Dissertations / Theses on the topic 'Tribal rituals'

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This dissertation is a research on “criminology, law and anthropology”, focusing on the area of “Penal system and Violence”, from the Criminal Science Post graduation Program of the Pontifical Catholic University of Rio Grande do Sul Law School. As a main objective, this work aims at conducting a “criminological, Legal and Anthropological approach of the trial ritual. This research starts from the comprehension of the ritual phenomenon with its overall aspects, moving then through the myth and an analysis of the ritual as a guarantee. It further addresses the main subject of this research, which is the trial ritual, applying the studies of ARNOLD VAN GENNEP. Focusing on the main elements of the trial ritual, it is described the space where it takes place, as well as the time of the ritual in contrast with the “social time”. The overall aspects of the legal statements of both prosecutor and defendant are analyzed, as well as the symbols applied during the trial ritual. Within this definition of what a trial really is, it is conducted a parallel study of the social agents and their respective role, ending with an explanation of the trial ritual from both Brazilian and foreign’s legal system perspectives, considering all aspects of the ritual sequence in the Brazilian law.
A presente dissertação foi elaborada na linha de pesquisa "Política Criminal, Estado e Limitação do Poder Punitivo", na área de concentração "Sistema Penal e Violência" do Programa de Pós-Graduação em Ciências Criminais da Faculdade de Direito da Pontifícia Universidade Católica do Rio Grande do Sul. Tem como objetivo realizar uma abordagem jurídica e antropológica do ritual do júri popular. Parte-se da compreensão do fenômeno ritual em suas linhas gerais, passando-se pela análise do mito e do ritual como garantia, após o que se ingressa na análise do tema principal, a partir das lições de ARNOLD VAN GENNEP. Enfocam-se, então, um a um os elementos que integram o ritual do júri popular, descreve-se o espaço em que ele se desenvolve, assim como se procede numa análise do tempo ritual em contraste com o tempo social. Traçam-se linhas gerais sobre os discursos jurídicos do acusador e do defensor e sobre os (principais) símbolos empregados no decorrer do rito. Dentro desta compreensão do que seja exatamente o ritual do júri popular, abre-se um parêntese para o estudo dos atores sociais e dos papéis por eles desempenhados, finalizando-se com uma explanação acerca do ritual do júri popular no direito comparado e no direito brasileiro, abordando-se os aspectos da seqüência ritual no ordenamento jurídico pátrio.

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A presente disserta??o foi elaborada na linha de pesquisa "Pol?tica Criminal, Estado e Limita??o do Poder Punitivo", na ?rea de concentra??o "Sistema Penal e Viol?ncia" do Programa de P?s-Gradua??o em Ci?ncias Criminais da Faculdade de Direito da Pontif?cia Universidade Cat?lica do Rio Grande do Sul. Tem como objetivo realizar uma abordagem jur?dica e antropol?gica do ritual do j?ri popular. Parte-se da compreens?o do fen?meno ritual em suas linhas gerais, passando-se pela an?lise do mito e do ritual como garantia, ap?s o que se ingressa na an?lise do tema principal, a partir das li??es de ARNOLD VAN GENNEP. Enfocam-se, ent?o, um a um os elementos que integram o ritual do j?ri popular, descreve-se o espa?o em que ele se desenvolve, assim como se procede numa an?lise do tempo ritual em contraste com o tempo social. Tra?am-se linhas gerais sobre os discursos jur?dicos do acusador e do defensor e sobre os (principais) s?mbolos empregados no decorrer do rito. Dentro desta compreens?o do que seja exatamente o ritual do j?ri popular, abre-se um par?ntese para o estudo dos atores sociais e dos pap?is por eles desempenhados, finalizando-se com uma explana??o acerca do ritual do j?ri popular no direito comparado e no direito brasileiro, abordando-se os aspectos da seq??ncia ritual no ordenamento jur?dico p?trio.

This dissertation studies legal practice and representation from the perspective of Theatre- and Performance Studies. It aims to describe and analyse the theatrical, ritualistic and spatial aspects of law, its practices, representations and buildings. More specifically, the dissertation explores the trial as a performance. Cultural as well as artistic performances are explicitly structured. Trials, theatre performances, religious rituals, military parades and political demonstrations all raise a boundary that shuts out what is not part of the performance ("life", "the everyday"). Performances also depend on and create an inner order; they structure the social and material space and produce roles and hierarchies among the participants. The dissertation analyses the ways in which the trial in the lower level court in Sweden produces and maintains these outer and inner boundaries. How does law and legal practice produce frames, boundaries and spaces? How, when and as what does law appear? And what is made to appear in front of or under the law? By approaching the legal practice with a theatrical and performative terminology, the trial comes forth as more than a legal process; it appears as a performative, cultural and social event. The study focuses on the courtroom as a space where power is exercised and produced. It is not only the legal power of the judgment that is exercised, but also other forms of power. The court creates, communicates and sustains its authority in the courtroom by using performative, theatrical and ritual techniques of power. In making these different kinds of power techniques visible, the dissertation exemplifies the strength of a performance perspective. By using a terminology and a way of thinking from the study of performing arts, new knowledge of the trial as a performance is produced.

Cette thèse présente une ethnographie de plusieurs séances de jugement de meurtre auxquelles on a assisté, entre 1997 et 2001, dans les cinq Cours d\'ssises (Tribunais do Júri) de la Ville de São Paulo, Brésil. Elle est orientée par quatre concepts-clé: jeu, rituel, drame et texte. La principale conclusion à laquelle on arrive est que ces jugements se fondent sur la manipulation d\'images relatives à deux pouvoirs fondementaux dans n\'importe quel groupe social: celui qui permet à un individu d\'en tuer un autre et celui qui autorise les institutions sociales à contrôler cette faculte individuelle. Par là est mise en jeu et en scène, dans le Jury, la survie ellemême du groupe, bien davantage que la vie et la mort des individus. Le pouvoir individuel de tuer sera considéré légitime ou illégitime selon le mode par lequel les morts deviennent texte et acquièrent un contexte, selon la manière par laquelle ils sont convertis en images et mis en scène. L\'un des principaux buts du travail a donc été de saisir les valeurs qui structurent cette \"imagination sociale des morts\" et, par conséquent, de comprendre comment le groupe lui -même règle la coexistence de ses membres aussi bien que sa survie en tant que collectif. Lorsqu\'ils rendent les images de ces pouvoirs, par leurs discours, expressions et décisions, les hommes et les femmes qui prennent part au Jury créent et recréent le monde de la culture audessus de celui de la nature. Des règles morales, sociales et économiques arrachent la mort à sa sphère seulement naturelle et en font la métaphore de certains drames de la vie: le voisinage, la parenté, l\'amour, la trahison, le travail, le chômage, les tensions du trafic de drogues et d\'armes. Chaque séance des assises met à l\'épreuve ce monde des règles, auquel la culture se soumet et par le biais duquel elle soumet les personnes concernées. Le Jury a un caractère ludique parce qu\'il rassemble les principaux traits de n\'importe quel jeu. Il s\'agit d\'une activité consciente, extérieure à la vie de tous les jours et qui, tant qu\'elle a lieu, absorbe intensément les joueurs. Elle est pratiquée, d\'après certaines règles, à l\'intérieur de certaines limites spaciales et temporelles tout à fait siennes. D\'ordinaire le Jury mène à la formation de groupes qui tendent à s\'entourer d\'un certain secret et à souligner leur différence vis-à-vis du reste du monde. Le Jury est également l\'occasion d\'une conversion de la réalité en images. Des personnages et des drames sont créés et présentés aux jurés, en deux versions de base - celle de l\'accusation et celle de la défense -, dans le but que, dans le silence imposé aux jurés, ils s\'identifieront à la version qui leur paraîtra la plus vraisemblable et que par là ils donnent leur verdict. C\'est un jeu de.persuasion. Le caractère rituel et cérémoniel du Jury se tient dans des actes ordonnés - des discours, des gestes, des expressions en général -, de nature surtout symbolique, qui se produisent à certains moments des séances et qui inspirent des attitudes de loyauté, de respect et de révérence à des valeurs qui se matérialisent dans le vote des jurés. De tels actes transcendent l\'evénement rapporté dans les actes du procès et touchent des drames fondementaux de l\'existence humaine. Du fait que le système de la justice criminel - et à son intérieur le Jury - constituent des systèmes de pouvoir, et qu\'on ne peut séparer l\'art de gouverner et l\'art scénique, ils produisent des effets qui se comparent aux illusions créées par le théâtre. Lors des jugements, le juge, le procureur, l\'avocat de défense et les jurés se partagent le rôle du prince. Le premier règne en tant que souverain et dans une apparence de neutralité, le deuxième accuse avec véhémence, le troisième protège l\'accusé et les derniers décident, dans un silence méditatif. Comme un dieu qui se scinde en quatre et par là se renforce, la mise en scène des jugements de vie et de mort a pour un de ses effets les plus frappants de sacraliser l\'institution \"Justice\" et de redonner vigueur à l\'étiquette et à l\'esthétique sociales. Les séances - qui peuvent aussi être lues comme un texte littéraire, dont les paroles et les expressions principales proviennent d\'un vocabulaire de sentiment - rapportent, métaphoriquement, la violence de vivre et de tuer de même que certains moyens par lesquels on essaie de travailler ce drame.
Esta tese apresenta uma etnografia de sessões de julgamentos de homicídio realizadas entre 1997 e 2001, nos cinco Tribunais do Júri da cidade de São Paulo, sendo quatro os conceitoschave que a orientam: jogo, ritual, drama e texto. A principal conclusão é a de que esses julgamentos baseiam-se na manipulação de imagens relativas a dois poderes fundamentais em todo e qualquer grupo social: o de um indivíduo matar outro e o de instituições sociais controlarem tal faculdade individual. O que está em jogo e em cena, no Júri, mais do que a vida e a morte de indivíduos, é a própria sobrevivência do grupo. Dependendo de como as mortes são textualizadas e contextualizadas, transformadas em imagens e encenadas, o poder individual de matar é considerado socialmente legítimo ou ilegítimo. Um dos principais objetivos do trabalho foi, portanto, captar quais valores estruturam essa \"imaginação social das mortes\" e, consequentemente, como o próprio grupo regula a convivência de seus membros e a sua sobrevivência. Os participantes do Júri, ao darem expressão às imagens desses poderes, através de discursos, expressões e decisões, criam e recriam o mundo da cultura sobre o da natureza. Regras morais, sociais e econômicas arrancam a morte de sua esfera meramente natural e transformam - na em metáfora de dramas da vida: vizinhança, parentesco, amor, traição, trabalho, desemprego, tensões do tráfico de drogas e de armas. Cada sessão de Júri é um teste desse mundo das regras, ao qual a cultura é submetida e através do qual ela submete os envolvidos. O Júri tem um caráter lúdico porque as principais características de qualquer jogo estão nele presentes. Trata-se de uma atividade consciente, exterior à vida habitual e que, enquanto ocorre, absorve os jogadores de maneira intensa. É praticada dentro de limites espaciais e temporais próprios, segundo certas regras. Geralmente, promove a formação de grupos que tendem a rodear-se de segredo e a sublinhar sua diferença em relação ao resto do mundo. Além disso, há uma transformação da realidade em imagens. Personagens e dramas são criados e apresentados aos jurados, em duas versões básicas - a da acusação e a da defesa -, com vistas a que, no silêncio imposto a cada um, eles se identifiquem com a versão que lhes parecer mais verossímil e dêem seu veredicto. É um jogo de persuasão. O caráter ritual e cerimonial do Júri reside nas ações ordenadas - falas, gestos, expressões - de natureza predominantemente simbólica, que se desenvolvem em momentos apropriados das sessões e inspiram atitudes de lealdade, respeito e reverência a valores que se materializam nos votos dos jurados. Tais ações transcendem o acontecimento narrado nos autos e alcançam dramas básicos da existência humana. Por serem o sistema de justiça criminal e, em seu interior, o Júri, sistemas de poder, eles produzem efeitos que se comparam às ilusões criadas pelo teatro, uma vez que a arte de governar e a arte cênica são inseparáveis. Durante os julgamentos, juiz, promotor, defensor e jurados dividem a posição de \"príncipes\". Enquanto o primeiro reina soberano e aparentemente neutro, o segundo acusa veementemente, o terceiro protege e os demais decidem, em silêncio meditativo. Como um deus que se quadriparte e com isso se fortalece, a encenação de julgar dramas de vida e morte tem como um de seus resultados mais marcantes sacralizar a instituição \"Justiça\" e revigorar a etiqueta e a estética sociais. Podendo ser lidas como um texto literário, cujas palavras e expressões principais advêm de um vocabulário de sentimento, as sessões relatam, metaforicamente, a violência de viver e morrer e as tentativas de se lidar com esse drama.

La tesis doctoral explora sobre las manifestaciones culturales juveniles en una casa ocupada en Santiago de Chile. Allí se reunieron jóvenes que formaron su identidad mediante algunos ritos de paso. La música, el vestuario, el lenguaje y la experiencia de vida cotidiana fueron elementos que los congregaron. La casa la Marraketa fue el territorio en donde desarrollaron sus inquietudes y convivieron alrededor de 5 años. La tesis es una narración de la juventud que se completa con información proveniente de fuentes jurídicas e históricas. El aporte de estas disciplinas está relacionado con los diversos estudios que se han llevado a cabo en torno a la juventud en las diferentes épocas, y teniendo en consideración contextos urbanos occidentales. Asimismo, es un relato sobre las ciudades contemporáneas. En este sentido hay una descripción de los problemas por los que atraviesa la juventud en Latinoamérica en los últimos treinta años. La investigación describe el tribalismo urbano haciendo especial hincapié en ciertas manifestaciones de estilo. Hay referencias sobre el movimiento punk, skins y heavy metal. Del mismo modo se establece como hipótesis de trabajo que estas manifestaciones de estilo son importantes en los ritos de pasaje de los jóvenes en su tránsito hacia la etapa adulta. Siguiendo a Clifford Geertz se intenta demostrar que las expresiones culturales juveniles son “programas extragenéticos” que sirven para desarrollar sus identidades dotándolas de un marco amplio de posibilidades simbólicas.
This investigation explore about the cultural manifestations of the squatting in a house of Santiago de Chile. In this place they meet and created an identity by means rites of passage. The music, costumes, language and the experiencie of the daily life were elements for to do possible the comunity of the young people. “La Casa la Marraketa” it was the territory where the young people developed interests. They lived about five years in this place. This investigation is an account of the youth, and is completed with information from juridical and historical sources. The contribution of this disciplines is connected with a many studies about the young people in a different age, and whereas occidental urbans contexts. Also is a report over the contemporary citys. In this senses there is a description of the problems of the young people in Latinoamérica in the last thirty years. The investigation describe the urban tribalism and the style manifestations. There is references about the punk, skins and heavy metal movements. As well it establishes how hypothesis of work that this cultural manifestations between the young people are rites de passage for to pass to the adult stage. In correspondence with the propositions of Clifford Geertz, the doctoral thesis try to prove that the cultural expressions in a young people are “extragenetics programs” that serve for to develop identity in a wide setting of symbolic posibilities.

La position géographique des Comores, lui a permis d’accueillir plusieurs migrations : Bantou, Austronésien, Proto-Malgache, Arabo-Persan. Ces migrants avaient apporté leur croyance et leur culture respective. Comme témoignage de cette civilisation : l’importance sociale des mwalimu, l’existence des séances de possession, la survivance du culte des esprits Djinns, les cultes des ancêtres et cultes de la nature. Trimba à Nyumakele et Nkoma à Ouani (fête agraire et/ou rites de protection), Mudandra (danse des esprits) au village de Ouzini et Mro-Maji organisée à l’intérieur d’une grotte sacrée font partie des rites pré-islamiques à Anjouan ainsi que les cultes des anguilles sacrée « Mwana-Mroni ». Ces rites s’observent dans les régions habitées par les autochtones « Wamatsaha ». Certains de ces pratiques s’exécutent dans des lieux sacrés appelés « Ziara ». En conclusion, nous avons montré que la montée des « islamistes » appelés aussi « Djawula » risque de faire disparaître à jamais ces pratiques ancestrales
The geographical position of the comoros, has enabled to host several migrations: Bantu, Austronesian, Proto-Malagasy, Arabo-Persian. These migrants had brought their respective beliefs and cultures. As a testimony of this civilization:: the social importance of the Mwalimu, the existence of possession seances , the survival of Djinn spirit cult, the ancestors cult and devotoion to nature. Trimba at Nyumakele and Nkoma at Ouani (agrarian festival and / or rites of protection), Mudandra (spirit dance) at the village of Ouzini and Mro-Maji organized inside a sacred cave are part of the pre-Islamic rites in Anjouan than the cults of the sacred eels "Mwana-mroni". These rites are noticed in the areas inhabited by the indigenous "Wamatsaha". Some of these practices are performed in sacred places called "Ziara". In conclusion, we have shown that the rise of the "Islamists" also called "Djawula" risks to destroy forever these ancestral practices

Le Madhya Pradesh offre un cas d’étude particulier, tant par la présence numérique descommunautés classées comme tribales (ādivāsī) que par le panorama culturel et social danslequel elles agissent, enrichissant le tissu des traditions différentes qui habitent cette ceinture du pays. Le témoignage d’une telle fécondité culturelle encadre le scénario socioanthropologique, ainsi que la vivacité historique qui, depuis des siècles, caractérise cette «Terre du Milieu ». L’approche comparative adoptée autour de la ritualité funéraire chez certains groups de Pardhan du Madhya Pradesh oriental a permis le développement de l’enquête dans une alternance continue et stimulante entre le savoir ancien de la tradition et culture royales gond (Rāja Gond) ‒ dont les Pardhan sont les premiers témoins et dépositaires ‒ et le niveau de pénétration de l’hindouisation conçue et qui va modifier les expériences de la dévotion et les pratiques du deuil. Sous cet aspect, la progression de l’enquête a suivi une évolution que nous définirions circulaire : du contexte urbain de Bhopal à celui rural des villages d’origine des districts de Mandlā et Dindori, le cadre ethnologique qui en est dérivé n’a pu se soustraire à la relation entre ces deux implantations. C’est à partir de la « culture funéraire» que nous avons commencé à appliquer notre regard sur les implications sociales mises en action pendant ce«perfectionnement » (saṃskāra) terminal. L’analyse des interrelations Gond-Pardhan dansl’Inde centrale nous a fourni l’occasion pour reconstituer un imaginaire culturel partagé, qui encore résiste, et entamer ainsi une réflexion sur d’autres aspects apparemment moinsévidents : les relations de parenté et de lignage face aux processus de migration etd’urbanisation, ou les changements et les interactions entre les catégories de « tradition » et « modernité », les discours sur l’identité indienne/hindoue et le concept d’indigénéité. Nos terrains se sont enrichis d’un travail comparatif nécessaire, où le dialogue entre les lieux impliqués a tracé des coordonnées significatives dans la lecture de la ritualité funéraire, actualisant la thématique du pluralisme social, celle de la cohabitation avec les formes régionales de ce qui est considéré, dans l’Inde d’aujourd’hui, comme l’hindouisme classique. Des conceptions cosmogoniques et thanatologiques des Pardhan, notre enquête s’étend au rapport caste-tribu dans le contraste de milieux urbain-rural et du concept de «glocalisation » avec les redistributions qu’il pilote
Madhya Pradesh is a singular case, both because of the high number of inhabitants belongingto communities classified as tribal (ādivāsī), and because of the cultural and social variety present and which enriches the fabric of the different traditions occupying this part of the country. What remains of this great cultural fecundity, along with the historical intensity with which this “Middle Land” has been shot through for centuries, both provide a favorable setting for the socio-anthropological scenario. The comparative approach to funerary rituality amongst some Pardhan groups of Eastern Madhya Pradesh has made it possible to pursue the study by constantly switching, in a very stimulating way, between classical knowledge of royal Gond tradition and culture (Rāja Gond) on the one hand ‒ of which the Pardhan are the main witnesses and bearers — and, on the other hand, the level of penetration of Hinduization which will modify the experiences of devotion and the practices of mourning. In this respect, the study developed in a way that would be qualify as circular: from the urban context of Bhopal to the rural context of the home villages in the Mandlā and Dindori districts, the ethnological framework that has been derived was forced to come to terms with the relationship between these two sites. It is from the “funerary culture” that this research started to examine the implications of the social as it is implemented during this final “refinement” (saṃskāra). The analysis of Gond-Pardhan interrelationships in central India provided us with the opportunity to find a shared cultural imaginary, which still resists, and for embarking on a reflection on other aspects which are apparently less obvious : the impact of the migration and urbanization processes on kinship and clan relations, or the changes to and interactions between the categories of “tradition” and “modernity”, the discourses on Indian/Hindu identity and the concept of indigeneity. Our field survey was enhanced by necessary comparative work, in which the dialogue between the places involved traced out significant coordinates in the reading of funerary rituality, by actualizing the theme of social pluralism, that of cohabitationbetween regional forms of what is considered, in today’s India, as classical Hinduism. From the cosmogonic and thanatological conceptions of the Pardhan, our study intersects with thetheme of caste-tribe relation in the contrast of urban-rural environments, as well as with the concept of “glocalization” and the re-distributions that it directs

Alors que la scène du droit semble célébrer le triomphe de l’écriture juridique, on est obligé de se poser la question de l’impact du « tout écrit » sur l’oralité juridique et de rechercher, si besoin était, la place actuelle de cette dernière en droit privé. Il est vrai que l’oralité est source d’insécurité de par ses deux caractéristiques principales : la volatilité et la versatilité. Pour autant, des vecteurs sécurisés de l’oralité existent. On est aujourd’hui en capacité d’assurer une sécurité quant à la parole et de lui conférer un caractère fiable ou pérenne ou de lui assigner un cadre, une structure permettant de développer un habitus institutionnel. L’oralité juridique demeure une notion importante en droit français mais mal définie et à caractère évolutif. Il pour autant est permis de douter que l’écriture constitue, partout et toujours, un progrès. Si l’écriture insiste surtout sur le message qu’elle véhicule et tend à l’anonymat des relations sociales, l’oralité valorise l’individualisation des rapports sociaux. L’oralité présente des caractéristiques principales essentielles telles que la rapidité, la facilité et la simplicité. L’oralité est également nécessaire au soutien des principes généraux d’organisation du procès. Elle présente des qualités indéniables rendant son utilisation indispensable, mais surtout l’oralité a vocation à replacer au centre du rapport d’obligation ou au centre du procès l’individu, source de cette oralité. L’oralité est loin du "déclinisme" qu’on lui prédit et ses apports sont essentiels. C’est la faveur traditionnelle pour l’oralité qui se trouvera ici rappelée
Nowadays the increasing number and complexity of new additional texts congest the Law. As a consequence, we can ask the question of the impact of writing on legal orality. Thus, it is required to look for the current place of orality in private law. It is true that orality is a source of insecurity because of two main features : volatility and versatility. However, there are some secured flows when using orality. Nowadays, we are able to ensure security of speech and to award it a lasting character. Also here, the possibility exists to assign to it a framework, a structure allowing to develop institutional customs. Legal orality remains an important concept in French Law, despite the current lack of structure. Whether in contractual or irrefutable proof or in procedural law, orality does not hold same guarantees as written words and without the transfer into writings, orality remains a source of concern. But we can be skeptical about the writing as a progress. If writing pays particular attention on the message and moves towards the anonymous of social relationships, orality highlights individualization of social relationships. Orality has key characteristics such as speed, ease and simplicity. Orality is also required to support of the general principles of the organization of the trial. It shows undeniable qualities making its use indispensable, but above all, orality has the vocation to put the person in the center of the contract or in the center of the trial. Today, orality is still far from the predicted decline as its contribution remains essential. It is the traditional favor for orality which will be recalled here

碩士
亞洲大學
休閒與遊憩管理學系
104
This study used the case of the Malahodaigian Ritual of the Bunun Tribe combined with a Sports Event in the recent years to explore the development and influences of combining a traditional ritual with a sports event and provide some cultural introspection in this respect. This study found that when the Malahodaigian Ritual was combined with a sports event, the process of the ritual was under many constraints caused by the schedule arrangement of the sports event, making it difficult for the ritual to deliver the cultural messages. As a result, the traditional spirit of the Bunun Tribe wasn’t manifested or shown forth. The result of forcing to merge two activities of different forms, contents, and purposes was the cultural inheritance of the Malahodaigian Ritual becoming “out of focus” and its intention becoming vague. To ensure the cultural inheritance of the Malahodaigian Ritual and the manifestation of the traditional features of the tribe, this study suggested that the planning for integrating a tribe ritual with a sports event should be extra careful and detailed. 1、The overall creative plan of integrating the Malahodaigian Ritual with a sports event should be made with the Malahodaigian Ritual being the core cultural content (guiding principle) for the purpose of complete manifestation of the cultural content and the traditional spirit of the Bunun Tribe. 2、For the whole activity, the focus of resource allocation and schedule planning should be more on the ritual than the sports event, in order to rebuild the cultural attitude for the overall activity and improve community exchange. 3、The cultural features of the Bunun Tribe should be used as the core to improve the cultural tourism value of the festival activity instead of combining and mixing things without thorough planning.

La solha (« réconciliation » en arabe) est une méthode de résolution de conflits millénaire provenant du milieu tribal proche oriental. Bien au delà du simple règlement de litige, cette réconciliation vise à rétablir l’harmonie au sein des tissus sociaux déchirés. Habilitée à traiter toutes sortes de conflits, de la simple forme pénale aux cas criminels les plus complexes (cycles de vengeances et de vendetta), la solha s’est adaptée à des milieux très différents. La cause principale de son efficacité semble être l’universalité de ses principes fondamentaux (le pardon, la nécessité d’une réinsertion sociale du coupable, la satisfaction des victimes, etc.) ainsi que l’adéquation de ses rituels de réconciliation aux mœurs des populations qui la pratiquent. Ce mémoire cherche à approfondir notre compréhension de cette approche traditionnelle afin d’enrichir nos connaissances et moyens en termes de résolution de conflits contemporains. A cette fin, seront isolés les éléments fondamentaux qui font l’efficacité de cette méthode. Ceux-ci constitueront un modèle théorique minimal de la solha qui permettra d’entamer, à ce stade de l’étude, une réflexion quant à la possibilité de transposer de tels acquis à des milieux d’interventions nouveaux.
The sulha (“reconciliation” in Arabic) is a thousand years old conflict resolution method used in the near east tribal world. Far beyond a simple mediation, its objective is a solid reconstruction of the destroyed social network. Habilitated to deal with all kinds of conflicts, from simple penal cases to long lasting vendettas, the sulha process has proven its usefulness in very different social milieu. The most evident reason for this success has been its dual composition: fundamental principles that seem universal (forgiveness, social reinsertion of the guilty, satisfaction of the victims, etc.) and adaptive rituals that fit into people’s customs. This thesis seeks to enrich our knowledge and means in terms of conflict resolution by trying to reveal the mechanisms that make this method so efficient. The main objective is to compose a basic theoretical model of the sulha that would open a reflection about the possibility of transposing this model to new intervention contexts.
Avant-propos: La résolution de conflits s’est installée dans les cursus universitaires comme une discipline à part entière sinon comme une orientation au sein de plusieurs sciences sociales. En effet, ce champ d’étude fait de plus en plus l’objet de réflexions en sciences politiques, en sociologie, en anthropologie, etc, et ce, de par l’interdisciplinarité des questionnements qui en relèvent. Toutefois, la dimension religieuse, souvent considérée comme source de conflits, est quasi inexistante lorsqu’il est question d’approches de résolution. Nous nous proposons donc d’examiner la solha, une pratique proche orientale au sein de laquelle le fait religieux est une composante essentielle à la réconciliation escomptée. Note concernant la translittération: Les termes provenant de l’arabe feront l’objet d’une translittération phonétique basée sur le français. Notez que les translittérations en langue française sont différentes de celle en langue anglaise. Par exemple, le terme solha trouvera son équivalent anglais dans le terme sulha (d’où la différence d’orthographe entre le contenu de cette étude et les citations qui proviennent d’articles anglophones). De plus, notez que le genre (féminin, masculin) des termes translittérés reprendra celui de la langue d’origine, l’arabe. Ainsi, solha sera féminin, jaha aussi, etc… Finalement, pour des raisons de clarté, les termes translittérés seront tous en italique dans le texte.

碩士
國立新竹教育大學
人資處音樂教學碩士班
98
This thesis presents a case study on Taokas Tribes and strives to analyse Taokas Tribes's rituals and the music, songs, and dances performed in them. Based on our extensive analysis, we further discuss the methods and strategies used by Taokas Tribes for cultural identity and revitalization. We survey related work in the literature to understand previous relevant studies and various academic viewpoints. Our survey serves as the basis and background of the knowledge and discussion. In addition, we study the cultural experiences and memories of both individuals and tribes by field work and in-depth oral interviews. We also analyze and compare the representation with the concept of intention, throughly understand the inherent context of the tribe, the potential issues, and developments. With recent nativistic movements, such as indigenous land rights “Give me back my land” and ethnic name rectification, Ping- pu culture has gradually gained significant public attentions. Khantian of Taokas Tribe is an on-going example of various ethnic identity and revitalization movements in Taiwanese indigenous people. It sheds a light on how the native community chooses, organizes, and recreates its history, and then establishes a modern cultural representation in order to highlight the ethnic characteristics, maintain group consensus, carry heterogeneous interpretations, reshape historical memory, and strengthen theself recognition. After the language and culture have been disintegrated and disappeared, the attempts of a disadvantaged tribe in contemporary society for reviving and revitalizing through the traditional rituals is indeed an important research topic. The thesis is organized as follows. We give an overview on this work in Chapter 1. Chapter 2 presents Taokas Tribes' past and present by comparing their current livelihood against that recorded in the literature. Chapter 3 discusses the ritual and performance of Khantian, including the ethnography and records of the music, songs, and dances performed in it. Chapter 4 investigates how ritual becomes the dominating identity carrier to revive and pass down the culture. Chapter 5 concludes this thesis. It also provides suggestions and reflections on similar issues for educations and cultural revitalization.