Grete T. Viddal
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Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en -
Haitian Migration and Danced Identity in Eastern Cuba
Haitian Migration and Danced Identity in Eastern Cuba The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Viddal, Grete. 2010. Haitian migration and danced identity in eastern Cuba. In Making Caribbean Dance: Continuity and Creativity in Island Cultures, ed. Susanna Sloat, 83-94. Gainesville, FL: University Press of Florida. Published Version doi:10.5744/florida/9780813034676.003.0007 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10384888 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 7 Haitian Migration and Danced Identity in Eastern Cuba Grete Viddal I arrive at Santiago de Cuba’s Teatro Oriente to see a small crowd of locals and tourists waiting outside. We are here to see Ballet Folklórico Cutumba, one of eastern Cuba’s premier folkloric dance troupes. Although the theater is run down and no longer has electricity or running water, its former el- egance is apparent. As we enter, we see that lush but tattered velvet drapes flank the stage and ornate architectural details adorn the walls underneath faded and peeling paint. Light filters in through high windows. As the per- formance starts, women in elaborate ball gowns enter this dusty stage. They must hold up their voluminous skirts to keep yards of fabric from drag- ging on the floor. Men sport white topcoats with tails and matching white cravats. -
Cognición, Lengua Y Dinámicas Biopoéticas De Evolución Social En Ortega Y Gasset
COGNICIÓN, LENGUA Y DINÁMICAS BIOPOÉTICAS DE EVOLUCIÓN SOCIAL EN ORTEGA Y GASSET. MODELOS COGNITIVOS DE ORGANIZACIÓN TEMPORAL DEL CONCEPTO HUMANO EN EL TEXTO LA DESHUMANIZACIÓN DEL ARTE (1925) Autor Michal Stanislaw Góral Directora Juana Teresa Guerra de la Torre Las Paltnas de Gran Canaria 2015 UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA Departamento de Filología Moderna D. JOSÉ ISERN GONZÁLEZ, SECRETARIO DEL DEPARTAMENTO DE FILOLOGÍA MODERNA DE LA UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA CER TIFICA Que en el Consejo de Doctores del Departamento en su sesión de 20 de abril de 2015 tomó el acuerdo de dar el consentimiento para la tramitación de la Tesis Doctoral titulada "COGNICIÓN, LENGUA Y DINÁMICAS BIOPOÉTICAS DE EVOLUCIÓN SOCIAL EN ORTEGA Y GASSET. MODELOS COGNITIVOS DE ORGANIZACIÓN TEMPORAL DEL CONCEPTO HUMANO EN EL TEXTO LA DESHUMANIZACIÓN DEL ARTE (1925)", presentada por D. MICHAt STANIStAW GÓRAL, y dirigida por la doctora Dª. JUANA TERESA GUERRA DE LA TORRE. Y para que así conste, y a efectos de lo previsto en el artículo 8 del Reglamento de estudios de doctorado de esta universidad, firmo el presente certificado en Las Palmas de Gran Canaria, a 20 de abril de 2015. Fdo.: José Isern González Secretario del Departamento de Filología Moderna Anexo 11 UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA Departamento/Instituto/Facultad: Departamento de Filología Moderna/Facultad de Filología Programa de doctorado: Nuevas perspectivas cognitivas en los estudios de lengua, literatura y traducción Título de la Tesis "COGNICIÓN, LENGUA Y DINÁMICAS BIOPÉTICAS DE EVOLUCIÓN SOCIAL EN ORTEGA Y GASSET. MODELOS COGNITIVOS DE ORGANIZACIÓN TEMPORAL DEL CONCEPTO HUMANO EN EL TEXTO LA DESHUMANIZACIÓN DEL ARTE (1925)" Tesis Doctoral presentada por O: Michal Góral Dirigida por el Dra. -
'New Challenges for Law: Genetic Edition, Human
STUDIES ON LIFE AND HUMAN DIGNITY INTERNATIONAL SEMINAR JUNE 21st 2019 ‘NEW CHALLENGES FOR LAW: GENETIC EDITION, HUMAN ECOLOGY, AND HUMAN DIGNITY IN LIFE AND DEATH’ LOCATION: Hauser Hall 105, Harvard Law School DATE: Friday June 21st 2019 Respect for human dignity at the end of life and the limits of power available to each person regarding their own existence have become major issues in the Western world. The aim of this international seminar is to bring new ideas to the contemporary debate on human dignity in life and death in Europe and America in the twentieth and twenty- first centuries. To do this it is necessary to analyze the philosophical principles and historical events that have helped shape the current views on questions as genetic edition, human ecology, human dignity, death penalty, euthanasia, human enhancement or technological singularity, as well as their treatment by public opinion in Western countries. DIRECTOR: José-María Puyol Montero (Universidad Complutense de Madrid). ORGANIZING COMMITTEE: José-Manuel Martínez Sierra (Director, RCC at Harvard), Jane Driver (Harvard Medical School), José-Miguel Serrano Ruiz-Calderón (Universidad Complutense de Madrid), Vicente Bellver (University of Valencia), and María-Luisa Gómez Jiménez (Universidad de Málaga). SPONSORS: Real Colegio Complutense at Harvard University, Institute for Global Law and Policy (IGLP), The Harvard Law School Criminal Justice Policy Program (HLSCJPP), Tatiana Pérez de Guzmán el Bueno Foundation, and Tirant lo Blanch Publisher. AIM: A day of discussion on genetic edition, human ecology, and human dignity in life and death, directed to Professors, Fellows of Real Colegio Complutense at Harvard and Researchers. -
2 Letter from the Director 3 Cmes Opens Field Office in Tunisia 6 News and Notes 26 Event Highlights
THE CENTER FOR MIDDLE EASTERN STUDIES NEWS HARVARD UNIVERSITY 2016–17 2 LETTER FROM THE DIRECTOR A message from William Granara 3 CMES OPENS FIELD OFFICE IN TUNISIA Inaugural celebration 6 NEWS AND NOTES Updates from faculty, students, alumni, and visiting researchers; Margaux Fitoussi on the Hara of Tunis; Q&A with Emrah Yildiz 26 EVENT HIGHLIGHTS Lectures, workshops, and conferences; Maribel Fierro’s view of Medieval Spain; the art of Helen Zughaib LETTER FROM THE DIRECTOR 2016–17 HIGHLIGHTS WE COME TO THE END OF ANOTHER ACADEMIC YEAR about which CMES can boast an impressive list of accomplishments. It was a year in which we welcomed the largest cohort of our AM program, 15, increasing this year’s total enrollment to 28 students! I’m happy to report that we will be receiving 18 AM students next fall, testament to a highly successful and thriving master’s program in Middle Eastern studies at Harvard. A highlight of spring semester was the official opening and inaugural celebration of the CMES Tunisia Office, which we have been planning for the past three years. Mr. Hazem Ben-Gacem, AB ’92, our host and benefactor, opened the celebrations. Margot Gill, FAS Administrative Dean for International Affairs, and Malika Zeghal, Prince Alwaleed Bin Talal Professor in Contemporary Islamic Thought and Life, joined me in welcoming our Tunisian guests, along with Melani Cammett, Professor of Government, Lauren Montague, CMES Executive Director, and Harry Bastermajian, CMES Graduate Programs Coordinator. Ten graduate students participated in our second annual Winter Term program in Tunis and were also part of the hosting committee for the event. -
List of the 90 Masterpieces of the Oral and Intangible Heritage
Albania • Albanian Folk Iso-Polyphony (2005) Algeria • The Ahellil of Gourara (2005) Armenia • The Duduk and its Music (2005) Azerbaijan • Azerbaijani Mugham (2003) List of the 90 Masterpieces Bangladesh • Baul Songs (2005) of the Oral and Belgium • The Carnival of Binche (2003) Intangible Belgium, France Heritage of • Processional Giants and Dragons in Belgium and Humanity France (2005) proclaimed Belize, Guatemala, by UNESCO Honduras, Nicaragua • Language, Dance and Music of the Garifuna (2001) Benin, Nigeria and Tog o • The Oral Heritage of Gelede (2001) Bhutan • The Mask Dance of the Drums from Drametse (2005) Bolivia • The Carnival Oruro (2001) • The Andean Cosmovision of the Kallawaya (2003) Brazil • Oral and Graphic Expressions of the Wajapi (2003) • The Samba de Roda of Recôncavo of Bahia (2005) Bulgaria • The Bistritsa Babi – Archaic Polyphony, Dances and Rituals from the Shoplouk Region (2003) Cambodia • The Royal Ballet of Cambodia (2003) • Sbek Thom, Khmer Shadow Theatre (2005) Central African Republic • The Polyphonic Singing of the Aka Pygmies of Central Africa (2003) China • Kun Qu Opera (2001) • The Guqin and its Music (2003) • The Uyghur Muqam of Xinjiang (2005) Colombia • The Carnival of Barranquilla (2003) • The Cultural Space of Palenque de San Basilio (2005) Costa Rica • Oxherding and Oxcart Traditions in Costa Rica (2005) Côte d’Ivoire • The Gbofe of Afounkaha - the Music of the Transverse Trumps of the Tagbana Community (2001) Cuba • La Tumba Francesa (2003) Czech Republic • Slovácko Verbunk, Recruit Dances (2005) -
Intangible Cultural Heritage 2 EXT COM
Intangible Cultural Heritage 2 EXT COM ITH/08/2.EXT.COM/CONF.201/7 Corr. Paris, 11 February 2008 Distribution limited Original: French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Second Extraordinary Session Sofia, Bulgaria, 18 to 22 February 2008 Item 7 of the Provisional Agenda: Formal and procedural conditions concerning the incorporation of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity” in the Representative List, notably the Masterpieces present in the territories of States non party to the Convention CORRIGENDUM Paragraph 2 of the annex to Decision 2.EXT.COM 7 should read “This incorporation is enforceable against all States […]” instead of “This incorporation is binding on all States […]”. 1 Intangible Cultural Heritage 2 EXT COM ITH/08/2.EXT.COM/CONF.201/7 Paris, 11 February 2008 Distribution limited Original: French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Second Extraordinary Session Sofia, Bulgaria, 18 to 22 February 2008 Item 7 of the Provisional Agenda: Formal and procedural conditions concerning the incorporation of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity” in the Representative List, notably the Masterpieces present in the territories of States non party to the Convention Summary In conformity with paragraph 6 of Decision 2.COM 14 taken in Tokyo at the second ordinary session of the Committee, this document presents a proposal relating to formal and procedural conditions concerning the incorporation in the Representative List of items proclaimed “Masterpieces of the Oral and Intangible Heritage of Humanity”, notably those present in the territories of States non party to the Convention. -
Cahiers D'ethnomusicologie, 14
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 14 | 2001 Le geste musical Édition électronique URL : http://journals.openedition.org/ethnomusicologie/70 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 1 décembre 2001 ISBN : 2-8257-07-61-9 ISSN : 1662-372X Référence électronique Cahiers d’ethnomusicologie, 14 | 2001, « Le geste musical » [En ligne], mis en ligne le 01 juin 2011, consulté le 06 mai 2019. URL : http://journals.openedition.org/ethnomusicologie/70 Ce document a été généré automatiquement le 6 mai 2019. Tous droits réservés 1 Seuls la musique des sphères, la harpe éolienne et quelques instruments électroniques récents se passent de l'homme pour être mis en vibration. C'est finalement au corps humain que revient le rôle d'agitateur, de stimulateur et d'organisateur de la matière sonore. Au plus intime du corps naît la voix. A l'origine cachée du chant, un mouvement intérieur se traduit en geste phonatoire. La danse n'est pas loin : les pieds, les mains, spontanément, répondent à ce surgissement dont l'oreille assure le relais. Comment naît le geste vocal ? Comment vient la danse ? Comment l'instrument accueille-t-il celui qui en joue, comment s'adapte-t-il à la physiologie humaine ? A quelles impulsions obéissent le souffle, la voix, les mains, les doigts ou les pieds lorsqu'ils se meuvent pour produire des sons, et quelle est la part des automatismes dans le geste "intérieur" - geste "antérieur" au son - qui conduit le jeu du musicien ? Telles sont, parmi d’autres, les questions qui se posent lorsqu’on pense aux mouvements de la musique dans l’homme, lorsqu’on réfléchit aux gestes de l’homme musicien. -
Confidential Briefing for Lawrence H
Harvard Regional Centers Contacts: AFRICA Harvard Center for African Studies: Li-Ming Tseng - [email protected]; Alex Taylor - [email protected]: Lindsay Moats - [email protected] ASIA-PACIFIC Harvard Asia-Center: Liz Liao - [email protected] Harvard China Fund: Daniel Murphy - [email protected] Harvard Committee on Australian Studies: David Haig - [email protected] Harvard Fairbank Center: Daniel Murphy - [email protected] Harvard Korea Institute: Susan Laurence - [email protected] Harvard Reischauer Institute of Japanese Studies: Gavin Whitelaw – [email protected] Harvard Lakshmi Mittal and Family South Asia Institute: Chelsea Ferrell - [email protected] Harvard Weatherhead Center US-Japan Program: Shinju Fujihira - [email protected] CANADA Harvard Weatherhead Center, Canada Program: Helen Clayton - [email protected] EUROPE Harvard Davis Center for Russian and Eurasian Studies: Donna Griesenbeck - [email protected] Harvard Minda de Gunzburg Center for European Studies: Vassilis Coutifaris - [email protected] Harvard Ukrainian Research Institute: Tymish Holowinsky - [email protected] Real Colegio Complutense at Harvard: Rodrigo Cetina - [email protected] Villa I Tatti Harvard University Center for Italian Renaissance Studies: Amanda Smith - [email protected]; Christiana Killian - [email protected] LATIN AMERICA & CARIBBEAN Harvard David Rockefeller Center for Latin American Studies: Andrew -
The Awakening of Endymion
[Recepción del artículo: 08/08/2019] [Aceptación del artículo revisado: 30/08/2019] THE AWAKENING OF ENDYMION: BEAUTY, TIME, AND ETERNITY IN ROMANESQUE SCULPTURE, AND ITS PHOTOGRAPHIC AFTERLIFE EL DESPERTAR DE ENDIMIÓN: BELLEZA, TIEMPO Y ETERNIDAD EN LA ESCULTURA ROMÁNICA Y SU DEVENIR FOTOGRÁFICO FRANCISCO PRADO-VILAR Real Colegio Complutense, Harvard [email protected] ABSTRACT Focusing on a series of extraordinary photographs of the sarcophagus lid of Alfonso Ansúrez (d. 1093), I delve in this essay into its formal, iconographic and performative aspects as I follow its geographical and temporal iterations in the first decades of the twentieth century. It traveled from the municipal cemetery of Sahagún, where it had been reused as the tombstone of a local townsman, sailing across the Atlantic to the Fogg Art Museum at Harvard, and then returning to Spain to become a stellar exhibit in the recently renovated National Archaeological Museum in Madrid. Each of these photographs records a unique intersubjective encounter between the figures carved on the lid, especially Alfonso’s marble embodiment, represented in the mo- ment of his glorious resurrection following classical models of the myth of Endymion, and the persons on the other side of the lens. Notable among them were the art historian Ricardo de Orueta, who was Director General of Fine Arts in the government of the Spanish Republic, and the eminent Harvard medievalist Arthur Kingsley Porter. Made available to many eyes/I’s through their photographs, the sepulchral slab acquired a new -
Ten-Year Index: Volumes 31-40, 1987-96
VOL. 41, NO. 2 ETHNOMUSICOLOGY SPRING/SUMMER 1997 Ten-Year Index Volumes 31-40 * 1987-96 From the Editor This fourth ten-year index spans the period of transition from the publication of Ethnomust- cology by the Society for Ethnomusicology to its publication by the University of Illinois Press, which began with volume 36 in 1992. Many thanks are due to those involved in this changeover, particularly to Jeff Titon, the transitional editor; to Judith McCullough, chair of the SEM Editorial Advisory Board; and to Carole Appel, journals manager at the Press at the time of transfer, Ann Lowry, current journals manager, and Cynthia Mitchell, journals editor at the Press. This index was prepared by Giancarlo Vulcano and Jaime Jones, both students at Sarah Lawrence College and editorial assistants during my term as editor. On behalf of the Society, I extend much gratitude to them, the officers and business office staff of SEM, the team at the University of Illinois Press, and the various editors, reviewers, compilers, manu- script readers, and authors whose expert work is represented herein. JAMES R. COWDERY Editorial Board Members, 1987-96 Editors K. Peter Etzkorn 1987 - Vol. 31 Issues 1, 2, 3 Charles Capwell 1988 - Vol. 32 Issues 1, 2, 3 1989 - Vol. 33 Issues 1, 2, 3 1990 - Vol. 34 Issues 1, 2, 3 Jeff Todd Titon 1991 - Vol. 35 Issues 1, 2, 3 1992 - Vol. 36 Issues 1, 2, 3 1993 - Vol. 37 Issues 1, 2, 3 1994 - Vol. 38 Issues 1, 2, 3 1995 - Vol. 39 Issues 1, 2, 3 James R. -
Representative List of the Intangible Cultural Heritage Of
RL cover [temp]:Layout 1 1/6/10 17:35 Page 2 2009 United Nations Intangible Educational, Scientific and Cultural Cultural Organization Heritage Representative List of the Intangible Cultural Heritage of Humanity RL cover [temp]:Layout 1 1/6/10 17:35 Page 5 Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 1 2009 Representative List of the Intangible Cultural Heritage of Humanity Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 2 © UNESCO/Michel Ravassard Foreword by Irina Bokova, Director-General of UNESCO UNESCO is proud to launch this much-awaited series of publications devoted to three key components of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage: the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, the Representative List of the Intangible Cultural Heritage of Humanity, and the Register of Good Safeguarding Practices. The publication of these first three books attests to the fact that the 2003 Convention has now reached the crucial operational phase. The successful implementation of this ground-breaking legal instrument remains one of UNESCO’s priority actions, and one to which I am firmly committed. In 2008, before my election as Director-General of UNESCO, I had the privilege of chairing one of the sessions of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in Sofia, Bulgaria. This enriching experience reinforced my personal convictions regarding the significance of intangible cultural heritage, its fragility, and the urgent need to safeguard it for future generations. Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 3 It is most encouraging to note that since the adoption of the Convention in 2003, the term ‘intangible cultural heritage’ has become more familiar thanks largely to the efforts of UNESCO and its partners worldwide.