classic Maya iconography we frequently find scenes of dance performance, ritual, or palace scenes depicted with musicians. Rarely however, are musicians the central focus of the action taking place. Were Maya musicians simply a background ‘soundtrack’ to the primary action unfolding or were they an integral part of Maya courtly life?This thesis conducts an iconographical analysis of the representations of music, musical instruments, and musicians among the Maya along with the consideration of archaeological evidence. The evidence considered comes primarily from the iconography of musicians and musical instruments depicted on several painted ceramic vessels but also takes into consideration iconography found in the murals of Bonampak and the paintings at Naj Tunich Cave, as well as archaeological evidence that appears in the form of preserved instruments at sites such as Pacbitun and the Copan Valley. For the ancient Maya, music was segmented. This is seen in the types of instruments and their groupings as portrayed in Maya iconography. These groupings denote differing categories of musical forms and functions which pertain to particular settings, such as interior palace settings as compared to exterior public settings.In exploring these images, many characteristics common to the depiction of musicians in interior palace settings become apparent that are not see in depictions of musicians in exterior public settings. First, the musicians are depicted kneeling, seated, or standing still. Second, they are located furthest from the most prominent figure. Third, acoustics do not affect instrument choice. Fourth, the form of attire varies more greatly in interior settings than in exterior settings. Finally, the order of instruments remains as standard as those in exterior settings. These scenes provide further evidence of instrument specialization and musical segmentation in Maya music and emphasize the significance music held in Ancient Maya Culture. / text

Despite the fact that swidden agriculture has been the subject of decades of research, questions remain about the extent to which it is constrained by demographic growth and if it can adapt to environmental limits. In this dissertation I analyze ethnographic and ethnohistorical evidence from the Toledo District, Belize, and suggest that Q'eqchi' Maya swidden agriculture may be more ecologically adaptive than previously thought. I use social network analysis to examine farmer labor exchange networks from a chronosequence of five villages where swidden is used. Results suggest that changes in land-use patterns, network structure, and reciprocity rates may increase the system's resilience to changes in the forest's agricultural productivity. I develop a novel interpretation of labor reciprocity that highlights how unreciprocated exchanges, when they occur within the context of a social network, may limit overexploitation of a common property resource. These results are then interpreted in the context of panarchy theory; I suggest that the structural variability observed in labor exchange networks may explain how Q'eqchi' swidden maintains its identity under changing environmental conditions - a definition of resilience. Thus, the resulting picture of Q'eqchi' swidden is one of socioecological resilience rather than homeostasis; dynamic labor exchange networks help maintain a village's social cohesion, ultimately limiting pioneer settlements and slowing overall rates of deforestation. A historical and demographic analysis of market incursions into southern Belize supports this conclusion.

My thesis exhibition is comprised of approximately eleven large-scale portrait paintings done primarily in oil paint on canvas. This body of work investigates the ways the identity of both artist and subject can coexist in a portrait and evolved from my desire to combine portrait painting with writing as well as to develop methods of using paint to express a merging of myself with the individual depicted in the portrait. My creative research has focused on the traditional form of the portrait as a powerful form of representing an individual and how meaning can be expanded through scale, brushstroke, color, texture, composition and the many variables that portraiture deals with. I expanded on the traditional portrait painting by cataloguing my memories and thoughts along with the thoughts of the subject by painting under, into and over the subject in my own handwriting. My "hand" is visible both in the brushstroke and in the cursive writing, preserving my identity in a "readable" way both literally and through graphology, or handwriting analysis. / by Christina Maya Major. / Thesis (M.F.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Neste trabalho foi investigado o efeito exercido por microambientes sobre a estabilidade química e fotoquímica de corantes. Em particular, estudaram-se os fatores responsáveis pelo aumento da estabilidade química e fotoquímica de índigo quando em interação com paligorsquita, que compõem o pigmento histórico Azul Maia, sobre o qual ainda havia controvérsias na literatura. Os corantes investigados foram índigo, dehidroíndigo, alizarina, purpurina, luteolina e β-caroteno; os microambientes foram proporcionados pelas argilas paligorsquita, sepiolita, montmorilonita, laponita e HDL de Al3+ e Mg2+ (3:1). Paligorsquita e a sepiolita são as únicas argilas que apresentam microporos em sua estrutura. As técnicas de caracterização empregadas neste trabalho foram: espectroscopia vibracional (Raman e absorção no infravermelho), espectroscopia de absorção no UV-VIS, difratometria de raios X, análise térmica (TG e DSC), CG-MS, HLPC-MS, medidas de área superficial por isoterma de adsorção de N2 e SEM. Duas técnicas com resolução temporal em escala de sub-picosegundos (absorção de transiente e infravermelho resolvido no tempo) foram utilizadas. O sistema índigo+paligorsquita corresponde à mistura dos dois sólidos, seguida de aquecimento, sendo que a partir de 70 °C a coloração da mistura adquire tonalidade esverdeada e também apresenta maior estabilidade química e fotoquímica. Essa estabilidade e também a alteração na cor aumentam com a temperatura de aquecimento da mistura e o intervalo considerado engloba as temperaturas de perda de água zeolítica (70 - 150 °C) e coordenada (170 - 280 °C) da estrutura da argila. Os resultados de espectroscopia vibracional e eletrônica dos simulantes de Azul Maia indicam que o índigo interage através de ligações de hidrogênio com as moléculas de água coordenada. Essa interação, entretanto, só é possível com a remoção da água zeolítica, o que ocorre a partir de 70 °C. Com aquecimento em temperaturas acima de 170 °C o comportamento do espectro eletrônico e vibracional se altera, indicando a formação direta de complexos com os metais presentes nas bordas internas dos microporos. Os resultados de espectroscopia Raman indicam que com a interação por ligação de hidrogênio a simetria molecular do índigo diminua. Os estudos por espectroscopia com resolução temporal mostraram que o índigo apresenta transferência de próton no estado excitado (ESIPT) de um dos amino grupos para a carbonila adjacente; após esta transferência, há a formação da espécie mono-enol a qual relaxa ao estado fundamental após 120 ps, através de intersecção cônica, o que explica a alta fotoestabilidade do corante. No caso da mistura aquecida a 130 °C os resultados, obtidos pela primeira vez para uma molécula imobilizada em argila, confirmam que o índigo encontra-se em um ambiente hidrofílico, considerando o tempo de vida de decaimento do estado excitado (3,0 ps), comparável ao do índigo carmim em solução aquosa (2,7 ps). O tempo de vida também é muito curto, comparado ao em solução de DMSO (120 ps) o que pode explicar a alta estabilidade do corante quando dentro do microcanal da argila. Finalmente, constatou-se que o dehidroíndigo não é responsável pela coloração de simulantes de Azul Maia, a qual resulta de alterações no espectro de absorção no visível do corante que ocorrem com a interação com a argila / In this work, the role played by the microenvironment on the chemical and photochemical stability of dyes was investigated. The factors responsible for the enhanced stability of indigo when interacting with palygorskite were detailed studied; the indigo and palygorskite system constitutes a simulant of Maya Blue, a historical pigment with properties which are controversially described in the literature. The dyes here investigated were indigo, dehydroindigo, alizarin, purpurin, luteolin and β-carotene; the microenvironment was provided by palygorskite, sepiolite, montmorillonite, laponite and a layered double hydroxide (Al3+ e Mg2+, 3:1). Palygorskite and sepiolite are the only clays with micropores in their structure. Several characterization techniques were employed, namely vibrational spectroscopy (Raman and infrared), UV-VIS electronic absorption spectroscopy, X-ray diffractometry, thermal analysis (TG and DSC), CG-MS, HPLC-MS, surface area and porosity determination (N2 isotherm adsorption) and scanning electron microscopy. Two sub-picosecond time resolved techniques (transient absorption and infrared absorption) were also used. The indigo+palygorskite system corresponds to the intimate mixture of both solids, followed by heating; from 70 °C the mixture attains a greenish hue and an enhanced chemical and photochemical stability. Both stability and color change increase with the heating temperature, which also leads to loss of zeolitic and coordinated water (70 to 150 °C and 170 to 280 °C, respectively). Vibrational and electronic spectroscopies indicate that, in the Maya Blue simulants, the dye interacts with the clay through hydrogen bonds with the coordinated water molecules. Such interaction, however, is only possible with the removal of the zeolitic water, which starts at 70 °C. At temperatures above 170 °C, both vibrational and electronic spectral profiles change, indicating that the interaction is now proceeding directly with the metals that are at the internal borders of the micropores. Results from Raman spectroscopy suggest that with the hydrogen bond and metal interaction a symmetry lowering occurs. Time resolved spectroscopy results show that indigo present an excited state intramolecular proton transfer from one of the NH to the adjacent carbonyl group, originating a mono-enol species, which decays to the ground state after 120 ps through a conical intersection. Such fast decay explains the high photochemical stability of indigo. In the case of the ind+paly mixture heated at 130 °C, the time resolved data obtained for the first time for a dye+clay system confirms that indigo is in a hydrophilic environment, taking into account the excited state lifetime (3.0 ps), comparable to indigo carmine in aqueous solution (2.7 ps). The excited state lifetime of indigo in the clay is also very short when compared to the experimental data for the dye in DMSO solution (120 ps), which is possibly an explanation for the dye high stability when inside the clay micropores. Finally, dehydroindigo was not found to be responsible for the color of Maya Blue simulants, which results from the spectral changes in the dye absorption spectrum originated by the interaction with the clay.