Made available in DSpace on 2014-12-17T13:54:53Z (GMT). No. of bitstreams: 1 ZildalteRM_DISSERT.pdf: 4568193 bytes, checksum: ef9003e2fc67f2c9ddf9b082d7a263b6 (MD5) Previous issue date: 2014-04-24 / The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins?s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry / O teatro de mamulengos ? uma das express?es da cultura popular que t?m sua trajet?ria marcada por constru??es e transforma??es tanto em suas representa??es simb?licas como em seus personagens e performances. Na cidade do Natal, RN, existe um mamulengueiro chamado Heraldo Lins que mant?m o seu teatro de mamulengos em atividade h? vinte e um anos, ele possui o seu pr?prio olhar sobre o que produz e como produz, procura ajustar o seu teatro de mamulengos ao contexto social e ao mercado, tematiza as apresenta??es a pedido do contratante, sistematiza a constru??o das passagens e falas dos bonecos. Esta pesquisa procurou estudar o processo de contru??o do "Show de Mamulengos" de Heraldo Lins, sobretudo como ocorrem as transforma??es. Constatamos que ele opta pela dissolvi??o de valores simb?licos presentes no teatro de mamulengos tradicional em prol de uma adapta??o ? modernidade, se colocando entre o treatro tradicional de mamulengos e a ind?strial cultural. O trabalho de campo foi realizado atrav?s de um recorte metodol?gicos que privilegiou a observa??o participante, a entrevista e o registro sonoro-visual

Questo lavoro intende analizzare il processo di evoluzione giuridica e sociale che ha operato nel mondo musulmano, con particolare riguardo alla condizione femminile e al diritto di famiglia nell’Islam. Date le connotazioni di specificità della giuridicità in ambito islamico, l’analisi delle modalità e degli strumenti con cui sono state portate avanti di volta in volta riforme e istituzionalizzazione di determinati ambiti giuridici consente di leggere l’Oggi con interessanti prospettive. Dopo una parte generale dedicata allo studio del diritto islamico e, in particolare, del diritto di famiglia, si è inteso analizzare il caso della Repubblica Islamica del Pakistan. Un caso oltremodo significativo nell’alternare Tradizione e Modernità e nelle peculiari evoluzioni istituzionali, sociali e politiche. È nella sua storia che si rintraccia sempre questa oscillazione, ma è soprattutto nella produzione normativa e nelle dinamiche sociali che si scopre quanto operino al suo interno meccanismi e movimenti di riforma che non esulano dai riferimenti islamici. Attraverso il periodo di fieldwork in loco, emerge l’immagine di un Paese non solo oggetto di un recente e contemporaneo processo di riforme legislative in materia penale e di diritto di famiglia, ma anche luogo di interessanti evoluzioni interpretative della giurisprudenza e di una società civile attiva e determinata verso l’affermazione di una “via musulmana alla modernità”. / This research aims to highlight the perspectives of reform within Islamic Family Law and in the field of women’s rights, focusing especially on the case of Pakistan. The study is structured in two main parts in the attempt to underline the dialectic between Tradition and Modernity. The first part is an analysis of the sources of Islamic Law, aimed to delineate, on one hand, the instruments of classical and reformist interpretation and the legal procedures which make possible an evolution of the Islamic law and, on the other hand, the influences of the customary practices, with special reference to Islamic Family Law. The second part focuses on the case of Pakistan. The purposes of this section are to analyze the reforms in the field of family law and women’s rights and to examine the significant trends and the debate addressing family law and the related eventual challenges and opportunities. As emerged during my fieldwork I spent in Pakistan, Islam per se cannot be considered the obstacle to modernization since many factors are affecting this process as patriarchal customary practices, poverty, lack of education and awareness, bureaucratic and judiciary inefficiencies. In this view, an effective reformation process could be started from social reforms, especially in the field of education, even the religious one, in order to produce an “attitudinal modernization” and a change in people’s mindset towards a culture of gender equity and respect.

Guru Dutt was one of the most important filmmakers in India, who worked for a little over a decade starting in 1951. He died prematurely in 1964. In those few years, he made some of Indian cinema?s most memorable films. Song and dance sequences are an integral part of the narrative structure of popular Indian cinema. Guru Dutt, working within that paradigm, devised innovative methods of using song sequences. In his films, the song sequences were not a distraction, but they served the purpose of carrying the narrative forward, expressing the inexpressible, and replacing scenes. He achieved this by his creative use of locations, lyrics, music, camera angles, and placement of the song within the narrative. This study critically analyzes song sequences from five of his films ? Aar Paar (Through and Through, 1954), Mr. and Mrs. 55 (1955), Pyaasa (The Thirsty One, 1957), Kaagaz ke Phool (Paper Flowers, 1959) and Saahib Biwi aur Ghulam (Master Mistress and Slave, 1962). Guru Dutt?s style of song direction focused on realistic depiction and the quality of storytelling. He used each feature of the song to his advantage never losing control of the larger narrative. This study also brings to the fore Guru Dutt?s conflicted views as an artist on the issues of tradition and modernity, and the position of women in the emerging nation.

La société bamiléké de l’Ouest Cameroun, marquée par une structure sociale hiérarchisée basée sur des références coutumières en cours d’évolution, est traversée par des conflits repérables dans les rapports sociaux. Ces tensions se cristallisent à l’occasion des cérémonies telles que le deuil d’un roturier, terrain des observations de cette thèse. L’analyse sociologique et ethnologique de ces conflits et des modalités de leur gestion pratique, en vue du déroulement du deuil dans son intégralité, mobilise l’outillage théorique de la négociation et des transactions sociales dans l’élaboration permanente de compromis, ce que ce travail analyse tout au long du processus de deuil. Les sources et méthodes empiriques croisées avec l’appareillage théoriques donnent à voir que, chez les Bamiléké, les parties prenantes, en termes de jeux d’acteurs et en relation avec différents cadres de contraintes (coutumier, socio-économique, temporel…), s’organisent pour gérer les conflits à travers des dynamiques de négociation ou de transactions qui conduisent à des compromis toujours relatifs et provisoires. D’abord marqués par le temps du deuil, ces compromis participent plus largement de la recomposition locale des relations sociales et du rapport tradition/modernité dans la société bamiléké. / The Bamileke society of Western Cameroon, marked by a hierarchical social structure based on customary references in the course of evolution, is crossed by conflicts that can be identified in social relations. These tensions crystallize on the occasion of ceremonies such as the mourning of a commoner, field of the observations of this thesis. The sociological and ethnological analysis of these conflicts and the modalities of their practical management, with a view to the unfolding of mourning ceremonies in its entirety, mobilizing the theoretical tools of negotiation and social transactions in the permanent elaboration of compromises, what this work analyses throughout the grieving process. The empirical sources and methods crossed with the theoretical references show that, relatives of the deceased, in terms of sets of actors and in relation to different frame of constraints (customary, socio-economic, temporal...) organize themselves to manage conflicts through negotiation or transactions dynamics that always lead to relative and temporary compromises. At first marked by the time of mourning, these compromises participate more widely in the local recomposition of social relations and the relationship between tradition and modernity in Bamileke society.

The paper focuses on generational conflicts as depicted in four Swahili novels namely: Vuta N’kuvute, Kufa Kuzikana, Msimu wa Vipepeo and Tumaini. Generational conflicts depicted in the novels are seen as a contest between tradition and modernity when viewed against the cultural changes that have taken place within the East African societies. Authors have dep-loyed narrative voice and focalization narrative techniques to communicate the implied au-thor’s ideological stance on the notions of tradition and modernity in respect to the conflicting issues captured in each novel. Section two highlights some postulations about the concepts of ‘modernity’ and ‘tradition’. The third section discusses the concepts of generation and generational conflicts while the fourth focuses on narrative voice and focalization as the narrative strategies that reveal gene-rational conflicts portrayed in the four novels. The final section is the conclusion relating the ideological stance of the implied author in relation to the concepts of modernity and tradition.

This paper looks at traditions and modernities in terms of a spectrum representation and thus challenges the previously accepted notion of tradition and modernity as an either/or matter where tradition is seen to hold obstacles assumed to block progression towards modernity. With this in mind, it considers Ebrahim Hussein´s title for his play Wakati Ukuta (Time is a Wall) and Euphrase Kezilahabi´s novel Gamba la Nyoka (The snake´s skin) to illustrate the idea of multiple modernities where the relationship between tradition and modernity is seen in terms of tension between cultural homogenisation and cultural heterogenisation where various ´scapes´ containing traditions are inflected by historical, linguistic and political situatedness of different actors. Key themes are discussed in this paper displaying the indigenised ethnoscape of East Africa with various modernities and the different tensions this can produce in view of long-standing traditions. Individualism is the prevailing theme in the emergence of modernity. With this in mind, extramarital relationships, foreign behaviours, education and age/generational differences are discussed with reference to the two literary texts. These themes exemplify the thematic trajectory of the spectrum representation of traditions and modernities in Swahili literature, showing belonging to the present but also awareness of the past. This paper concludes that modernities should no longer be seen as a foreign invasion aiming to eradicate tradition but as metropolises that can be indigenised and incorporated into existing traditions. The observations in this paper demonstrate that the link between traditions and modernities is not a direct transition from one to the other but one of more complex affiliation. This paper lays foundations for broader research into this relationship and gives new insight into the illustration and critique of various texts.

Plurale Weltinterpretationen praktizieren wir täglich, meist ohne uns darüber bewusst zu sein. Zustande kommen sie durch die gleichzeitige und gleichwertige Existenz verschiedener Modelle der Weltinterpretation. Sie sind Produkte menschlicher Schöpferkraft und stehen als parallele Realitäten einander ergänzend und einander widersprechend nebeneinander. Das Buch führt am Beispiel der Tyva Südsibiriens in zwei Modelle der Weltinterpretation und in die Praxis des Umgangs mit ihnen ein. Es zeigt, wie einzelne lokale Akteure zwei von mehreren Modellen flexibel zum Einsatz bringen, um Situationen zu deuten und in ihnen zu handeln. Es wird deutlich, welchen Regeln die Tyva dabei folgen, welche Gründe sie leiten und welche Folgen sie zu tragen haben. Das Ergebnis ist ein Bild zeitgenössischer Kultur, das der gegenwärtig gegebenen Flexibilität und Pluralität des menschlichen Deutens, Handelns und Verhaltens gerecht wird. / Plural World Interpretations are part of our everyday lives, even if we are not aware of the fact. They result from the simultaneous existence of different but equal models for interpreting the world we live in. These models are the product of human constructivity and co-exist as parallel realities, complementing and contradicting each other. Based on fieldwork among the Tyva of southern Siberia, the book discusses the practice of dealing with this multiplicity of world interpretations and shows how individual actors oscillate flexibly between two of many possible models for interpreting specific situations and act on them. The rules Tyvans apply in varying contexts, the reasons behind their choices and the consequences they have to deal with, are analysed. The result is an account of contemporary culture that explores the flexibility and plurality of human interpretation, action and behaviour. / Мы используем множественные интерпретации мира (нем. plurale Weltinterpretationen) ежедневно и, в большинстве случаев, неосознанно. Осуществляется это за счёт одновременного и равноценного сосуществования различных моделей мировоззрения. Они являются продуктом творческой деятельностей человека и сосуществуют в качестве параллельных реальностей, дополняя и, одновременно, противореча друг другу. На примере тувинцев Южной Сибири данная книга знакомит с двумя моделями мировоззрения, а также с практикой их применения. Показывается, как локальные акторы гибко применяют две из существующего множества моделей: и для того, чтобы действовать в складывающихся ситуациях, и чтобы толковать их. Станет понятным, каким правилам при этом следуют тувинцы, какими мотивами руководствуются и какие это имеет последствия. Результатом явится картина современной культуры, которая будет отвечать имеющимся на данный момент запросам гибкости и многообразия в мировоззрении, действиях и поведении человека.