Relevant bibliographies by topics / Achi (Rabinal)

Academic literature on the topic 'Achi (Rabinal)'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Achi (Rabinal)"

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Villavicenzio, Hugo. "Rabinal Achi." Olhares 8, no. 1 (April 3, 2022): 110–25. http://dx.doi.org/10.59418/olhares.v8i1.156.

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O Rabinal Achi foi escrito originalmente em língua quiché e representa uma forma de drama ritual pré-hispânico do século XV pertencente à cultura maia. Foi originalmente conhecido como Xajooj Tun ou Baile do Tum.
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Hamann, Byron Ellsworth. "Rabinal Achi: A Fifteenth-Century Maya Dynastic Drama." Hispanic American Historical Review 89, no. 2 (May 1, 2009): 325–26. http://dx.doi.org/10.1215/00182168-2008-087.

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Navarrete-Pellicer, Sergio. " El baile drama del Rabinal Achi: Notas críticas a la proclama The dance drama of Rabinal Achi: Critical notes to the proclamation." Ciencias Sociales y Humanidades 6, no. 1 (April 10, 2019): 93–99. http://dx.doi.org/10.36829/63chs.v6i1.744.

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Se analiza la propuesta del gobierno de Guatemala del baile drama del Rabinal Achi como obra maestra del patrimonio oral intangible de la humanidad, el dictamen del autor, el impacto da declaratoria y algunas recomendaciones en torno a la riqueza de bailes drama como parte de la historia oral de Guatemala.
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Arrivillaga-Cortés, Alfonso, and Matthias Stöckli. "Las transcripciones musicales del Baile Drama del Rabinal Achi." Ciencias Sociales y Humanidades 6, no. 1 (June 13, 2019): 101–9. http://dx.doi.org/10.36829/63chs.v6i1.785.

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Underiner, Tamara L. "Rabinal Achi: A Mayan Drama of War and Sacrifice (review)." Theatre Journal 56, no. 3 (2004): 517–18. http://dx.doi.org/10.1353/tj.2004.0132.

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Hamann, B. E. "The "Rabinal Achi": A Mayan Drama of War and Sacrifice." Ethnohistory 52, no. 2 (April 1, 2005): 496–97. http://dx.doi.org/10.1215/00141801-52-2-496.

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Restall, Matthew. "The Rabinal Achi: A Mayan Drama of War and Sacrifice." Journal of Latin American Anthropology 9, no. 2 (June 28, 2008): 467–68. http://dx.doi.org/10.1525/jlca.2004.9.2.467.

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Coe, Michael D. "Rabinal Achi: A Mayan Drama of War and Sacrifice. Dennis Tedlock." Journal of Anthropological Research 61, no. 1 (April 2005): 102–3. http://dx.doi.org/10.1086/jar.61.1.3631302.

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Restall, Matthew. "The Rabinal Achi: A Mayan Drama of War and Sacrifice:The Rabinal Achi:A Mayan Drama of War and Sacrifice." Journal of Latin American Anthropology 9, no. 2 (September 2004): 467–68. http://dx.doi.org/10.1525/jlat.2004.9.2.467.

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Caballero Mariscal, David. "LA RELIGIOSIDAD MAYA- ACHI’ GUATEMALTECA COMO FUNDAMENTO DE SU IDENTIDAD CULTURAL." Cultura y Religión 11, no. 2 (December 31, 2017): 70–92. http://dx.doi.org/10.61303/07184727.v11i2.789.

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En el contexto general de Guatemala, caracterizado por la diversidad étnica y cultural, y mayoritariamente indígena, los achi’es constituyen menos de uno por ciento de la población. Sin embargo, y a pesar de que han sufrido la imposición cultural de pueblos vecinos, de los españoles, y posteriormente, un atroz genocidio, continúan conservando parte de su patrimonio cultural intangible, manifestado en la lengua, las danzas, el Rabinal achi’, y diversas sus expresiones religiosas, que, sin duda, se constituyen en el garante de su identidad cultural. El presente artículo pretende llenar el vacío existente actualmente sobre la etnia achi’, ante la ausencia de estudios sobre ésta. De igual modo, trata de profundizar sobre los mecanismos adaptativos de sincretismo que se han desarrollado a nivel cultural y religioso como medio de supervivencia a través de nuevos modos de transculturación, que garantizan la pervivencia de la cultura y religiosidad maya tradicional en el contexto de la fe católica, vigente y mayoritaria entre los miembros de este pueblo maya.
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Dissertations / Theses on the topic "Achi (Rabinal)"

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Dill, Kathleen Elizabeth. "Mediated pasts, negotiated futures : human rights and social reconstruction in a Maya community /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2004. http://uclibs.org/PID/11984.

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Lewis, Matthew C. "A Comparative Analysis of Parallel Revisionism in the Plays Rabinal Achí and Zoot Suit." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2395.

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This study draws parallels between the dramatic works Rabinal Achí­, an anonymous ancient Mayan text, and the Luis Valdez masterpiece Zoot Suit. The parallel that I seek to establish is one of the strong trend of historical revisionism in both works as well as a parallel development of plot and characterization. This work does not claim to be representative of revisionism as a whole, nor does it seek to establish a new official history, but it does to demonstrate how both works, even though they are separated by hundreds of years, share a common bond of subversion and direct opposition to established norms and to the "facts" of a recorded official history in an attempt to give voice to the experience of the historically overlooked individual.
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Books on the topic "Achi (Rabinal)"

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Davis, Alfredo Gómez. La cerámica pintada de Rabinal. Guatemala: Ministerio de Cultura y Deportes, 1989.

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2

Janssens, Bert. El baile del venado de Rabinal =: Xajooj keej. Rabinal, Guatemala: Museo Comunitario Rabinal Achi, 2003.

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1947-, Breton Alain, ed. Rabinal achi: A fifteenth-century Maya dynastic drama. Boulder: University Press of Colorado, 2007.

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Breton, Alain. Rabinal Achi: A fifteenth-century Maya dynastic drama. Boulder, CO: University Press of Colorado, 2007.

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5

Los negritos de Rabinal y el juego del tun. Guatemala: Academia de Geografía e Historia de Guatemala, 2008.

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Akkeren, Ruud van. Chi raqan unimal tz'aq unimal k'oxtun =: Rabinal en la historia memoria del diplomado cultural. [Guatemala]: Museo Comunitario Rabinal Achi, 2003.

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1939-, Tedlock Dennis, ed. Rabinal Achi: A Mayan drama of war and sacrifice. Oxford: Oxford University Press, 2003.

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name, No. Rabinal Achi: A Mayan drama of war and sacrifice. New York, NY: Oxford University Press, 2003.

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Akkeren, Ruud van. Place of the Lord's daughter: Rab'inal, its history, its dance-drama. Leiden: Research School CNWS, School of Asian, African and Amerindian Studies, 2000.

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Museo Comunitario Rabinal Achi (Rabinal, Guatemala)., ed. Rabinal en la historia: Memoria del diplomado cultural = Chi raqan unimal tz'aq unimal k'oxtun. Guatemala: Museo Comunitario Rabinal Achi, 2003.

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Book chapters on the topic "Achi (Rabinal)"

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Tedlock, Dennis. "Kings and Captives." In Rabinal Achi, 127–56. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0002.

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Abstract Stories of lordly warriors who were captured, presented at court, and then sacrificed provided subjects for Mayan sculptors, painters, and writers throughout what archaeologists call the Classic period (300-900 A.D.). During the eighth century in particular, prisoners of war became a major focus of attention. They appear, among other places, in scenes painted on cylindrical vases that were used for mixing chocolate beverages. Among the workshops where these vases were produced, three happened to be near Rabinal. One of them was fifty kilometers to the north, at the ruins known as Chamá. Another was sixty kilometers to the east in the middle part of the valley of the Río Motagua, near the present-day town of San Agustín Acasaguastlán. And a third was seventy kilometers to the west, near the town of Nebaj.
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Tedlock, Dennis. "The Play Enacted." In Rabinal Achi, 241–72. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0006.

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Abstract On the day of a performance, the participants in Rabinal Achi gather for costuming at the house of José León Coloch (figure 64). Those who live at some distance from the town center have spent the night there, sleeping in hammocks. The masks, the trumpets and drum, and the objects carried by the actors are laid out on the stone floor of the room where the household altar is located. There the Road Guide prays over them, lighting tall candles and swinging his incense burner. The masks and costumes used in most of the dance dramas of Guatemala are rented from one of several specialized workshops that manufacture and refurbish them. The tasks normally involved in producing a play include organizing expeditions to a town where a workshop is located. In the case of Rabinal Achi, however, the masks and most of the clothing are locally made. Items that cannot be found locally are purchased in other towns and reused in later years.
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Tedlock, Dennis. "History as a Performing Art." In Rabinal Achi, 157–86. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0003.

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Abstract The main characters in Rabinal Achi resemble historical figures, the deeds they narrate resemble historical events, and most of the places they mention can be located in geographical space. The dramatization of events in the human past, like so many of the other features of the play, has roots among the ancient Maya. The oldest direct evidence has been found at Dos Pilas, in two seventh-century inscriptions on the risers of a stone stairway. The earlier of the two texts concerns an attack on Tikal that drove its ruler into exile, followed by a retaliatory attack on Dos Pilas. The text that was added later records the performance of a dance at Dos Pilas, one in which the two earlier occurrences were dramatized.
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Tedlock, Dennis. "Under Spanish Rule." In Rabinal Achi, 187–206. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0004.

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Abstract The European invasion of highland Guatemala first took the form of what Mayans called nima kamik ch’aq, “the great death of the flesh,” or simply yawab’il, “the sickness.” This was a smallpox epidemic, arriving in 1520. Four years later came military forces led by Pedro de Alvarado, crossing the border that separated the easternmost province of the Aztec empire from the westernmost reach of the Quiché kingdom—the same border that separates Mexico from Guatemala today. At that time the rulers of the Quiché kingdom were Three Deer and Nine Dog, members of the same noble lineage as Cawek of the Forest People in the Rabinal play. When the massive army they sent to stop Alvarado was defeated, they invited him to a peace conference at their capital, the citadel of Old Camp. He turned the conference into a trial, taking them prisoner, torturing them until they confessed to plotting against him, and burning them at the stake.
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Tedlock, Dennis. "Introduction." In Rabinal Achi, 1–18. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0001.

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Abstract Many plays are performed in contemporary Mayan communities, but there is only one that dramatizes a time when Europeans had yet to appear over the horizon of the Mayan world. This same play is one of the few whose dialogue is entirely in a Mayan language. The town where the play is produced is Rabinal, in the highlands of Guatemala, and one of the play’s two titles is RabinalAchi, “Man of Rabinal.” Whenever the characters are not engaged in dialogue they dance to the music of trumpets, which gives the play its other title: Xajoj Tun, “Dance of the Trumpets.” The character named Man of Rabinal is a warrior in the service of Lord Five Thunder, who rules the Rabinal nation from a fortress on a mountaintop. Guarding the boundaries of his court and kingdom are two characters who take their names, Eagle and Jaguar, from the sources of their spiritual power. Present within his court are his unmarried daughter, called the Mother of Quetzal Feathers; his wife, identified only as Lady; and a slave.
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Tedlock, Dennis. "Scripts and Voices." In Rabinal Achi, 207–40. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195139747.003.0005.

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Abstract It was Charles Étienne Brasseur de Bourbourg, a priest and antiquarian of Flemish descent, who first brought the text of Man of Rabinal into print, accompanied by a facing-page French translation. As a traveler and sojourner in Mesoamerica, the interest that guided him was the acquisition of manuscripts bearing on the antiquities of the region. He arrived in Guatemala City on February 1, 1855, and by March he was writing letters to friends about his discoveries there. At the library of the University of San Carlos he found manuscript volumes containing the writings of Francisco Ximénez, the Dominican friar who had served as parish priest in Rabinal and other Mayan towns in 1701-1729. What attracted Brasseur most was a volume in which Ximénez had included a grammar of the K’iche’ language, written by himself, and the text of a major work by Quiché authors, to which he had added a Spanish translation. The title Ximénez chose for this work was Las historias del orígen de los indios de esta provincia de Guatemala, but Brasseur would one day make it famous under a K’iche’ title: Popol Vuh (Popol Wuj), meaning “Council Book.”
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Burelle, Julie. "XAJOJ TUN RABINAL ACHÍ :." In Xajoj Tun. Le Rabinal Achi d'Ondinnok. Réflexions, entretiens, analyses, 99–124. Presses de l'Université Laval, 2021. http://dx.doi.org/10.2307/j.ctv1x6767z.9.

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Côté, Jean-François. "L’EXPÉRIENCE THÉÂTRALE DE LA TRANSCULTURATION DANS L’HORIZON COSMOPOLITIQUE DES AMÉRIQUES." In Xajoj Tun. Le Rabinal Achi d'Ondinnok. Réflexions, entretiens, analyses, 125–50. Presses de l'Université Laval, 2021. http://dx.doi.org/10.2307/j.ctv1x6767z.10.

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Durand, Yves Sioui. "PRÉSENTATION." In Xajoj Tun. Le Rabinal Achi d'Ondinnok. Réflexions, entretiens, analyses, XI—XIV. Presses de l'Université Laval, 2021. http://dx.doi.org/10.2307/j.ctv1x6767z.4.

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Xolop, José Manuel Coloch. "LETTRE DE JOSÉ MANUEL COLOCH." In Xajoj Tun. Le Rabinal Achi d'Ondinnok. Réflexions, entretiens, analyses, XV—2. Presses de l'Université Laval, 2021. http://dx.doi.org/10.2307/j.ctv1x6767z.5.

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