Continental Connections
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List of Cerambycidae from Honduras
Contribuciones del Zamorano a Latinoamérica en sus Setenta años Simón E. Malo1 Resumen. La contribución más importante del Zamorano a la región ha sido en educación agrícola de Aprender Haciendo. Sus graduados son hoy conocidos por su espirito empresarial. Además, sobresalen como profesores, científicos y en el sector público ha habido cientos de ministros de agricultura. En segundo plano, la institución es conocida por haber traído cientos de especies y variedades superiores de plantas para la industria agrícola. Como antiguo explorador de plantas para el gobierno de los Estados Unidos, Wilson Popenoe tenía la experiencia apropiada para tener la visión de lo que seria importante en el futuro de la región. El mejor ejemplo es quizás la palma africana que con su aceite comestible es hoy un enorme renglón en la exportación de muchos países. Palabras clave: Educación agrícola de Aprender Haciendo, introducción de especies, variedades superiores. Zamorano's Contributions to Latin America in its Seventy Years Abstract. The most significant contribution of Zamorano to the region has been in agricultural education thru learning by doing, and youth professional building, including character formation. Zamorano graduates are today known for their enterprising spirit and passion for doing a job well done. The number of graduates filling key positions in the agricultural industry, teaching and research, as well as the public sector in the region is impressive. The second most important contribution has been the introduction of superior species of plants to the agriculture of the region. As a former plant explorer for the USDA, Wilson Popenoe was ideally qualified for this work based on his experience, contacts, and his vision of what would be important in the future. -
Icons of Music Auction Ii to Benefit Music Rising on Saturday May 31, 2008 to Be Held at Hard Rock Cafe New York
For Immediate Release: Caroline Galloway Meredith Miesieski Lori Earl Music Rising/Gibson Guitar Coyne PR CodeBlue Media 615-423-4904 973-316-1665/732-619-4355 818-704-1200 [email protected] [email protected] [email protected] ICONS OF MUSIC AUCTION II TO BENEFIT MUSIC RISING ON SATURDAY MAY 31, 2008 TO BE HELD AT HARD ROCK CAFE NEW YORK UNPRECEDENTED COLLECTION OF MUSIC MEMORABILIA TO BE OFFERED IN A LIVE AND TELEVISED AUCTION EVENT Hosted by U2’s the Edge with special performance by Aaron Neville New York, NY, April 24, 2008 -- U2’s the Edge announced the Icons of Music Sale II to benefit Music Rising to be held on Saturday, May 31, 2008 at Hard Rock Cafe New York in Times Square. This second annual auction event, hosted by Julien’s Auctions (www.juliensauctions.com), will of fer one of the most significant collections of music memorabilia from many of m usic’s greatest legends with proceeds benefiting Music Rising (www.musicrising.org), a cam paign co-founded by U2’s the Edge, legendary producer Bob Ezrin and Gibson Guitar Chairman and CEO Henry Juszkiewicz in 2005 to aid m usicians of the Gulf Coast Regi on in regaining thei r livelihood after the devastation of Hurricanes Katrina and Rita. Four time Grammy Award winner Aaron Neville, who h as joined the Music Rising campaign and helped bring m ajor attention to some of the charity work being done in New Orleans today, will appear at th e Icons of Music Sale II and pe rform at the evening session. -
CULTURAL NEGOTIATIONS CRITICAL STUDIES in the HISTORY of ANTHROPOLOGY Series Editors: Regna Darnell, Stephen O
CULTURAL NEGOTIATIONS CRITICAL STUDIES IN THE HISTORY OF ANTHROPOLOGY Series Editors: Regna Darnell, Stephen O. Murray Cultural Negotiations The Role of Women in the Founding of Americanist Archaeology DAVID L. BROWMAN University of Nebraska Press | Lincoln and London © 2013 by the Board of Regents of the University of Nebraska All rights reserved Manufactured in the United States of America Library of Congress Cataloging- in-Publication Data Browman, David L. Cultural negotiations: the role of women in the founding of Americanist archaeology / David L. Browman. pages cm.— (Critical studies in the history of anthropology) Includes bibliographical references and index. ISBN 978-0-8032-4381-1 (cloth: alk. paper) 1. Women archaeologists—Biography. 2. Archaeology—United States—History. 3. Women archaeologists—History. 4. Archaeologists—Biography. I. Title. CC110.B76 2013 930.1092'2—dc23 2012049313 Set in Lyon by Laura Wellington. Designed by Nathan Putens. Contents Series Editors’ Introduction vii Introduction 1 1. Women of the Period 1865 to 1900 35 2. New Directions in the Period 1900 to 1920 73 3. Women Entering the Field during the “Roaring Twenties” 95 4. Women Entering Archaeology, 1930 to 1940 149 Concluding Remarks 251 References 277 Index 325 Series Editors’ Introduction REGNA DARNELL AND STEPHEN O. MURRAY David Browman has produced an invaluable reference work for prac- titioners of contemporary Americanist archaeology who are interested in documenting the largely unrecognized contribution of generations of women to its development. Meticulous examination of the archaeo- logical literature, especially footnotes and acknowledgments, and the archival records of major universities, museums, field school programs, expeditions, and general anthropological archives reveals a complex story of marginalization and professional invisibility, albeit one that will be surprising neither to feminist scholars nor to female archaeologists. -
Place, Race, and the Politics of Identity in the Geography of Garinagu Baündada Doris Garcia Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Place, Race, and the Politics of Identity in the Geography of Garinagu Baündada Doris Garcia Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Social and Behavioral Sciences Commons Recommended Citation Garcia, Doris, "Place, Race, and the Politics of Identity in the Geography of Garinagu Baündada" (2014). LSU Doctoral Dissertations. 3744. https://digitalcommons.lsu.edu/gradschool_dissertations/3744 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PLACE, RACE, AND THE POLITICS OF IDENTITY IN THE GEOGRAPHY OF GARINAGU BAÜNDADA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Geography & Anthropology by Doris Garcia B.A., City College of New York, 2002 M.S., Central Connecticut State University, 2006 December 2014 Belize Caribbean Sea Islas de la Bahía Colón Atlántida Guatemala Cortés Yoro Gracias a Dios Santa Bárbara Copán Olancho Comayagua Lempira Ocotepeque Francisco Morazán Intibucá La Paz El Paraíso El Salvador Valle Nicaragua Choluteca P a c i f i c O c e a n Miles 0 50 100 Map of Honduras in Central America Prepared by: Paul Karolczyk and Doris Garcia ii ACKNOWLEDGMENTS I extend my most profound gratitude to several people who contributed to the completion of this dissertation and my evolution as a scholar. -
Instituto Hondureño De Antropología E Historia
Instituto Hondureño de Antropología e Historia Revista semestral del Instituto Hondureño de Antropología e Historia Año 34, Volúmen XXV, No. 2, 2009 Consejo Editorial Ms. Eva Martínez Sub-Gerente de Patrimonio Ms. Daniela Navarrete Unidad de Centros Históricos Dr. Víctor Manuel Ramos Unidad de Publicaciones Diseño y diagramación: Christine Schweers Impreso en Honduras. Tegucigalpa, 2009. Correspondencia Unidad de Publicaciones Instituto Hondureño de Antropología e Historia Villa Roy, Barrio Buenos Aires, Tegucigalpa, Honduras [email protected] Tel: (504) 220-6954 y (504) 222-2552 © Instituto Hondureño de Antropología e Historia Se prohíbe la reproducción parcial o total de esta obra en cualquier tipo de soporte, sea éste mecánico, fotocopiado o electrónico, sin la respectiva autorización por escrita del Instituto Hondureño de Antropología e Historia. Contenido página Presentación 5 Víctor Manuel Ramos Arqueología de los negros caribes en la Costa Caribe de Honduras 7 Charles D. Cheek El saqueo del Valle del Ulúa, Honduras y un análisis del mercado para sus antigüedades 23 Christina Luke y John S. Henderson Hacia la definición de una política estatal de protección del patrimonio cultural en Honduras: El caso de la Arqueología (1845 – 1948) 53 Kevin Rubén Ávalos Fronteras sin marcar: Contextos de la arqueología de Copán 87 Lena Mortensen Estela D: Reloj Solar de la Plaza del Sol del Parque Arqueológico de Copán Ruinas, Honduras 111 María Cristina Pineda de Carías, Vito Véliz y Ricardo Agurcia Fasquelle Los pueblos de Olancho, siglos XVI al XVIII 139 Dennis A. Portillo Reyes Libros europeos en Centroamérica en los siglos XVI-XVII 151 Pedro Rueda Ramírez Francisco Morazán en la historiografía de Centroamérica 193 Edmond Konrad Los chortis de Honduras en la encrucijada. -
Keeping the Music Alive
Tulane University Keeping the music alive April 24, 2014 2:00 AM Mary Sparacello [email protected] When famed music producer Bob Ezrin visited New Orleans 30 days after Hurricane Katrina, he had an epiphany. “Wherever we went that music was playing, there was hope,” said Ezrin. “It was clear that the cure ⦠was to keep the music alive.” At a Music Cultures Jam on the uptown campus on Wednesday (April 23), Troy “Trombone Shorty” Andrews, left, and music producer Bob Ezrin join Music Rising at Tulane to announce an innovative musical cultures website. (Photo by Paula Burch-Celentano) Together with U2's The Edge and other music partners, Ezrin founded Music Rising at Tulane University to preserve the musical cultures of the Gulf South. And on Wednesday (April 23), Ezrin was at Tulane to launch an innovative website aimed to do just that. Billed as a Musical Cultures Jam, Wednesday's launch featured numerous New Orleans and Gulf South musicians: Troy “Trombone Shorty” Andrews, drummer Shannon Powell, trombonist Lucien Barbarin, blues musicians Little Freddie King and Mem Shannon, jazz singer Germaine Bazzle and rap group Partners-N-Crime. New Orleans band Cha Wa, whose style mixes Mardi Gras Indian music and the blues, provided a rousing musical opening for the event, accompanied by four young members of the Trombone Shorty Academy. The Edge promoted the site in a video message: “I truly hope that this is only the beginning of an opportunity to provide future generations of students a chance to appreciate the colorful and dynamic musical history of this very special part of the world.” Music Rising at Tulane is housed in the New Orleans Center for the Gulf South and includes an interdisciplinary major through the School of Liberal Arts. -
Latin American and Caribbean Section
Latin American and Caribbean Section Southern Historical Association LACS/SHA Newsletter Fall 2012 From the President… Prezados leitores/estimados lectores/chères lecteurs/gentle readers: This fall the Latin America & Caribbean Section (LACS) of the Southern Historical Association embraces Progress. No, we haven’t invented the next big platform for social networking, solved the global economic crisis, explored Mars, or explained dressage at the Olympics (apologies to all who actually know something about horseman/horsewomanship). However, we have put into place a new PayPal payment system that will enable all of us, current members and new, to pay our dues on line with minimal hassle. No thick-necked men sent by Matt Childs will darken your office door asking you for that check you’ve been promising for months. Actually, to say that “we” did this obscures the fact that the very able Theron Corse put in tons of time to make this happen. Many, many thanks to Theron. Looking to the Mobile gathering, I’m impressed by the breadth of the panels on offer in November. Thanks to Sarah Franklin’s hard work and advocacy, LACS will be offering panels on important, broad themes: the U.S. in 20th-century Latin America and the Caribbean; slaving at the edges of empire; the influence of foreigners in Mexico; migrants and immigration; historical writing about Simón Bolívar. Beyond these, there are panels on the Civil War in the U.S. and the Caribbean, on the American South and the Global South, on Civil Rights and Latinos, on Western-Hemispheric perspectives on slavery, and on plantations in imperial borderlands. -
Music Rising Press Release Final
FOR IMMEDIATE RELEASE: Caroline Galloway Lori Earl Darren Julien Music Rising Codeblue Media/Music Rising Julien’s Auctions 440-338-3469 818-704-1200 818-694-8090/310-836-1818 [email protected] [email protected] [email protected] “ICONS OF MUSIC” AUCTION BENEFITING MUSIC RISING SATURDAY APRIL 21st, 2007 NEW YORK UNPRECEDENTED COLLECTION OF MUSIC MEMORABILIA TO BE OFFERED IN A LIVE AND ON LINE AUCTION New York, NY (March 26, 2007) -- U2’s The Edge announced the Icons of Music Auction to benefit Music Rising on Saturday April 21st 2007 at Hard Rock Cafe New York in Times Square at 5pm.. The auction event will offer one of the most significant collections of music memorabilia from many of music’s greatest legends with proceeds benefiting Music Rising (www.musicrising.org), a campaign co-founded by The Edge, producer Bob Ezrin and Gibson Guitar Chairman and CEO Henry Juszkiewicz in 2005 to aid musicians of the Gulf Coast Region in regaining their livelihood after the devastation of Hurricanes Katrina and Rita. The live and online auction, hosted by Julien’s Auctions (www.juliensauctions.com), will be offering approximately 200 pieces of music memorabilia, much of which has been specifically donated for this cause. The Edge’s 1975 Gibson Les Paul (est. $60,000-80,000) Amongst the donations from The Edge is his 1975 Cream Gibson Les Paul (est. $60,000- 80,000), an instrument highly significant to his career and U2. “I wanted that Steve Jones ‘Never Mind The Bollox’ sound, so I got the same guitar right down to the color. -
Celebrazzi (Celebrations-Paparazzi)
celebrazzi (celebrations-paparazzi) he annual Southern Decadence Grand Marshals Drag Show kicked off the weekend on Friday at the Home of Southern Decadence, TTubby's Golden Lantern. Celebrity guest emcee's Southern Deca- dence Susan Lucci's Rip and Marsha Naquin-Delain brought Southern Deca- dence Grand Marshals Tiffany Alexander and Misael Rubio to the stage as Mayor's rep Larry Bagneris welcomed all to the city and presented the grand marshals with "official" Mayoral proclamations. The action packed show featured SDGM Tiffany Alexander, Lantern Show Director Rikki Redd, Miss Tubby's outhern Decadence Grand Marshals XXXVII Tiffany Alexander and Golden Lantern Mercedes Ellis Loreal, Vanessa Carmichael, Monique Michaels, Misael Rubio extend the "official" toast celebrating the 40th Anniver- Tru Demille, Kiki Carmichael Luchianna, Imani Cassidine Black, and Ms. Alise. Ssary of Southern Decadence at the Home of Southern Decadence, Tubby's Golden Lantern, kicking off the 37th Official Southern Decadence Parade. Parading through the streets of the French Quarter, the walking bar crawl stopped in front of every gay bar in the Quarter. The colorful spectacle celebrated the theme of Viva New Orleans: What Happens in New Orleans Stays in New Orleans with the colors of fuchsia pink, silver and black. The song this year was Fireworks by Katy Perry. It's estimated that some 80,000 participants over the Labor Day Weekend had an economic impact of over $96 million for the City of New Orleans. The 2011 Southern Decadence Sponsors included Absolut, Ambush Mag, Bacardi, Bud Light, GrahamStudioOne.COM. Harrah’s New Orleans, Quartermaster: The Nellie Deli, Sir Speedy Printing and SouthernDecadence.COM. -
Doris Zemurray Stone 1909-1994
Ancient Mesoamerica, 6 (1995), 95-99 Copyright © 1995 Cambridge University Press. Printed in the U.S.A. IN MEMOR1AM DORIS ZEMURRAY STONE 1909-1994 The death of Doris Stone1 shortly before her 85th birthday, on October 21, 1994, marks the end of an era in Central American anthropology. Her interest in the archaeology and ethnology of Honduras began in the 1920s, and her contributions continued unabated until the end of her life. She is best known for her pio- neering studies in the archaeology of Honduras and Costa Rica and for her comprehensive, synthetic volumes on prehispanic Central America, but she also published extensively on the eth- nography and ethnohistory of indigenous Central American peoples. Doris devoted much effort to the welfare of the indig- enous peoples and to the development of local archaeology and museum facilities in Costa Rica, and the extent and diversity of current archaeological research in that country owe much to her efforts. Doris Zemurray Stone was born in New Orleans, Louisiana, on November 19, 1909, the daughter of Samuel and Sarah Weinberger Zemurray. Her father was a successful U.S. busi- nessman with ties to Honduras and other countries in Central America. She spent her childhood in New Orleans, in Bay St. Louis, Mississippi, and later at her family's country estate north of Hammond, Louisiana. She traveled regularly to Honduras, Costa Rica, and Guatemala, and was captivated early on by the land, the people, and the archaeology. She attended Newman School in New Orleans and in 1926 Doris Zemurray Stone in 1981. Photo by Mike Posey. -
You Know It When You See It
PRAISE AND WHAT COOL IS HEAVY HITTER MIKE FITTS THANKS The substance James Andrews, FINDS HIS Commencement and style of super doctor for PLACE 2014. American cool. athletes. President-elect THE MAGAZINE OF TULANE UNIVERSITY is ready to lead. TUlaneJUNE 2014 COOLYou know it when you see it. PAULA BURCH-CELENTANO hip-hop ALMA MATER Green Envy, an a cappella group of Tulane students, sings the alma mater, includ- ing a rap rendition of one stanza, at Tulane University Commence- ment in the Mercedes- Benz Superdome on May 17, 2014. The group also sang the iconic tune, “The House of the Rising Sun,” with lyrics rewrit- ten in tribute to retiring Tulane President Scott Cowen. Among the lines in the recast version of the song: “There is a school in New Orleans/ Some say the perfect one. It’s been the home to this Jersey boy/And now they say he’s done.” TULANE MAGAZINE JUNE 2014 1 PRESIDENT’S LETTER to the exclusive and intense study of a par- ticular field that they have a lot more to learn seems like a cruel joke. But the truth is that any career worth pursuing, any endeavor worth undertaking, any dream worth dreaming and any life worth living is defined by the continu- al, lifelong pursuit of learning and knowledge. Second: Make a difference People often hope to get involved with some- thing bigger than themselves to find purpose in life. But often the “something bigger” they are seeking turns out to be something or someone smaller than themselves—a child who has never been loved, an adult who has never learned to read, an elderly person who does not have a home, an ill person who needs to be healed. -
Form and Style in the Music of U2 Christopher James Scott Endrinal
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Form and Style in the Music of U2 Christopher James Scott Endrinal Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FORM AND STYLE IN THE MUSIC OF U2 By CHRISTOPHER JAMES SCOTT ENDRINAL A Dissertation submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music Spring Semester, 2008 Copyright © 2008 Christopher J. S. Endrinal All Rights Reserved The members of the Committee approve the dissertation of Christopher J. S. Endrinal, defended on 25 February 2008. Jane Piper Clendinning Professor Directing Dissertation James R. Mathes Committee Member Matthew R. Shaftel Committee Member Charles E. Brewer Outside Committee Member The Office of Graduate Studies has verified and approved the above listed committee members. ii To Azucena and Dominic. iii ACKNOWLEDGMENTS I wish to extend my gratitude and appreciation to my advisor, Professor Jane Piper Clendinning. Her guidance and support during my entire tenure at Florida State have proven to be invaluable resources, for which I cannot thank her enough. I also extend my appreciation to Professor James Mathes (whose doctoral seminar provided the initial inspi- ration for this research) and to Professors Matthew Shaftel and Charles Brewer, for lending me their unique perspectives and insightful critiques. I would also like to thank the rest of the Music Theory faculty at Florida State. Their vast knowledge and constant encourage- ment helped keep me focused and motivated.