In recent years, the relationships between systems of symbolic representations and cities have given rise to an often rich and stimulating consideration among various specialists in human sciences, namely, historians, anthropologists, semiologists and sociologists, among others. Urban conglomerates can no longer be conceived as simple assemblages of more or less functional constructions. The city is as much a mental concept as it is a physical reality. It is made up of images that give it a meaning. It does not exist (...) independently of the sum of subjective interpretations that are continually made by its inhabitants. Our Western perception of the city may be influenced by romanesque literature or the memory of a painting, in other words, by imaginary worlds. It varies according to individual memory: each of us is attached to the different urban spaces of his souvenirs, emotions arising from family history or the duration of a lifetime. These personal projections are all the more important because they command a certain number of daily actions and furnish a framework of orientation to every citizen. They contribute to giving a moral quality to urban space and transform physical objects into concepts, into more or less determined signs. (shrink)

For some thirty years, a handful of architects has been trying to call into question the primacy that the history of architecture has given to monumental buildings. The representatives of this trend want to get away from the short chronology, common since the Italian Renaissance, and react against the dominant international functionalism that has too little respect for the local cultural contexts. It is under the influence of this “vernacular” approach that the small traditional structure became as legitimate an object (...) of research as the well-known buildings. This approach, innovative and audacious as it was, broke with a Utopian vision of a large part of modern architecture. It led the architects concerned to turn toward non-European countries and to focus their attention on the connections between indigenous housing patterns and cultures. From this decentralization ethno-architecture was born by which we understand the study of preindustrial, “traditional” habitats and housing. Inspired by Panofsky, Eliade, and Lévi-Strauss and familiar with the social sciences, these researchers appropriated the conceptual tools of anthropology. They opened up important fields of research in Asia, Oceania, the Middle East, and Africa and reaped a rich harvest of ethnographic materials. It quickly became clear to them that the so-called “traditional” house developed, in imitation of palaces and temples, from the culture of a given population and that it was informed by the religious images of the inhabitants as much as by its most sacred buildings. (shrink)

Tous les ans, les anciens bûcherons Balâmi vivant à la périphérie de la vallée de Katmandou (Népal) donnent des représentations théâtrales très ritualisées à l’intention des habitants des agglomérations voisines, dont la petite ville de Pharping. Ces performances mettent en scène de vieilles histoires royales dont l’intrigue varie légèrement d’années en années. Elles sont ponctuées d’épisodes comiques. Les émotions qu’expriment les acteurs constituent un ressort essentiel du drame, notamment les larmes des princesses qui voient périr leur mari. Le jeu reste (...) extrêmement codifié et entouré de croyances religieuses. Ces pièces se terminent par des sacrifices d’animaux offerts aux divinités patronnes de la troupe. Issues du théâtre néwar classique de l’époque Malla ( xvii e - xviii e siècle particulièrement), elles témoignent de puissantes interactions entre traditions populaires et littérature plus savante. (shrink)

Tous les ans, les anciens bûcherons Balâmi vivant à la périphérie de la vallée de Katmandou (Népal) donnent des représentations théâtrales très ritualisées à l’intention des habitants des agglomérations voisines, dont la petite ville de Pharping. Ces performances mettent en scène de vieilles histoires royales dont l’intrigue varie légèrement d’années en années. Elles sont ponctuées d’épisodes comiques. Les émotions qu’expriment les acteurs constituent un ressort essentiel du drame, notamment les larmes des princesses qui voient périr leur mari. Le jeu reste (...) extrêmement codifié et entouré de croyances religieuses. Ces pièces se terminent par des sacrifices d’animaux offerts aux divinités patronnes de la troupe. Issues du théâtre néwar classique de l’époque Malla ( xvii e - xviii e siècle particulièrement), elles témoignent de puissantes interactions entre traditions populaires et littérature plus savante. (shrink)