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A festival such as the Keelung Zhongyuanjie Ghost Festival is a religious, aesthetic and communication event that provides functions of transmitting practices, value and symbols, regulating relations between social groups and dissemination of representations. In this special space-time framework, collective life and identities are constantly decomposed and recomposed according to the dynamics that has evolved over time. Meanwhile, individuals play temporary social roles within the clans regardless of their social status, level of wealth, ethnic or provincial origin, and even religious affiliations. In the festival, the social status of the individual is associated with practices of syncretism.Traditional festivals in Taiwan have evolved over the 20th century. At first, a dual social function dominated. On the one hand, it was to ensure a harmonious cohabitation between clans and religion. On the other hand, it was to ensure a peaceful relationship with the souls of the deceased. However, the essence of the religious activity has been transformed with time. Throughout the twentieth century, the festival has been compatibly integrated with a new dominant national culture. At the beginning of the twenty-first century, strengthening Taiwan's cultural identity became a political priority. The authorities promoted a series of festivals, all of which were officially called "Formosa Art Festivals". One of them,"The Keelung Zhongyuanjie Ghost Festival", has expanded so much from the traditional and folkloric realm that it has become a national art festival.This study discusses the process of the transformation of Keelung Zhongyuanjie Ghost Festival. Some factors, such as the globalization of the economy, the change of technology and the dynamics of public policies, combine to support the change of the original model from a folk ceremony to an art festival. This research not only elaborates the transformations of the festival but also explores the formation of Taiwan's national identity in the twenty-first century. ; Un ...

A festival such as the Keelung Zhongyuanjie Ghost Festival is a religious, aesthetic and communication event that provides functions of transmitting practices, value and symbols, regulating relations between social groups and dissemination of representations. In this special space-time framework, collective life and identities are constantly decomposed and recomposed according to the dynamics that has evolved over time. Meanwhile, individuals play temporary social roles within the clans regardless of their social status, level of wealth, ethnic or provincial origin, and even religious affiliations. In the festival, the social status of the individual is associated with practices of syncretism.Traditional festivals in Taiwan have evolved over the 20th century. At first, a dual social function dominated. On the one hand, it was to ensure a harmonious cohabitation between clans and religion. On the other hand, it was to ensure a peaceful relationship with the souls of the deceased. However, the essence of the religious activity has been transformed with time. Throughout the twentieth century, the festival has been compatibly integrated with a new dominant national culture. At the beginning of the twenty-first century, strengthening Taiwan's cultural identity became a political priority. The authorities promoted a series of festivals, all of which were officially called "Formosa Art Festivals". One of them,"The Keelung Zhongyuanjie Ghost Festival", has expanded so much from the traditional and folkloric realm that it has become a national art festival.This study discusses the process of the transformation of Keelung Zhongyuanjie Ghost Festival. Some factors, such as the globalization of the economy, the change of technology and the dynamics of public policies, combine to support the change of the original model from a folk ceremony to an art festival. This research not only elaborates the transformations of the festival but also explores the formation of Taiwan's national identity in the twenty-first century. ; Un festival tel que le Festival des fantômes de Keelung Zhongyuanjie est un fait religieux, esthétique et de communication qui assure des fonctions de transmission des pratiques et des valeurs ainsi que des fonctions symboliques de régulation des relations entre groupes sociaux et de diffusion des représentations. Dans cet espace-temps spécial les cadres de la vie collective et les identités sont en permanence décomposées et recomposées selon une dynamique qui évolue avec le temps. Les individus y jouent temporairement, au sein des clans, un rôle social qui ne dépend pas directement de leur statut social, de leur niveau de richesse, de leur origine ethnique ou provinciale, et même les appartenances religieuses sont associées dans des pratiques syncrétiques. Les festivals traditionnels de Taïwan ont évolué au cours du XXe siècle. A l'origine une double fonction dominait : sociale – il s'agissait d'assurer une cohabitation harmonieuse entre clans – et religieuse – il s'agissait d'assurer une relation apaisée avec les âmes des disparus. Au cours du XXe siècle le festival s'est transformé pour intégrer la nouvelle culture nationale dominante. Au début du XXIe siècle le renforcement de l'identité culturelle taiwanaise est devenu une priorité politique. Les autorités ont œuvré à la promotion d'un ensemble de festivals rassemblés sous le nom de « Festivals d'art de Formose ». Un de ces festivals, la fête des fantômes de Keelung Zhongyunjie, qui était jusqu'alors plutôt traditionnelle et folklorique, a dès lors connu une telle expansion qu'elle est devenue un festival d'art national. Cette étude traite du processus qui voit la mutation de la Fête des Fantômes de Keelung Zhongyuanjie en festival. Des facteurs tels que la mondialisation de l'économie, les mutations technologiques et la dynamique des politiques publiques se combinent pour modifier le modèle original qui passe d'une dominante cultuelle à une dominante culturelle. Ce processus à l'œuvre ne se comprend que dans le cadre des transformations plus générales de l'identité nationale taïwanaise au XXIe siècle.

A festival such as the Keelung Zhongyuanjie Ghost Festival is a religious, aesthetic and communication event that provides functions of transmitting practices, value and symbols, regulating relations between social groups and dissemination of representations. In this special space-time framework, collective life and identities are constantly decomposed and recomposed according to the dynamics that has evolved over time. Meanwhile, individuals play temporary social roles within the clans regardless of their social status, level of wealth, ethnic or provincial origin, and even religious affiliations. In the festival, the social status of the individual is associated with practices of syncretism.Traditional festivals in Taiwan have evolved over the 20th century. At first, a dual social function dominated. On the one hand, it was to ensure a harmonious cohabitation between clans and religion. On the other hand, it was to ensure a peaceful relationship with the souls of the deceased. However, the essence of the religious activity has been transformed with time. Throughout the twentieth century, the festival has been compatibly integrated with a new dominant national culture. At the beginning of the twenty-first century, strengthening Taiwan's cultural identity became a political priority. The authorities promoted a series of festivals, all of which were officially called "Formosa Art Festivals". One of them,"The Keelung Zhongyuanjie Ghost Festival", has expanded so much from the traditional and folkloric realm that it has become a national art festival.This study discusses the process of the transformation of Keelung Zhongyuanjie Ghost Festival. Some factors, such as the globalization of the economy, the change of technology and the dynamics of public policies, combine to support the change of the original model from a folk ceremony to an art festival. This research not only elaborates the transformations of the festival but also explores the formation of Taiwan's national identity in the twenty-first century. ; Un festival tel que le Festival des fantômes de Keelung Zhongyuanjie est un fait religieux, esthétique et de communication qui assure des fonctions de transmission des pratiques et des valeurs ainsi que des fonctions symboliques de régulation des relations entre groupes sociaux et de diffusion des représentations. Dans cet espace-temps spécial les cadres de la vie collective et les identités sont en permanence décomposées et recomposées selon une dynamique qui évolue avec le temps. Les individus y jouent temporairement, au sein des clans, un rôle social qui ne dépend pas directement de leur statut social, de leur niveau de richesse, de leur origine ethnique ou provinciale, et même les appartenances religieuses sont associées dans des pratiques syncrétiques. Les festivals traditionnels de Taïwan ont évolué au cours du XXe siècle. A l'origine une double fonction dominait : sociale – il s'agissait d'assurer une cohabitation harmonieuse entre clans – et religieuse – il s'agissait d'assurer une relation apaisée avec les âmes des disparus. Au cours du XXe siècle le festival s'est transformé pour intégrer la nouvelle culture nationale dominante. Au début du XXIe siècle le renforcement de l'identité culturelle taiwanaise est devenu une priorité politique. Les autorités ont œuvré à la promotion d'un ensemble de festivals rassemblés sous le nom de « Festivals d'art de Formose ». Un de ces festivals, la fête des fantômes de Keelung Zhongyunjie, qui était jusqu'alors plutôt traditionnelle et folklorique, a dès lors connu une telle expansion qu'elle est devenue un festival d'art national. Cette étude traite du processus qui voit la mutation de la Fête des Fantômes de Keelung Zhongyuanjie en festival. Des facteurs tels que la mondialisation de l'économie, les mutations technologiques et la dynamique des politiques publiques se combinent pour modifier le modèle original qui passe d'une dominante cultuelle à une dominante culturelle. Ce processus à l'œuvre ne se comprend que dans le cadre des transformations plus générales de l'identité nationale taïwanaise au XXIe siècle.

The Factory and the Veranda : Staging Domination -
What were the procedures for recruiting labor to a big textile factory in the Nordeste from 1930 to 1950 ? Families from the countryside were attracted to settle in town and work in the factory. During an institutionalized ceremony in front of the veranda at the boss's house {casa- grande), families were presented to the boss. The similarities and dissimilarities are pointed out between this staging of the boss's authority and the traditional senhorlmorador relationship on sugar plantations, which also took place in the setting of the casa- grande' s veranda. This ceremony plays out a specific form of domination and illustrates the history, with all its contradictions, of how workers have internalized this domination.

International audience ; During the dualist era, the official oath of civil servants was legally formalized in order to become a complex institution reflecting the growing professionalization of civil service. It was a professional but first a political oath, the formulation of which embodied the particular issues of Hungary's position in the Double Monarchy: between loyalty to the emperor, the king or the Constitution, the duty of allegiance was expressed differently in each administrative field. This study endeavors to understand the principal uses of official oath in ancien regime Hungary as well as its modifications after the war, through official publications and civil servants' memoirs. ; Sous le dualisme, le serment officiel des fonctionnaires gagne en formalisme, au point de devenir une institution complexe reflétant la professionnalisation de la fonction publique. Serment professionnel mais aussi politique, il permet de saisir les enjeux relatifs à la situation particulière de la Hongrie dans la Double Monarchie : entre loyauté à l'empereur, au roi ou à la Constitution, le devoir de fidélité est exprimé de façon différenciée pour chaque branche de l'administration. Cette étude s'attache à montrer les principaux usages du serment officiel ainsi que ses modifications après la chute de l'empire, au travers des textes officiels et des écrits mémoriels des fonctionnaires.

International audience ; During the dualist era, the official oath of civil servants was legally formalized in order to become a complex institution reflecting the growing professionalization of civil service. It was a professional but first a political oath, the formulation of which embodied the particular issues of Hungary's position in the Double Monarchy: between loyalty to the emperor, the king or the Constitution, the duty of allegiance was expressed differently in each administrative field. This study endeavors to understand the principal uses of official oath in ancien regime Hungary as well as its modifications after the war, through official publications and civil servants' memoirs. ; Sous le dualisme, le serment officiel des fonctionnaires gagne en formalisme, au point de devenir une institution complexe reflétant la professionnalisation de la fonction publique. Serment professionnel mais aussi politique, il permet de saisir les enjeux relatifs à la situation particulière de la Hongrie dans la Double Monarchie : entre loyauté à l'empereur, au roi ou à la Constitution, le devoir de fidélité est exprimé de façon différenciée pour chaque branche de l'administration. Cette étude s'attache à montrer les principaux usages du serment officiel ainsi que ses modifications après la chute de l'empire, au travers des textes officiels et des écrits mémoriels des fonctionnaires.

International audience ; During the dualist era, the official oath of civil servants was legally formalized in order to become a complex institution reflecting the growing professionalization of civil service. It was a professional but first a political oath, the formulation of which embodied the particular issues of Hungary's position in the Double Monarchy: between loyalty to the emperor, the king or the Constitution, the duty of allegiance was expressed differently in each administrative field. This study endeavors to understand the principal uses of official oath in ancien regime Hungary as well as its modifications after the war, through official publications and civil servants' memoirs. ; Sous le dualisme, le serment officiel des fonctionnaires gagne en formalisme, au point de devenir une institution complexe reflétant la professionnalisation de la fonction publique. Serment professionnel mais aussi politique, il permet de saisir les enjeux relatifs à la situation particulière de la Hongrie dans la Double Monarchie : entre loyauté à l'empereur, au roi ou à la Constitution, le devoir de fidélité est exprimé de façon différenciée pour chaque branche de l'administration. Cette étude s'attache à montrer les principaux usages du serment officiel ainsi que ses modifications après la chute de l'empire, au travers des textes officiels et des écrits mémoriels des fonctionnaires.

speech delivered on 11 March 2020 at the UCLouvain Faculty of Law and Crime at the French Chair's ceremony for Professor Michel Easter. ; Discours prononcé le 11 mars 2020, à la Faculté de droit et de criminologie de l'UCLouvain, lors de la cérémonie de la Chaire Francqui attribuée au professeur Michel Pâques.

Ethnology has for several decades begun a critique of the notion of potlatch ; however, the influence of the Maussian paradigm on the human sciences, basing the notion on a biased view of the colonial situation prevailing in nineteenth century Canada, is still significant. We will question the history and reception of the discourses surrounding a ceremony that has now become cultural heritage.

This article studies the evolution from digital TV to social TV, being the TV that uses social networks as a mean to communicate with the audience. More precisely, we study the role of social TV as a social catalyst (Aldo Grasso, 2009) or of ceremony TV (Dayan Daniel 2000), as well as its capacity to establish a bidirectional communication channel.

In Indonesia, polymusic – juxtaposed music – is performed during major ceremonies. Several groups play simultaneously, in the same space, but different tunes. If many tunes are performed at the same time in the same space, who can listen to them ? Seven cases of Indonesian polymusic, from South Sulawesi, West Kalimantan, and Bali, recorded between 1991 and 2001 are described : a Sa'dan Toraja funeral (pasonglo), house ceremony (bua' sangrapu), and trance ritual (maro pabalikan), a Dayak Taman ritual for the ancestors (gawai mamandung), a Balinese temple ceremony (odalan). The seven examples are compared through an analysis of space and time, in order to disclose their common aspects and relevant meanings. Polymusic presents the musicologist with a paradox of temporal and spatial perception. While assembling groups of singers at the same time and in the same space, these rituals prescribe their separation and individualization. The analysis of space and time points to a double perception : that of a differentiated and an undifferentiated world. This is translated on the acoustic level by the simultaneous juxtaposition and synthesis of different repertoires and different groups, which reveals – both sensorily and intellectually – either the groups' differences or the achievement of a macro-unity expressing the ritual expenditure.

The Ghanian industry of Diaspora tourism seeks to attract African-American visitors by showing them old slave trade sites. It in this framework that the forts of Cape Coast and Elmina were restored in the 1990s and that an annual commemoration, Emancipation Day, was created in 1998. In 2007, the Ministry of Tourism added the 'healing ceremony' to the list of festivities. This is part of a larger initiative, the Joseph Cultural Project, which seeks to attract long-term investment from members of the African Diaspora. This ceremony puts the biblical episode of Joseph's enslavement by his family to use in order to elaborate a discourse concerning the Ghanian roots of the African Diaspora. The Joseph Project suggests that the Diaspora can cure Ghanians of their troubles, whether they be of an economic nature or stem from their relationship to the past. In so doing, it tends to confine Ghana to the role of a quaint homeland and African-Americans to that of rich visitors. Using ritual to reinforce this distribution of roles, the Joseph Project draws on multicultural neoliberalism in the aim of developing a conservative politics of the diasporic relationship. Adapted from the source document.

Memories of the Great War.
A patriotic Alsatian myth put to the test of Europe.
The history of Alsace is precious when studying the development of patriotism during the 20th century. A contested region and then a pivotal keystone, it was the subject of French patriotism before becoming a symbolic region in the building of Europe. It is this specific historical tension that has led to the rich and unique fate of the memorial ceremony of Wettstein, at the foot of the Linge (18,000 casualties in 1915). Once a highly patriotic ceremony, it became jointly French and German in 1962. The birth, life and death of patriotism is therefore the title of the large first section of this article which aims to retrace the history of the patriotic imagination of an era which focussed on glorifying the sacrifice of soldiers who died to save Alsace, followed by the inescapable fall into abeyance of this imagination. This page of history is above all the end of a specific patriotism marked by the importance of collective values and a vision of the world where the nation is the reference. And, in the end, we are led to ask the question of what has happened to patriotism, this «love of the fatherland» in the broadest dictionary sense of the term, in the wake of this break with the past.