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Les outils d’analyse et de modélisation manquent encore pour traiter la masse des données techniques collectées en contextes archéologiques. Une réflexion méthodologique considère conjointement les besoins des technologues dans la reconstitution de chaînes opératoires et les exigences des méthodes statistiques. Elle mène à la présentation d’une fonction de partitionnement de chaînes opératoires : PACO. Il s’agit d’un procédé automatisé sous le logiciel R, qui rend les analyses plus rigoureuses et plus rapides, mais également plus souples dans leur adaptation aux différents environnements chrono-culturels. Son fonctionnement, basé sur une règle simple, est accessible à tous.Les intérêts de cet outil sont illustrés à partir d’un cas d’étude original. Les techniques de production céramique sont identifiées sur seize habitats et trois nécropoles de la vallée du Rhin supérieur et environs proches, entre le Xe et le VIIIe siècles av. J.-C. Les chaînes opératoires et les traditions techniques, héritées et transmises, sont reconstituées. Cela mène à un essai de représentation de réseaux d’interactions entre communautés ayant un fondement social et spatial. Les lieux et contextes de la production sont investigués à partir d’une relecture des rapports de fouille et d’une observation des pâtes céramiques. Les avantages utilitaires des différentes manières de faire et la co-représentation des traditions techniques au sein des assemblages céramiques sont enfin considérés ; cela amène à discuter la complémentarité et la concurrence des productions à l’aube de l’âge du Fer. / Mining and modeling tools are still missing to process the huge technical datasets collected in archaeological contexts. A methodology considered here takes into account both the needs of technologists reconstructing chaînes opératoires and statistical requirements. It leads to the presentation of a function partitioning chaînes opératoires : PACO. This is an automated process using the R statistical software which makes the analyses more rigorous and faster, and also more flexible while adapting to various chrono-cultural contexts. PACO is based on one simple rule and is understandable by everyone.The advantages of this tool are illustrated by an innovative case study. Pottery making techniques are identified on 16 habitation and 3 funerary sites of the upper Rhine Valley and surroundings, which date from the 10th to the 8th centuries B.C. Chaînes opératoires and technical traditions, which are inherited and transmitted, are reconstructed. This has led to an attempt at representing the networks of interplays between communities defined on a social and spatial basis. Places and conditions of pottery making are investigated through a re-reading of excavation reports and ceramic paste examination. Functional benefits of the different technical traditions and the co-representation of these traditions within ceramic assemblages are finally examined; this is an additional approach to consider complementary and competing productions at the dawn of the Iron Age.

En el Perú, Colossoma macropomum “gamitana” y Piaractus brachypomus “paco” son cultivados en las regiones de Loreto, San Martín, Madre de Dios, Ucayali y Cusco, son especies de peces de importancia económica y nutricional. El objetivo de este trabajo fue identificar las especies de monogeneos encontrados en juveniles de P. brachypomus y C. macropomum provenientes del distrito de Tambopata, Madre de Dios, así como determinar y comparar la prevalencia y abundancia parasitaria en ambos hospederos. El material ictiológico se adquirió de piscicultores del Mercado modelo de Puerto Maldonado, Tambopata. El muestreo se realizó en los meses de enero y febrero de 2017. Los especímenes fueron colectados en solución salina y fijados en formol al 5%, para la tinción se usó Tricrómica de Gomori y se montaron en bálsamo de Canadá. El medio de Hoyer se utilizó para observar las estructuras esclerotizadas. La prevalencia parasitaria fue de 64% (9/14) para C. macropomum encontrándose parasitado con los monogeneos Anacanthorus spathulatus (64,3%), Anacanthorus penilabiatus (64,3%), Notozothecium janauachensis (28,6%), Mymarothecium peruvianus n. sp. (35,7%) y Mymarothecium tambopatensis n. sp. (28,6%); para P. brachypomus se obtuvo una prevalencia parasitaria de 92,9% (13/14) y se halló a A. spathulatus con 14,3%, A. penilabiatus 42,9% y Mymarothecium viatorum 92,9%. De las seis especies registradas, M. viatorum presentó la mayor prevalencia en P. brachypomus, seguido por A. spathulatus y A. penilabiatus en C. macropoum, estos últimos fueron comunes en ambas especies de peces. Se identificaron dos nuevas especies de monogenos de la familia Dactylogiridae del género Mymarothecium: M. peruvianus y M. tambopatensis, ambas halladas en C. macropomum; además, se registra por primera vez para el Perú a N. janauachensis en C. macropomum y A. penilabiatus en P. brachypomus y C. macropomum. / Tesis

Thesis (Ph.D.) - University of St Andrews, May 2007.

This thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice. From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.

Flamenco guitarist Paco de Lucía, taking advantage of the ongoing cultural revolution in Spain during the seventies decided to break from tradition by shaping ”Nuevo Flamenco” through flamenco-jazz ensemble ”Paco de Lucía Sextet”. Within its repertoire, the first regular flamenco bass-line: ”Monasterio de Sal”. Electrical bassist Carles Benavent would have a key role in this development, a trait seldom found in academical works of musicology. The aim of the present thesis is to partially fill this void while shedding some light on the revolutionary contributions of Benavent. In order to do so, studying relevant literature, listening to phonograms comparatively, transcribing/analyzing ”Monasterio de Sal” and interviewing Mr. Benavent himself were used as main methods. The conclusion has been drawn that there was barely any electrical bass in flamenco before Benavent and that his work with de Lucía (and later others) would entirely reform the way electric bass was perceived from within and outside this genre of music. It is of no less interest to observe that Benavents main influences for this endeavor were the principal figures of contemporary jazz-bass (Jaco Pastorius) and flamenco-guitar (Paco de Lucía) respectively, infusing ”Monasterio de Sal”, with meaningful historical value. / <p>Numera Inti Oyarzun-Jonsson.</p>

There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There is a lack of agreement in the existent literature on flamenco jazz on the evaluation of these recordings and these artists' achievements and contributions to this field. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. In this century of cultural globalization, where jazz has become a diverse expression of world music because of its capacity to absorb traits from other musical practices, this study can be a resource for international jazz musicians who are seeking to combine jazz with their musical cultural heritage.