culture, while the young man is still too young and innocent to have begun developing a fragmented identity. Consequently, these two characters are weaker and less-developed than the old man, but no less important. In Chapter 3, “Mythological Symbolism and its Conflicts: The Old Man versus Nature, the Modern Culture, and the Younger Generations”, myth and ritual occupy a central position in the belief system of Mayan culture and of the old man in Un tigre con ojos de jade. Although Bestard describes the beliefs of the protagonists and his Mayan ancestors concerning the important Mayan gods, animals, and the spirits of the forest, they are only part of the mythology that emphasizes the power of nature. The rituals, the Mayan myths, and the rites of passage associated with this culture represent the three conflicts that the protagonist experiences in the novel with nature, the modern culture, and the younger generation. Cultural myth pertains to Bestard’s novel as an account of a sacred element that describes events of a previous age different from the present time period (Carroll 827-8). Several functions of the myths present in the novel include the preservation of the Mayan ancestors’ wisdom through their oral traditions, the explanation of the world’s creation and natural phenomenon of Earth so that man can seemingly have a sense of control over his surroundings, and the support of the culture’s ideology based on the subconscious message of the myths. These functions are reflected in the old man’s beliefs in various Mayan gods who created the world and other spirits that roam the Earth wreaking havoc, as well as in the importance of family evident in myths that emphasize staying at home after dark to avoid dangers.
Apéndice C Ilustración 3 “Mapa del estado de Yucatán” Fuente: Mapa de Jen’s Yucatán (30 mayo 2006 .) Apéndice D Ilustración 4 “Las áreas culturales de los mayasa Fuente: Mapa de Michael Coe, The Maya (NY: Thames and Hudson, 1999) 12. a Este mapa muestra las tres áreas culturales de los mayas: las zonas norteña, central, y sureña. Apéndice E Figura 1 “Figura cronológica de los períodos de civilización maya” Fuente: Cuadro de Michael Coe, The Maya (NY: Thames and Hudson, 1999) 10. Apéndice F Ilustración 5 “Ah Puch: Dios de la muerte” Fuente: Ilustración de Dr. Hideyo Noguchi, “Deidades principales del panteón maya”, Centro de Investigaciones Regionales de la U Autónoma de Yucatán (1 jun. 2006 .)
Ilustración 6 “Chaac: Dios de la lluvia” Fuente: Ilustración de “Chaak” (1 jun. 2006 .) Ilustración 7 “Ek Chuah: Dios de la guerra” Fuente: Ilustración de Dr. Hideyo Noguchi, “Deidades principales del panteón maya”, Centro de Investigaciones Regionales de la U Autónoma de Yucatán (1 jun. 2006 .) Ilustración 8 “Itzamná: Señor del cielo e hijo de Hunab Ku” Fuente: Ilustración de Dr. Hideyo Noguchi, “Deidades principales del panteón maya”, Centro de Investigaciones Regionales de la U Autónoma de Yucatán (1 jun. 2006 .) Ilustración 9 “Ixchel: Diosa del parto, del tejido, y de la luna” Fuente: Ilustración de Dr. Hideyo Noguchi, “Deidades principales del panteón maya”, Centro de Investigaciones Regionales de la U Autónoma de Yucatán (1 jun. 2006 .) Ilustración 10 “Ixtab: Diosa del suicidio”
“Figura de Chaac en las ruinas de Labná” Fuente: Foto por la autora Apéndice L Ilustración 18 “Figuras de dioses mayas en las ruinas de Labná” Fuente: Foto por la autora Apéndice M Ilustración 19 “Cenote de Ik’kil” Fuente: Foto por la autora Apéndice N Ilustración 20 “Fruta con sal y chile que venden las mujeres mayas por las calles en el centro” Fuente: Foto por la autora Apéndice O Ilustración 21 “Instituto para el Desarrollo de la Cultura Maya en el Estado de Yucatán (INDEMAYA)” Fuente: Foto por la autora
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