BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20141026T020000 RDATE:20150329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20151025T020000 RDATE:20160327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20161030T020000 RDATE:20170326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20171029T020000 RDATE:20180325T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20181028T020000 RDATE:20190331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20191027T020000 RDATE:20200329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20201025T020000 RDATE:20210328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20140521T140000 RDATE:20141026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20150329T030000 RDATE:20151025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20160327T030000 RDATE:20161030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20170326T030000 RDATE:20171029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20180325T030000 RDATE:20181028T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20190331T030000 RDATE:20191027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20200329T030000 RDATE:20201025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20210328T030000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:e594e4ee02eda8f81cd47e8647ba1d7d CATEGORIES:Anthropologie de la nuit CREATED:20150929T103759 SUMMARY:« An Amazonian Technology of Night or Why Tukanoans Call the Sun “Roofing Leaf” », Stephen Hugh Jones (King’s College, Cambridge) LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9 2000\, France DESCRIPTION:Laurent Fontaine has already addressed this seminar on the subject of a Yuk una ethnography of night. Aside from relatively minor details, Fontaine’s e thnography applies equally to the Barasana and other Tukanoan-speaking grou ps living immediately to the north of the Yukuna. Instead of repeating the same material, I take a different tack by examining the technology of night .\n A comparison of some 50 stories concerning the origin of night from dif ferent Tukanoan, Arawakan and Maku-speaking groups reveal what is effective ly one and the same myth across large part of NW Amazonia, itself a version of the well-known story of an unintended release of night from a sealed co ntainer. But this story is but one of a wider set involving similar uninten ded releases - of earth, trees, roofing leaves, feather ornaments, and song s.\n In the stories, night is contained in one of two prototypical containe rs, either a small ceramic pot used to store curare poison or a woven palm- leaf box used to store feather ornaments, a box that also figures as a cont ainer of roofing leaves with the leaves as the feathers of a bird. Each con tainer corresponds to a different manifestation or materialisation of night , either as singing nocturnal insects or as black versions of the birds who se feathers are used to make ornaments.\n Each of these manifestations of n ight corresponds, in turn, to two different means for the ritual control of time, either through the use of the rattle-lance, a musical instrument tha t imitates the sound of insects, or through the song, dance and ornamentati on of ritual gatherings on the side of coloured singing birds.\n Rattle-lan ce and feather box thus emerge as two ’instruments of darkness’, one aural and one visual, and both more convincing Amazonian examples than those disc ussed by Lévi-Strauss in his Du miel aux cendres.\n Finally, roofing leaves provide another means for the control of time : an unthatched house is the equivalent of the long day and the thatch brings on the long night of a da rkened interior.\n Once all this is understood, it seems perfectly logical that Tukanoans should refer to the sun as ’thatch’ or ’roofing leaf’.\n X-ALT-DESC;FMTTYPE=text/html:

Laurent Fontaine has already addressed this seminar on the subject of a Yukuna ethnography of night. Aside from relatively minor details, Fontaine’ s ethnography applies equally to the Barasana and other Tukanoan-speaking g roups living immediately to the north of the Yukuna. Instead of repeating t he same material, I take a different tack by examining the technology of ni ght.
A comparison of some 50 stories concerning the origin of night f rom different Tukanoan, Arawakan and Maku-speaking groups reveal what is ef fectively one and the same myth across large part of NW Amazonia, itself a version of the well-known story of an unintended release of night from a se aled container. But this story is but one of a wider set involving similar unintended releases - of earth, trees, roofing leaves, feather ornaments, a nd songs.
In the stories, night is contained in one of two prototypic al containers, either a small ceramic pot used to store curare poison or a woven palm-leaf box used to store feather ornaments, a box that also figure s as a container of roofing leaves with the leaves as the feathers of a bir d. Each container corresponds to a different manifestation or materialisati on of night, either as singing nocturnal insects or as black versions of th e birds whose feathers are used to make ornaments.
Each of these mani festations of night corresponds, in turn, to two different means for the ri tual control of time, either through the use of the rattle-lance, a musical instrument that imitates the sound of insects, or through the song, dance and ornamentation of ritual gatherings on the side of coloured singing bird s.
Rattle-lance and feather box thus emerge as two ’instruments of da rkness’, one aural and one visual, and both more convincing Amazonian examp les than those discussed by Lévi-Strauss in his Du miel aux cendres.
Finally, roofing leaves provide another means for the control of time : an unthatched house is the equivalent of the long day and the thatch brings on the long night of a darkened interior.
Once all this is understood, it seems perfectly logical that Tukanoans should refer to the sun as ’thatc h’ or ’roofing leaf’.

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