The thesis is based on fieldwork carried out in the Tzeltal community of Tenejapa. It is concerned primarily with the practices of the "traditional" religion, which is part of a so-called cargo system. The practices are that aspect of the lives of the traditionalists that they conceive of as being the most unchanging in an environment that is otherwise altering rather rapidly. All that is considered to be part of the habitus of tradition and in particular their religion tends to be classified by the term "stalel" and to have a particular ethos. Since the Spanish Conquest, the Indians have used the practices largely unconsciously as protective mechanisms to shield themselves from mestizoisation, although they have always been and are still dependent on the Mestizos for their ceremonial prerequisites. The thesis outlines the organization of persons and the fiestas and other events that they celebrate. It discusses the substances that they use for ritual and the ceremonial language of prayer. It then looks at the people in the community who involve themselves in the cargo practices and who, by so doing, perpetuate the ethos of "stalel", year after year. Recently, however, the Indians have felt themselves to be under increasing pressure to change, an awareness that is explored during .Carnival. As various kinds of national institutional infrastructure have been provided for them in the community, they have become aware that their identity can have a positive aspect. While the numbers of those participating in the religious cargos has fallen, many have converted to various Protestant sects. Such conversions indicate a shift from an unconscious perpetuation of a particular ethos to a greater awareness of identity, and represent for the Indians a means of raising their status in their own eyes and those of the Mestizos, whilst retaining their cultural identity, which they are in the process of redefining.

No description available.

No description available.

Le début du réalisme s'est manifesté en Espagne sous la forme du costumbrisme, de l'espagnol « costumbre » ; « coutume », « habitude », « tradition », un courant artistique qui prétend faire de l'œuvre d'art, un reflet fidèle des coutumes et des usages sociaux d’un pays ou d’une région. Pedro Antonio de Alarcón (1833 -1891) représente sans doute le passage du costumbrisme au réalisme espagnol proprement dit. El sombrero de tres picos, El capitán veneno, El niño de la bola, El clavo, La pródiga et El escándalo constituent les meilleurs traits du style d’Alarcón. Dans l’histoire du cinéma, la réalisation d’adaptations de textes littéraires apparaît comme une constante. En effet, entre les années vingt et les années soixante ces six romans, les plus populaires de l’écrivain, s’avèrent les adaptations filmiques les mieux accueillies du public. Ces romans racontent des histoires imprégnées de symboles et de fantaisies sur un fond réaliste. Tout au long des récits ; les personnages, les descriptions et le langage dévoilent la personnalité de l’auteur, sa pensée, son idéologie et son tempérament. L’atmosphère et les décors de l’œuvre sont ceux de sa ville natale, Guadix. Les romans d’Alarcón semblent trouver leur inspiration dans des histoires réelles passées, vécues, lues, ou racontées dans l'enfance de l'auteur. Dans ses romans, le récit maintient en haleine, par ses suggestions imagées et pittoresques. Ses œuvres ont inspiré les musiciens, les metteurs en scène et même les réalisateurs de cinéma. L’objet de ce travail se centre sur l’analyse comparative de ces six films. La vérification et l’observation des différentes correspondances costumbristes et anthropologiques ainsi que les écarts existants entre les six films et les romans homologues, restent l’objectif principal de ce travail. Lors de l’étude analytique de quatre séquences dans chacune de ces projections filmiques, il paraît logique et nécessaire de tenir compte du témoignage des traditions, et du contexte historique de l’époque dans les histoires romancées et les films respectifs. Cette étude prétend rechercher les différents codes sociaux, les diverses coutumes de l’époque de l’auteur ainsi que le folklore traditionnel, les espaces, les réalités visuelles de l’entourage de l’écrivain, présents dans ses œuvres et pour certaines encore existantes aujourd’hui. Le contexte politique et social des années de l’après-guerre et du franquisme favorisa la diffusion des valeurs conservatrices, traditionnelles, religieuses, éducatives, etc. au travers du cinéma, ce qui conditionna l’accueil favorable des films avec des objectifs moralisants. Les diverses interprétations évoquées par l’analyse essaient d’aborder deux problématiques, notamment : la production cinématographique respecte-t-elle en quelque sorte les traditions et le folklore suggérés dans les romans du XIXe siècle ? Le cinéma peut-il servir de corpus de témoignage à des études anthropologiques et multiculturelles ? / The beginning of the realism expressed in Spain in the form of costumbrism, from the Spanish “costumbre”; custom, habit, tradition, an artistic trend which pretends to make the work of art a reflection faithful to the customs and social uses of a country or region. Pedro Antonio de Alarcón (1833 - 1891) undoubtedly represents the transition from the costumbrism to the Spanish realism itself. El sombrero de tres picos, El capitán veneno, El niño de la bola, El clavo, La pródiga and El escándalo represent the best aspects of the style of Alarcón. In the history of cinema, the realization of adaptations of literary texts appears as a constant. Indeed, between the 1920s and the 1960s these six novels, the most popular of the writer, prove to be the most well-received filmic adaptations of the public. These novels tell stories imbued with symbols and fantasies on a realistic background. Throughout the narratives, characters, descriptions and language reveal the personality of the author, his thought, his ideology and his temperament. The atmosphere and the scenery of the work are those of his native city, Guadix. The novels of Alarcón seem to find their inspiration in real stories past, lived, read, or told in the childhood of the author. In his novels, the narrative keeps spellbound by its illustrated and picturesque suggestions. His works have inspired musicians, directors and even film directors. The object of the study is the comparative analysis of six films. The main objective of this work is the verification and observation of the various costumbrist and anthropological correspondences and the differences between the six films and the homologous novels. In the analytical study of four sequences in each of these film projections, it seems logical and necessary to consider the testimony of traditions and the historical context of the period in the romanticized stories and the respective films. This study seeks to investigate the various social codes, the various customs of the author's time as well as the traditional folklore and the visual spaces or realities of the writer's environment present in his works and for some of them still existing today. The political and social context of the post-war years and the Francoism encouraged the dissemination of conservative traditional, religious, educational, values through cinema, which influenced the favorable reception of films with moralizing objectives. The various interpretations evoked by the analysis try to address problems, in particular: Does the cinematographic production in any way respect the traditions and folklore suggested in the nineteenth-century novels? Can cinema serve as a corpus of testimony to anthropological and multicultural studies ?

Cette thèse porte sur la question de l’identité de l’architecture contemporaine au Japon à travers l’esthétique traditionnelle, profondément ancrée dans l’ensemble de la culture ancienne de ce pays : un véritable cheminement passant à la fois par l’intellectuel, le spirituel et l’artistique. L’objet de cette recherche est donc d’analyser l’interrelation existante entre tradition et modernité ; d’établir une « filiation », une possible évolution et de comprendre aussi la transformation de l’architecture contemporaine et ses problématiques à travers les différents concepts, qui fondent l’ensemble de l’esthétique au Japon, entre temporalité et spatialité. Il est question d’apporter un éclairage sur les expressions de la tradition : une « nouvelle tradition », une japonéité, où la tradition devient la matrice de la modernité. La tradition est à comprendre alors comme un véritable catalyseur. L’objectif de cette thèse est de montrer que l’architecture japonaise a su résoudre la difficile adéquation de relier la tradition nationale et la modernité internationale. La tradition semble être aussi l’une des matrices du futur. En d’autres termes, il s’agit de comprendre les traditions culturelles japonaises comme de véritables leviers conceptuels pour la nouvelle génération d’architectes japonais. La tradition est un héritage du passé qu’il faut préserver pour garder une identité, et qui permet de donner un chemin et une perspective pour l’avenir. De la qualité du rapport avec la tradition dépend non seulement l’harmonie et la beauté du cadre de vie, mais aussi la richesse du message architectural à transmettre aux générations futures. / This thesis focuses on the question of the identity of contemporary Japanese architecture through Japanese traditions and aesthetics, deeply rooted from the cultural background of Japan : a real passage through both intellectual, spiritual and artistic fields. The purpose of this research is to analyze the interrelation existing between tradition and modernity ; to establish a filiation, or a lineage, a possible evolution, to understand the transformation of Japanese architecture through different concepts between space and time. It comes to shed light on the expression of tradition in Japanese architecture : a “new tradition”, a notion of japan-ness where tradition becomes the matrix of modernity. In other words, tradition could be understand as a true catalyst. The goal of this thesis is to show that Japanese architecture has resolved the difficult balance between National tradition and International modernity. The tradition seems to be also one of the matrix of the future. The tradition is not only architectural, but it includes spirituality, aesthetics, art, and the manner how culture is linking to space and time. In other words, it is important to understand the cultural Japanese tradition background as a true conceptual levers for the new generation of Japanese architects. The tradition is a legacy of the past which should be preserved to maintain an identity, which could give a path, and vision for future. The quality of the relationship with the tradition depends not only of the harmony and beauty of our living, but also from the wealthy architectural message transmitted to future generations.

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No description available.

No description available.

Submitted in partial fulfilment of the requirements for the degree B.A. Honours in the Department of African Languages at the University of Zululand, South Africa, 1997. / Lolu cwaningo luhlose ukuvusa ugqozi lokufuya kubantu. Esikhathini eside abantu balahle amasiko abo , balibala amasiko ezinye izizwe. Lolu cwaningo luhlose ukuqwashisa iSintu ukuthi, yize sesingasazi ukuthi kumele sibhekephi, nokho lisekhona ithemba nekhambi elingenziwa. Uma nje besingaba nesineke, sivume ukuqalaza emuva, nokho bezingabuya emasisweni . Lolu cwaningo luzoveza ngokusobala bha ukuthi kwakukhonjwa ngophakathi kwelokhokho. Kuzovela yonke in::okozo yasekhaya ngaphandle kokuwa uvuka , uqhathanisa onsumbulwana. Ingani phela uphokophele ukuthola ukudla okwakha umzimba, njengobisi , amasi nokunye. Lolu cwa.'1ingo luzoveza ukubambisana komndeni ekumiseni insika yawo isibaya. Lolu cwaningo luzoveza isidingo sesibaya emzini womnumzane .

Submitted in partial requirements for the degree of Master of Arts in the Department of IsiZulu namaGugu in the Faculty of Arts at the University of Zululand, 2006. / Lolu cwaningo lucubungula indlela umfana akhuliswa ngayo esizweni samaZulu nokubaluleka kwakhe. Lubheka imikhutshana eyenziwa kusukela ezalwa ekhula aze eluse, esenga, ebophela, ebuthwa aze abe insizwa lapho eseqomisa. Isahluko sokuqala sizokwethula ucwaningo nenhloso yalo. Kuzovezwa umklamo wocwaningo nendlela ezosetshenziswa ngenkathi kubhekenwe nalo mshikashika. Kuzokwenekwa umlando omfishane ngendlela umfana akhuliswa ngayo esizweni sikaMalandela. Isahluko sesibili sizobheka kabanzi imikhutshana namasiko enziwa mhlazane kuzelwe umntwana womfana. Kuzobhekwa amakhambi agezwa ngawo nezinyamazane ashunqiselwa ngazo. Ukubaluleka kokugcotshwa ngebomvu nakho kuzobhekwa ngeso lokhozi. Luzobheka ngokubanzi umkhutshana wokuklekla, ukuphehla, ukusokwa luze lumgojele lapho esekhula. Isahluko sesithathu sizogxila lapho umfana eselusa noqeqesho aluthola khona. Sizomqala phansi lapho esalusa izinkukhu, sinyuke naye eselusa izimbuzi, aye emvemveni, emankonyaneni, amathole aze afike ezinkomeni. Izifundo ezitholakala ekwaluseni njengolwazi lwezilwane, izinyoni nemithi nakho kuzenhlobonhlobo etholakala ekwaluseni ukungcweka, ukudla iphaphu, nokuciba insema. esebuthwa nalapho eseba udibi. njengokubhukuda, Sizombheka lapho Isahluko sesine sizocubungula uqeqesho umfana aluthola ekhaya. Lapho kuzobhekwa ukusenga, ukuhlinza, ukuhlahlela, ukubophela izinkabi, nokudipha. Indlela yokuvunula sizoyifakela iso lapho ezofundiswa khona ukusika amabheshu nezinene. Ukugawula izintingo umfana efundiswa ukwakha isibaya nakho kuzovezwa. Isahluko sesihlanu sizogxila lapho umfana esengene ebunsizweni, eseqomisa. Sizobheka izingqinamba nemikhutshana ephathelene nokuqomisa. Amakhambi asetshenziswayo ukuze insizwa ibe nogazi ezintombini njengobulawu nakho kuzofakelwa iso. Eminye imikhutshana eyenziwayo ukuzuza intombi njengokunqunda izimbangi ukuyiphonsa, ukuyithwala, ukukhuzela neminye nakho kuzocutshungulwa. Umkhosi wokubonga indaba nawo ngeke wabukelwa phansi. Isahluko sesithupha sizobe sesiyiphothula le mbenge bese sihlaziya lonke ucwaningo siveze namakhambi (izincomo). Imidlalo