Identifying the Maya Through a Study of Their Theatrical Practices| a Textual and Contextual Dramaturgy of the Mayan Cultural Performance Heritage

Total Page:16

File Type:pdf, Size:1020Kb

Identifying the Maya Through a Study of Their Theatrical Practices| a Textual and Contextual Dramaturgy of the Mayan Cultural Performance Heritage University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1999 Identifying the Maya through a study of their theatrical practices| A textual and contextual dramaturgy of the Mayan cultural performance heritage Ann C. Wright The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Wright, Ann C., "Identifying the Maya through a study of their theatrical practices| A textual and contextual dramaturgy of the Mayan cultural performance heritage" (1999). Graduate Student Theses, Dissertations, & Professional Papers. 2635. https://scholarworks.umt.edu/etd/2635 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact scholarworks@mso.umt.edu. NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received This reproduction is the best copy available. u m T m Maureen and Mike MANSFIELD LIBRARY The University ofJVIONXAIVA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature** Yes, I grant permission No, I do not grant permission / / / / Author's Signature ^ Date / ' ■ Y ' f / Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. IDENTIFYING THE MAYA THROUGH A STUDY OF THEIR THEATRICAL PRACTICES A TEXTUAL AND CONTEXTUAL DRAMATURGY OF THE MAYAN CULTURAL PERFORMANCE HERITAGE ANN C. WRIGHT Presented in partial fuUtliment of the requirements for the degree of Master of Arts in Fine Arts The University of Montana 1999 APPROVED BY; in, Board of Examiners Dean, Graduate School Date UMI Number: EP35297 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI* UMI EP35297 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProOuesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Wright, Ann C.,M.A. August 1999 Fine Arts/Drama “Identifying the Maya Through a Study of Their Theatrical Practices” (121 pp.) Director: Dr. Randy Bolton ABSTRACT History and theater attempt to re-present significant occurrences of the past by interpreting human performances. Although we can never hope to actually recreate the past, when attempting to interpret multi-cultural interaction (i.e. the Maya and the Spanish at the time o f the initial encounters), both cultures’ perspectives, cultural heritages, and worldviews - not simpfy the interpretation o f one o f the participants - must be explored if a viable interpretation is to be initiated, and possible synthesis explored. The story o f this cultural collision, fi-om the Maya point o f view, is yet to be written, but a solution for developing a more viable history than currently available is suggested in tire contextual/ textual dramaturgy o f Maya theater. The Mayan culture o f Yucatan and Central America evolved from a s^iificantfy different set o f original values, hereditary experiences, and resultant worldview than those experienced in Europe. Their unique form of life was a theatrical production - a cyclical re-enactment o f their creation myth - encompassing all aspects of their daily life, and all community members - a lifestyle. Key to understanding the Maya worldview is their original concept ofKinh, an encompassing philosophy ofPan-chronotheism. This philosophy is outlined in the various uses of the calendm- systems, and translated into any number of expressions of the use of space, and understanding of reality. Because the Maya experienced no differentiation o f sciences, arts and morality, to interpret their culture as it had evolved by the time of the initial encounters, one must willingly suspend disbelief in an alien worldview, and submerse themselves in the cyclical, holistic philosophy and way of life o f these people as exemplified in their theater. The various expressions and uses of personal (behavioral) and theatiical performance mediums, examined through the lens o f contextual/textual dramaturgy, helps clarify the essential humanity and philosophical intent of these people. It offers a basis for initiating a more viable historical interpretation o f their interaction with others, and a deeper appreciation o f their unique cultural performance heritage. PREFACE A performance history of the indigenous cultures of the North and South American continents is absent from the most respected works on theater history, due to the fact that it has long been assumed that theater, in its traditional definition, was not present in the cultural expression of these civilizations. I contend, however, that it is a “forest-for-the-trees” issue. The performance heritage of the Maya culture, based in a unique concept of time as a literal and circular dimension, results in a theater experience and dramatis personae unparalled in Western experience. In addition, the disciplines of science, art, and morality, so fragmented in what has evolved into modem Western thought, were not only integrated in the base philosophy of this ancient civilizations, but that unity was also continually expressed in the scripted re­ enactments of their original creation myth. These re-enactments were repeated, again and again throughout the course of their history, in specific, calculated patterns based on their understanding and expression of the art and morality of their sciences within time. All members of society were included in the cast of characters necessary to completely re-enact this initial drama, and any individual’s deviation from the scripted performance text was believed to adversely affect the people, and their environment, as a whole. This study of individuals and groups, who were the product of an ancient and alien culture, an encompassing theatrical heritage, seeks to provide a more inclusive identity for the Mayan people and rediscover some of the mysteries of their ancient wisdom. We place those who performed in this past within a context in which they again assume a presence, and can once again speak for themselves. Through discovery a more complete identity for our subject, we begin to recognize what we may be missing in our own philosophical thought processes, or have lost along the way. The performance heritage evident in the cultural makeup of the Maya, as exemplified in the results of their various behavioral performances - their artifacts, documents, and arts - translates into a view of the iii human experience they may have actually enjoyed. It is a contextual and textual dramaturgy of a segment of humanity performing on their particular stage of experience. In this thesis I propose that in the beginning, for the Maya, there is a nebulous, intangible notion - a concept, an initial thought or idea - that came to be shared and embraced by the members of this indigenous community. Performance (in its various guises) is the primary manifestation of this original notion at the human level - our primary souree for defining or witnessing that idea. Performative action is taken in a multitude of manners, based on the individual attempting to express that shared notion. Some perform the concept through language and documentation, others through song, weaving, creation of story, ritual, dance, mathematics or astronomy. These various actions - these personal performances - result in the creation of secondary sources - tangible and semi-permanent artifacts that are an expression or interpretation of the original performance inspired by the original notion. Artifacts and documents, if maintained by a cultiue and preserved over time, can eventually be re­ discovered and studied by contemporary researchers and scholars. They offer a semblance of the nature of intent of the original performers. They must then be interpreted in a manner most closely representing the original intent of the creator if they are to offer even a reflection of that initial notion. 1 have selected the Maya civilization as a model for an initiation of the creation of this type of history. By focusing on the development and performance of various aspects of their cultural heritage, 1 begin to arrive at an identity for these people as th ^ had culturally evolved to the time of their initial encounters with the Spanish in 1517, and have continued to fimction into the present. This identity proves significantly different fi-om that portrayed in the interpretations of the Spanish alone - the Spanish documents that have served as the primary sources for much of the work conducted on the history of this important collision of cultures - or many other respected studies viewing the Maya from an essentially Western viewpoint. The Maya, however, interpreted only through the ^ e s and the philosophies of the West, fails to offer an accurate picture of the actual identity of these people, and can hardly offer a balanced view of the events that subsequently occurred in IV any supposed cultural synthesis. It is the purpose of my initial model work to attempt to imcover a more valid historical identity for the sixteenth-century Maya as it evolved through their own cultural development, and was demonstrated through their various means of personal performance.
Loading...
Loading...
Loading...
Loading...
Loading...

140 pages remaining, click to load more.

Recommended publications
  • Ancient Maya Afterlife Iconography: Traveling Between Worlds
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Ancient Maya Afterlife Iconography: Traveling Between Worlds Mosley Dianna Wilson University of Central Florida Part of the Anthropology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact STARS@ucf.edu. STARS Citation Wilson, Mosley Dianna, "Ancient Maya Afterlife Iconography: Traveling Between Worlds" (2006). Electronic Theses and Dissertations, 2004-2019. 853. https://stars.library.ucf.edu/etd/853 ANCIENT MAYA AFTERLIFE ICONOGRAPHY: TRAVELING BETWEEN WORLDS by DIANNA WILSON MOSLEY B.A. University of Central Florida, 2000 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Liberal Studies in the College of Graduate Studies at the University of Central Florida Orlando, Florida Summer Term 2006 i ABSTRACT The ancient Maya afterlife is a rich and voluminous topic. Unfortunately, much of the material currently utilized for interpretations about the ancient Maya comes from publications written after contact by the Spanish or from artifacts with no context, likely looted items. Both sources of information can be problematic and can skew interpretations. Cosmological tales documented after the Spanish invasion show evidence of the religious conversion that was underway. Noncontextual artifacts are often altered in order to make them more marketable. An example of an iconographic theme that is incorporated into the surviving media of the ancient Maya, but that is not mentioned in ethnographically-recorded myths or represented in the iconography from most noncontextual objects, are the “travelers”: a group of gods, humans, and animals who occupy a unique niche in the ancient Maya cosmology.
    [Show full text]
  • Metaphors of Relative Elevation, Position and Ranking in Popol Vuh
    METAPHORS OF RELATIVE ELEVATION, POSITION AND RANKING IN POPOL VUH Nathaniel TARN and Martin PRECHTEL Rutgers University This paper is an account of work very much in progress on the textual analysis of Popol V uh, and is one study among others (since this theme is attracting a number of students today) of inter-con­ nections and mutual illuminations between Popol Vuh and the con­ temporary ethnographic record in Highland Guatemala and Chiapas. For some considerable time now Popol Vuh has been considered as the major extant text of the Mesoamerican literary traditions, and as one of the most remarkable of all human creation stories, both for its beauty and for the complexity of its cosmological and mythical messages. While it may or may not have had a hieroglyphic original, the present alphabetic version of Po pol V uh wars written down some­ where between 1545 and 1558 by an anonymous member of the Cavek lineage of the Quiche Maya of Guatemala. This lineage had been a ruling house until it fell to the Spaniards in 1524. The manu­ script was copied by Francisco de Ximenez, a Spanish priest, some 150 years later. While there are references to Christianity in the text, these are few and it is generally regarded as one of the purest extant accounts of prehispanic Maya world-view. At the end of the hook, what we call mythical history shades into the historical history of the Quiche, so that the hook can serve as an illustration of the extent to which these two kinds of history are not held a,part by Maya generally.
    [Show full text]
  • The Toltec Invasion and Chichen Itza
    Other titles of interest published by Thames & Hudson include: Breaking the Maya Code Mexico: From the Olmecs to the Aztecs Angkor and the Khmer Civilization India: A Short History The Incas The Aztecs See our websites www.thamesandhudson.com www.thamesandhudsonusa.com 7 THE POSTCLASSIC By the close of the tenth century AD the destiny of the once proud and independent Maya had, at least in northern Yucatan, fallen into the hands of grim warriors from the highlands of central Mexico, where a new order of men had replaced the supposedly more intellectual rulers of Classic times. We know a good deal about the events that led to the conquest of Yucatan by these foreigners, and the subsequent replacement of their state by a resurgent but already decadent Maya culture, for we have entered into a kind of history, albeit far more shaky than that which was recorded on the monuments of the Classic Period. The traditional annals of the peoples of Yucatan, and also of the Guatemalan highlanders, transcribed into Spanish letters early in Colonial times, apparently reach back as far as the beginning of the Postclassic era and are very important sources. But such annals should be used with much caution, whether they come to us from Bishop Landa himself, from statements made by the native nobility, or from native lawsuits and land claims. These are often confused and often self-contradictory, not least because native lineages seem to have deliberately falsified their own histories for political reasons. Our richest (and most treacherous) sources are the K’atun Prophecies of Yucatan, contained in the “Books of Chilam Balam,” which derive their name from a Maya savant said to have predicted the arrival of the Spaniards from the east.
    [Show full text]
  • The White Jaguar Sacred Manuscripts
    F5 THE WHITE JAGUAR SACRED MANUSCRIPTS The seed of a nation Novel 1 "Our strength is the spirit. Perhaps, in today's world, some will consider that it is a small force. But it is our only force, and we have to use it." Rubén Bonifaz Nuño. For all those who are in the daily flowered battle. Those who follow the path of the Venerable Toltec teachers. Those who fight without fear and ambition, without seeking reward. Those who work from the inside out for mental and spiritual decolonization. For the children of the children of the old grandparents. G. Marín. 2 INDEX. INDEX. ............................................................................................................................................... 3 CHAPTER I. “The mysterious letter”. ............................................................................................ 4 CHAPTER II. “Time footprint”. ...................................................................................................... 10 CHAPTER III. “The time of the no time”...................................................................................... 13 CHAPTER IV. “In Earth's navel”. ................................................................................................. 17 CHAPTER V. “The secret of the conscious beings”. ................................................................ 25 CHAPTER VI. Perennial wisdom. ................................................................................................ 33 CHAPTER VII. The fire vortexes fusion. ....................................................................................
    [Show full text]
  • Panthéon Maya
    Liste des divinités et des démons de la mythologie des mayas. Les noms sont tirés du Popol Vuh des Mayas Quichés, des livres de Chilam Balam et de Diego de Landa ainsi que des divers codex. Divinité Dieu Déesse Démon Monstre Animal Humain AB KIN XOC Dieu de poésie. ACAN Dieu des boissons fermentées et de l'ivresse. ACANTUN Quatre démons associés à une couleur et à un point cardinal. Ils sont présents lors du nouvel an maya et lors des cérémonies de sculpture des statues. ACAT Dieu des tatouages. AH CHICUM EK Autre nom de Xamen Ek. AH CHUY KAKA Dieu de la guerre connu sous le nom du "destructeur de feu". AH CUN CAN Dieu de la guerre connu comme le "charmeur de serpents". AH KINCHIL Dieu solaire (voir Kinich Ahau). AHAU CHAMAHEZ Un des deux dieux de la médecine. AHMAKIQ Dieu de l'agriculture qui enferma le vent quand il menaçait de détruire les récoltes. AH MUNCEN CAB Dieu du miel et des abeilles sans dard; il est patron des apiculteurs. AH MUN Dieu du maïs et de la végétation. AH PEKU Dieu du Tonnerre. AH PUCH ou AH CIMI ou AH CIZIN Dieu de la Mort qui régnait sur le Metnal, le neuvième niveau de l'inframonde. AH RAXA LAC DMieu de lYa Terre.THOLOGICA.FR AH RAXA TZEL Dieu du ciel AH TABAI Dieu de la Chasse. AH UUC TICAB Dieu de la Terre. 1 AHAU CHAMAHEZ Dieu de la Médecine et de la Guérison. AHAU KIN voir Kinich Ahau. AHOACATI Dieu de la Fertilité AHTOLTECAT Dieu des orfèvres.
    [Show full text]
  • The PARI Journal Vol. XIV, No. 2
    ThePARIJournal A quarterly publication of the Pre-Columbian Art Research Institute Volume XIV, No. 2, Fall 2013 Mesoamerican Lexical Calques in Ancient Maya Writing and Imagery In This Issue: CHRISTOPHE HELMKE University of Copenhagen Mesoamerican Lexical Calques Introduction ancient cultural interactions which might otherwise go undetected. in Ancient Maya The process of calquing is a fascinating What follows is a preliminary treat- Writing and Imagery aspect of linguistics since it attests to ment of a small sample of Mesoamerican contacts between differing languages by lexical calques as attested in the glyphic and manifests itself in a variety of guises. Christophe Helmke corpus of the ancient Maya. The present Calquing involves loaning or transferring PAGES 1-15 treatment is not intended to be exhaus- items of vocabulary and even phonetic tive; instead it provides an insight into • and syntactic traits from one language 1 the types, antiquity, and longevity of to another. Here I would like to explore The Further Mesoamerican calques in the hopes that lexical calques, which is to say the loaning Adventures of Merle this foray may stimulate additional and of vocabulary items, not as loanwords, (continued) more in-depth treatment in the future. but by means of translating their mean- by ing from one language to another. In this Merle Greene sense calques can be thought of as “loan Calques in Mesoamerica Robertson translations,” in which only the semantic Lexical calques have occupied a privileged PAGES 16-20 dimension is borrowed. Calques, unlike place in the definition of Mesoamerica as a loanwords, are not liable to direct phono- linguistic area (Campbell et al.
    [Show full text]
  • Chichen Itza 6 Tourism YUCATAN | 7 Location Yucatan Is Located in Southeastern Mexico, in the GEOGRAPHY Northern Part of the Yucatan Peninsula
    SALES CATALOGUE Y U C ATA N THE BEGINNING OF A NEW BAKTUN WELCOME TO YUCATaN The beginnings and origin of who we are today was born in the land of the Maya, the Mayab, with the ancient Maya civilization to which we belong and whose ancient heritage fills us with pride. Humanity in the 21st century searches to reconnect with ourselves, to become reconciled with nature and learn from their peers. We are on a quest to encounter ancient civilizations, new landscapes, new seas, new traditions, new experiences... In YUCATAN we offer the possibility of communion by virtue of our extraordinary heritage, where we have the opportunity to learn, preserve, share and enjoy the cultural, natural and tourist wealth that we possess. At the start of a new Baktun, or long-count cycle in the Maya calendar, we offer a myriad of options for recreation, leisure, knowledge, reflection, peace, health, adventure, andcoexistence throughout the length and width of the Yucatan... YUCATAN is land of origins: It is a land where everything begins anew. It is a prodigious land within the reach of travelers from the world over who seek to know and live among a culture that is more live than ever: The Maya Culture. We are heirs of this great wealth, which we should, want and wish to share with all of you and future generations. WELCOME TO YUCATAN Rolando Rodrigo Zapata Bello Governor of the State of Yucatan MAYAN MUSEUM OF MERIDA 2 Tourism YUCATAN | 3 CREDITS Rolando Zapata Bello Governor of the State of Yucatan Saul M.
    [Show full text]
  • Dramaturgy Handbook
    Marat/Sade Emerson Stage 2007-08 Photo Brendan Koons DRAMATURGY STUDENT HANDBOOK Compiled by Magda Romanska, Ph.D. Head of Theatre Studies and Dramaturgy Advisor Emerson College Department of Performing Arts 120 Boylston St Boston, MA 02116 Magda_Romanska@emerson.edu 2 TTAABBLLEE OOFF CCOONNTTEENNTTSS WHAT IS DRAMATURGY? ........................................................................... 4 DRAMATURGY AND THE LIBERAL ARTS ............................................... 6 INSTITUTIONAL DRAMATURGY .............................................................. 7 PRODUCTION DRAMATURGY ................................................................. 9 AMERICAN VS. EUROPEAN DRAMATURGY ........................................ 13 DRAMATURGY PORTFOLIO .................................................................... 14 RECOMMENDATION LETTERS ............................................................... 15 DRAMATURGY CAREER RESOURCES ............................................... 17 INTERNSHIPS ......................................................................................... 17 GRADUATE PROGRAMS - M.F.A. /Ph.D. ............................................... 24 JOURNALS ......................................................................................................28 CONFERENCES & ORGANIZATIONS .................................................... 49 OTHER CAREER RESOURCES ............................................................. 53 DRAMATURGY BEYOND THEATRE DRAMATURGY FOR FILM SCRIPTS.....................................................
    [Show full text]
  • On the Origin of the Different Mayan Calendars Thomas Chanier
    On the origin of the different Mayan Calendars Thomas Chanier To cite this version: Thomas Chanier. On the origin of the different Mayan Calendars. 2014. hal-01018037v1 HAL Id: hal-01018037 https://hal.archives-ouvertes.fr/hal-01018037v1 Submitted on 3 Jul 2014 (v1), last revised 14 Jan 2015 (v3) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. On the origin of the different Mayan Calendars T. Chanier∗1 1 Department of Physics, University of Namur, rue de Bruxelles 61, B-5000 Namur, Belgium The Maya were known for their astronomical proficiency. Whereas Mayan mathematics were based on a vigesimal system, they used a different base when dealing with long periods of time, the Long Count Calendar (LCC), composed of different Long Count Periods: the Tun of 360 days, the Katun of 7200 days and the Baktun of 144000 days. There were three other calendars used in addition to the LCC: a civil year Haab’ of 365 days, a religious year Tzolk’in of 260 days and a 3276- day cycle (combination of the 819-day Kawil cycle and 4 colors-directions). Based on astronomical arguments, we propose here an explanation of the origin of the LCC, the Tzolk’in and the 3276-day cycle.
    [Show full text]
  • Los Conquistadores De México 7 I.—Conquistadores Que Vinieron Con Cortés 34 Mujeres 56 II.—Conquistadores Que Vinieron Con Narváez 57 Mujeres 68 III.—Refuerzos
    MANUEL OROZCO Y BERRA LOS CONQUISTADORES DE MEXICO EDITORIAL PEDRO ROBREDO v\ V Calle de Justo Sierra No. 41 J: México, D. F. 19 3 8 1080017640 EX L I B RI S HEMETHERII VALVERDE TELLEZ Episcopi Leonensis > LOS CONQUISTADORES DE MEXICO MANUEL OROZCO Y BERRA LOS CONQUISTADORES DE MEXICO TN'V'n r i VMIN3D voaionaia EDITORIAL PEDRO ROBREDO Calle de Justo Sierra No. 41 México, D. F. 19 3 8 Capilla Alfonsina Biblioteca Universitari« B'BLIOTECA 33278 VA! V£Í?DE Y TFLLE7 ! i. Cuando Cristóbal Colón presentó en la Península Ibérica las producciones del recién descubierto Nuevo Mundo, y con su entusiasmada y poética imaginación describió los ricos y encantadores países encontrados al medio del Océano, las ima- ginaciones no menos vivas y pintorescas de los españoles se exaltaron, y el ardor nacional tomó el rumbo de las acciones arriesgadas y de las empresas de todo género. Multitud pro- digiosa de hombres dejó su patria, para ir allá muy lejos, en busca de nuevas comarcas, de reinos poderosos, de tesoros in- mensos, y allí enriquecer pronto, ganar fama, y destruyendo a los idólatras, hacer triunfar el culto de la Santa Cruz. Nobles y pecheros siguieron el impulso general, si bien aquellos fueron respectivamente en corto número. La turba de aventureros abandonaba su país confiada y satisfecha, con- tando sólo con su corazón y con su espada. Terminaban en España las porfiadas y sangrientas guerras contra los moros; estaban frescas aún las memorias de las hazañas prodigiosas re- matadas en la Vega de Granada por los cumplidos caballeros cristianos; se admiraban todavía las proezas de los zegries y de los abencerrajes; se enardecía el pueblo con la relación de los sitios y de los combates, abultados y revestidos de formas fantásticas en las tradiciones populares; y el orgullo de la victoria, largo tiempo disputada y por heroicos esfuerzos con- seguida, infundía seguridad en los ánimos y les daba suficien- ' cia.
    [Show full text]
  • Chapter 2: Understanding Theory
    UNDERSTANDING THEORY Kathleen S. Lowney We all have perspectives or ways of seeing the world, but few of us are aware of alternative points of view. © iStockphoto.com/Simondistribute Dannhauer or CHAPTER 2 CHAPTER post, copy, not Do Copyright ©2021 by SAGE Publications, Inc. This work may not be reproduced or distributed in any form or by any means without express written permission of the publisher. LEARNING QUESTIONS because of social solidarity, or the moral order of society. Why and how do sociologists use Families, religion, education, and other institutions teach 2.1 theoretical perspectives? individuals to help society function smoothly. 2.2 What is structural functionalism? CONSIDER THIS 2.3 What is a conflict perspective? Do you believe anyone can “make it” in society if they 2.4 What is symbolic interaction? just work hard enough? Or do you think some have more advantages than others? How have your life How do structural functionalism, conflict perspectives, and symbolic interaction work experiences influenced the “glasses” you use to see 2.5 together to help us get a more complete the world? view of reality? Durkheim and Types of Societies Émile Durkheim, writing in the early 1900s, examined What Is Theory? social solidarity throughout history. In smaller, preindus- trial societies, social solidarity derived from the similarity 2.1 Why and how do sociologists use of its members, what Durkheim referred to as mechanical theoretical perspectives? solidarity. Most diddistribute similar types of labor (working the land) and had similar beliefs (based on religion). Children often will try on another person’s glasses.
    [Show full text]
  • Arxiv:1601.03132V7 [Math.HO] 15 Nov 2018 [2]
    Solution of the Mayan Calendar Enigma Thomas Chanier1∗ 1Independent researcher, 1025 12th avenue, Coralville, Iowa 52241, USA The Mayan calendar is proposed to derive from an arithmetical model of naked-eye astronomy. The Palenque and Copan lunar equations, used during the Maya Classic period (200 to 900 AD) are solution of the model and the results are expressed as a function of the Xultun numbers, four enigmatic Long Count numbers deciphered in the Maya ruins of Xultun, dating from the IX century AD, providing strong arguments in favor of the use of the model by the Maya. The different Mayan Calendar cycles can be derived from this model and the position of the Calendar Round at the mythical date of creation 13(0).0.0.0.0 4 Ahau 8 Cumku is calculated. This study shows the high proficiency of Mayan mathematics as applied to astronomy and timekeeping for divinatory purposes.a I. INTRODUCTION In the Calendar Round, a date is represented by αXβY with the religious month 1 ≤ α ≤ 13, X one of the 20 Mayan priests-astronomers were known for their astro- religious days, the civil day 0 ≤ β ≤ 19, and Y one of the nomical and mathematical proficiency, as demonstrated 18 civil months, 0 ≤ β ≤ 4 for the Uayeb. Fig. 1 shows a in the Dresden Codex, a XIV century AD bark-paper contemporary representation of the Calendar Round as book containing accurate astronomical almanacs aiming a set of three interlocking wheels: the Tzolk'in, formed to correlate ritual practices with astronomical observa- by a 13-month and a 20-day wheels and the Haab'.
    [Show full text]