Tesis sobre el tema "Art nahua"

La recherche présentée dans cette thèse porte sur la teneur et la singularité des relations que les Nahuas de l’ancien Mexique entretenaient avec la couleur, en se fondant sur les représentations et les pratiques qu’ils avaient élaborées autour de ce phénomène multiforme. Dans un premier temps, elle tente une reconstruction de leur imaginaire de la couleur, du coloré et du multicolore en enquêtant sur le lexique et sa polysémie, puis sur la place réservée aux couleurs dans l�����art et, enfin, sur les valeurs de la bigarrure dans la cosmologie et la mythologie. La deuxième partie de ce travail étudie la terminologie chromatique des Nahuas. Elle a pour but de redécouvrir leur organisation de l’univers coloré en catégories et leurs préférences en matière de couleurs, mais aussi de retrouver les sensations et les connotations qui étaient attachées à certaines d’entre elles. Le dernier volet de l’étude se consacre aux peintures polychromes qui ornaient les corps des membres du panthéon de cette société précolombienne depuis la double perspective de leur matérialité et des effets visuels qu’elles génèrent. Il révèle la complexité des valeurs que les Nahuas assignaient aux substances colorantes, tout en mettant en lumière le rôle joué par les assemblages chromatiques dans l’expression du principe de complémentarité qui structurait le système de pensée préhispanique<br>The research presented in this thesis focuses on the singularity of the relationship the Nahuas of ancient Mexico had with colour, by analysing the representations and the practices formed around this multifarious phenomenon. In the first place, it attempts to reconstruct their imaginary of colour, the coloured, and the multicoloured, by carrying out an investigation into the vocabulary and its polysemy, then on the place reserved for colour in art and, finally, on the values of the colourful in cosmology and mythology. The second part of this work studies the chromatic terminology of the Nahuas. It aims at rediscovering the organisation of the coloured universe into categories and their preferences in matter of colour, but also at recognizing the sensations and connotations that were attached to some of them. The last section of the study is devoted to the polychrome paintings that decorated the bodies of the pantheon members of this Pre-Columbian society, from the double perspective of their materiality and the visual effects that they generated. It reveals the complexity of the value that the Nahuas assigned to coloured substances, also bringing to light the role played by chromatic combinations in the expression of the principal of complementarities that structured the system of the Pre-Hispanic thought

A travers l’étude des représentations de Tlaloc et de Chac, entités aztèque et maya, au Classique, c’est-à-dire pendant la période III, cette thèse met en évidence la continuité de leurs représentations depuis l’époque I – où nous constatons l’existence d’un proto-Tlaloc et d’un proto-Chac – jusqu’à l’époque V, soit depuis 1200 avant J. -C. Jusqu’à la Conquête en 1519. En fait, nous avons affaire à une double continuité : de représentation et de sens mettant ainsi l’accent sur le rôle structurant des Nahua dans l’ensemble de la Mésoamérique. En effet, le champ sémantique de Tlaloc et de Chac est celui de la demande de pluie, donc de la fertilité ; mais aussi du sacrifice, à travers la dyade « l’eau-le feu », atl-tlachinolli, concept nahua de la guerre sacrificielle<br>By studying representations of Tlaloc and Chac ; Aztec and Maya entities, during Classic period, period III, this thesis emphasizes continuity of their representation from period I – where we note existence of a proto-Tlaloc and a proto-Chac – to period V. So, from 1200 BC to the Conquest in 1519. We note a double continuity: of representation and of meaning. This continuity shows the structuring role of Nahua in the whole Mesoamerica. The semantic field of Tlaloc and Chac is the request for rain, therefore for fertility; but also for sacrifice: through the union “water-fire”, atl-tlachinolli, Nahua concept of sacrifice’s war

Texte remanié de: Ph. D.--Anthropol.--Université de Montréal, 2001. Titre de soutenance : In xochiyecolli, l'épreuve fleurie : symbolique du genre selon la littérature des Nahua du Mexique préhispanique.<br>Bibliogr. p. 313-329. Index.

Thesis Ph. D.--Universiteit Leiden, 2004.<br>Ouvrage en anglais avec son résumé en néerlandais. Bibliogr. p. 275-293. Contient une reproduction en couleur (48 x 64 cm) du document Lienzo de Quauhquechollan, pliée dans une pochette, en fin d'ouvrage.

Notre recherche a comme sujet la comparaison du texte de la Septante avec le texte massorétique du livre de Naoum. La recherche se divise en quatre parties. La première analyse et décrit le mode de traduction et expose, pour la Vorlage hébraïque les conclusions qui en découlent. La deuxième partie offre la reconstruction de la Vorlage du livre entier. La troisième et la quatrième partie se limitent à trois versets sélectionnés et les examinent du point de vue de la critique textuelle et de la critique littéraire. En définitive, cette recherche donne des éclaircissements sur l’histoire du texte de Naoum, sur l’histoire de sa transmission ainsi que celle de sa réception et (re)lecture à l’époque hellénistique. Partant, les résultats contribuent à la reconstitution de l’histoire des écrits prophétiques de la Bible hébraïque<br>The present examination is about the comparison of the translation of the Septuagint with the Masoretic text of the book of Nahum. The investigation consists of four parts. The first focuses on the translation technique and the conclusions to be drawn with respect to the Hebrew Vorlage. The second offers a reconstruction of the Vorlage of the Septuagint of the whole book of Nahum. The third and the fourth parts are dealing with three selected verses, discussing them with regard to text-critical and literary-critical questions. This study not only gives new insights into the history of the textof the book of Nahum and it’s transmission, but also into the reception and (re)lecture of the text in the Hellenistic period. The results contribute to the reconstruction of the history of Hebrew prophetical literature

Le paradigme de la Nahda, ou Renaissance arabe est un puissant zeitgeist qui revient cycliquement dans la pensée et le monde culturel du Moyen-Orient depuis la fin du 19eme siècle. Cette thèse questionne les raisons du retour du paradigme dans les années 2000 (et en particulier entre 2001 et 2005) en Egypte et dans les Emirats (Doha et Sharjah) en observant les rapports de force entre différentes sphères artistiques et les structures de mécénat. Elle interroge la raison d'être de cette quête pour une Renaissance culturelle, les enjeux liées au mécénat, l'exploitation politique du culturel et en particulier les questions d'authenticité, de culture nationale et globale, musulmane ou séculière, d'indépendance et enfin, de liberté artistique. L'étude du paradigme passe à travers la comparaison des discours et des oeuvres des 'artistes d'états' soutenus par le pouvoir de Moubarak, des artistes commerciaux, qui derrière Adel Imam, sont les fers de lance du pouvoir séculier contre les islamistes égyptiens; et des artistes arabes et internationaux qui à Doha ou Sharjah gravitent autour du riche mécénat des Emirats. En opposition à l'état, plusieurs sphères sont étudiées: celle des artistes 'indépendants' mais soutenus par les fondations privées ainsi que la sphère des artistes musulmans qui proposent un fan al hadif, ou 'art modeste'. La sphère des artistes digitaux enfin, autonomes par rapport aux réseaux de mécénat, permet de confirmer l'existence d'une réelle Renaissance culturelle digitale soutenue par l'explosion des réseaux sociaux, une décennie avant les révolutions arabes. En questionnant la position des artistes vis à vis de leurs mécènes et par rapport au pouvoir, cette thèse souligne l'importance du discours culturel et artistique pour la sphère publique et ses répercussions sur les enjeux de citoyenneté<br>The Nahda, or "Arab Renaissance" is a powerful returning paradigm in Egypt and the Middle East cultural field since the end of the 19th century. The aim of this dissertation is to assess, through the study of the new paradigm, the autonomy of the arts in Egypt and the Middle East and their relation to power and to interrogate the role of art in identity definition and in the "dialogue" with Islam after 9/11 - and especially after foreign actors have greatly re-shuffled the power relationship. The first case study focuses on "state artists" in Egypt and studies the passage from the Tahtqif, or "culturisation" of Egyptians in the name of Enlightenment and the gradually undermining of state monopoly over identity politics. The second chapter is dedicated to Arab artists and their Gulf patrons: the agency of the "invisible hand" of the global artistic market is discussed, through two case studies in Doha and Sharjah. The third chapter assesses the state narrative against Islamists in Egypt through the figure of comedy actor Adel Imam. The second part is dedicated to the artists in opposition to the state. Chapter I reviews the agency of the artistic sphere in total opposition with the state, with the study of a group of young Muslim filmmakers who intented to contribute to a fann al hadif or "purposeful art". The two following chapters review the works of the "independent scene" that saw the light after the arrival arrival en masse of foreign funding in 2001, while the last case studies centred on Digital artists venture into giving the first hints of a conclusion about a Digital Renaissance that took place after after 2004, and of the adoption of social networks in Egypt. The importance of the arts in the political discourse, its agency in the process of secularization, nationalist debates or international relations in the time of globalisation, is barely mentioned in political science. This dissertation is intended to corroborate the claim that there is much to learn from the art spectrum and from its agency on societal changes and power struggles

This thesis encompasses a survey of contemporary environmental literature (1970s to the present) as it relates to the tenets of Taoist literature, specifically the Chuang Tzu and the Tao te Ching. The thesis also presents and evaluates pertinent criticisms concerning the practice of relating modern environmental problems to ancient Chinese philosophy. The thesis contains a preface that describes the historic roots of Taoism as well as an explanation of the Chinese terminology in the paper. The environmental literature is divided into three major groups and discussed in the three chapters of the paper. The three groups include mainstream environmentalists, deep ecology, and ecofeminism.

Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant.<br>This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on the adaptations proposed by Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean and William Charles Macready. The analysis also takes into considerations some rewritings such as the melodrama written by W.T. Moncrieff and the burlesques produced by John Chalmers, Joseph Halford and C.J. Collins, and Frederick Marchant.

Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant.<br>This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on the adaptations proposed by Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean and William Charles Macready. The analysis also takes into considerations some rewritings such as the melodrama written by W.T. Moncrieff and the burlesques produced by John Chalmers, Joseph Halford and C.J. Collins, and Frederick Marchant.

archives@tulane.edu<br>Among the Nahua people of Late Postclassic central Mexico, specialists who worked with precious stones, feathers, and metals represented a highly prominent class of artists who were at the center of Nahua theories of artistic practice. The highly valuable materials that they worked were referred to collectively as tlazohtli, or precious things, and embodied immense economic, aesthetic, efficacious, and ideological value. Ownership of these materials was closely regulated, and works in these media played a principal role in communicating and at times constructing the identities of the nobles, rulers, and gods (teteoh) who wore them. Artists of this class further employed widely varied forms of knowledge—ranging from the technical to the philosophical—, all of which informed their modes of judging, structuring, and transforming precious materials. By analyzing Nahuatl-language texts in the original, pictorial representations, and surviving artworks in these media, this dissertation reconstructs a set of key issues for artistic work with precious materials as understood by Nahua people: value (tlazohtiliztli), appearance (ixnexcayotl), animacy (tonalli), and surface (ixtli). Employing interdisciplinary methodologies drawn from linguistics, literary studies, anthropology, and art history, this study reconstructs how Nahua people of the Late Postclassic conceptually framed these issues and how artists employed them as visual strategies in the creation of elaborate extant works in turquoise, feather mosaic, and cast gold. Engaging with Nahua thought on these issues brings to light local constructions of major visual and artistic concepts, including color, surface, and representation, that together constitute a Nahua theory of art.<br>0<br>Allison Caplan

This dissertation examines death and approaches to death among the Nahuas of colonial Puebla's Upper Atoyac Basin. Beginning in 1519, violent campaigns of conquest and recurring widespread epidemic disease introduced by Spanish explorers contributed to indigenous mortality. Understandings of unrelenting death differed among Spanish conquerors and friars and among Nahuas of various Puebla communities, as indicated by the histories that they produced. Although generalized indigenous death facilitated the establishment of the colony of New Spain in some ways, it also slowed the development of infrastructure and the extraction of wealth and resources from the region. Religious authorities, who desired eternal salvation for dying Nahuas, attempted to impose Catholicism by force in the 1520s, sentencing idolaters and backsliders to death. When extirpation failed to produce desired results, the regular orders reevaluated their policy and became advocates on behalf of the beleaguered indigenous population, writing to the crown regarding indigenous death and teaching Nahuas how to die as Catholics and achieve spiritual salvation. Friars introduced the European-style testament to indigenous communities and taught about Catholic approaches to death through architecture, doctrinal manuals, and other materials Nahuas quickly accepted the testament and trained notaries from Huexotzinco and San Andres Cholula in the Upper Atoyac Basin produced them in Nahuatl at the behest of dying individuals by 1573 and continuing into the 1770s. The most prevalent of Nahuatl documents, testaments bridged this world and the hereafter and allowed the dying to express final wishes regarding spiritual and material affairs before perishing. As such, testaments reflect Nahua priorities at the time of death. In addition to recording last desires in them, Nahuas called upon family members, members of their traditional households, religious and secular authorities, and social institutions to aid them in fulfilling those final desires. Upper Atoyac Basin Nahuas were not content to die alone, nor were they willing to be forgotten after death. Futhermore, they died as Catholics, but their wills reflect their indigenousness, regional considerations, and personal choice. In short, Upper Atoyac Basin Nahuas died and lived with death in ways that complex ways that reflected multifaceted identities<br>acase@tulane.edu

This dissertation examines the role of scientific and medical disciplines in the construction of homosexuality in Mexico, and how non-normative gender and sexual subjects engaged in political activism, body modifications, and aesthetic production to challenge the pathologizing discourses reinforced by the increasing authority of the biomedical sciences. Chapter 1 examines the role of photography as a medical instrument in the first documented sex-reassignment treatment in the Western Hemisphere performed by Mexican physician and sexologist Rafael Sandoval Camacho in the early 1950s, and how his patient Marta Olmos, Mexico’s first transsexual woman, embraced photojournalism as a medium to document, archive, and validate her identity as a woman. In chapter 2, I examine the popular phenomenon of publishing photographs of erotized trans sex workers known as Mujercitos during the 1970s in Alarma!, Mexico’s most influential crime tabloid magazine, and how these marginalized subjects appropriated biomedical technologies like “sex hormones” intended to regulate gender and sexual deviance to construct bodily identities that challenged the medical and criminological positions on the essentialist natures of gender expression, sexual desire, and the sexed body. Chapter 3 examines the early gay narrative of Luis Zapata and José Rafael Calva that emerged in conjunction to Mexico’s Homosexual Liberation Movement in the late 1970s. My analysis demonstrates how Zapata’s El vampiro de la colonia Roma [Adonis García: A Picaresque Novel] (1979), and Calva’s Utopía gay [Gay Utopia] (1983) present sharp critiques shared by Mexico’s homosexual liberation groups on the growing authority of disciplines like psychiatry, psychoanalysis, and biomedicine in pathologizing homosexuality. Chapter 4 examines the changing understandings of homosexuality, homosexual desire, and the homosexual body during the HIV/AIDS crisis through the work of Julio Galán, Nahum B. Zenil, and art collective Taller Documentación Visual. My analysis presents the role of the HIV virus not as an explicit visual reference but rather as an elusive, spectral, and dangerous entity that is identifiable through the aesthetic and formal composition of the artists’ works, best exemplified by the references to condoms as physical and symbolic devices in the mediation of gay sexual contact and desire. This dissertation demonstrates the critical roles of biomedicine, criminology, sexology, and psychiatry in regulating diverse forms of Mexican homosexualities, while simultaneously functioning as liminal disciplines strategically adopted by homosexual subjects to redefine, shape, and validate their desired bodily, sexual, and subjective identities.