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Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Movement, Space, and Identity in a Mexican Body Culture
societies Article From the Calendar to the Flesh: Movement, Space, and Identity in a Mexican Body Culture George Jennings Cardiff School of Sport and Health Sciences, Cardiff Metropolitan University, Cardiff CF23 6XD, UK; [email protected] Received: 20 July 2018; Accepted: 9 August 2018; Published: 13 August 2018 Abstract: There are numerous ways to theorise about elements of civilisations and societies known as ‘body’, ‘movement’, or ‘physical’ cultures. Inspired by the late Henning Eichberg’s notions of multiple and continually shifting body cultures, this article explores his constant comparative (trialectic) approach via the Mexican martial art, exercise, and human development philosophy—Xilam. Situating Xilam within its historical and political context and within a triad of Mesoamerican, native, and modern martial arts, combat sports, and other physical cultures, I map this complexity through Eichberg’s triadic model of achievement, fitness, and experience sports. I then focus my analysis on the aspects of movement in space as seen in my ethnographic fieldwork in one branch of the Xilam school. Using a bare studio as the setting and my body as principle instrument, I provide an impressionist portrait of what it is like to train in Xilam within a communal dance hall (space) and typical class session of two hours (time) and to form and express warrior identity from it. This article displays the techniques; gestures and bodily symbols that encapsulate the essence of the Xilam body culture, calling for a way to theorise from not just from and on the body but also across body cultures. Keywords: body cultures; comparative analysis; Eichberg; ethnography; games; martial arts; Mexico; physical culture; space; theory 1. -
Death and the Afterlife Among the Classic Period Royal Tombs of Copán, Honduras
To Be Born an Ancestor: Death and the Afterlife among the Classic Period Royal Tombs of Copán, Honduras The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters. Fierer-Donaldson, Molly. 2012. To Be Born an Ancestor: Death Citation and the Afterlife among the Classic Period Royal Tombs of Copán, Honduras. Doctoral dissertation, Harvard University. Accessed April 17, 2018 3:28:47 PM EDT Citable Link http://nrs.harvard.edu/urn-3:HUL.InstRepos:9548615 This article was downloaded from Harvard University's DASH Terms of Use repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http://nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA (Article begins on next page) © 2012 – Molly Fierer-Donaldson All rights reserved William L. Fash Molly Fierer-Donaldson To Be Born an Ancestor: Death and the Afterlife Among the Classic Period Royal Tombs of Copán, Honduras Abstract This goal of this dissertation is to participate in the study of funerary ritual for the Classic Maya. My approach evaluates comparatively the seven royal mortuary contexts from the city of Copán, Honduras during the Classic period from the early 5th century to early 9th century CE, in order to draw out the ideas that infused the ritual behavior. It is concerned with analyzing the tomb as a ritual context that is a materialization of a community's ideas about death and the afterlife. The heart is the data gathered from my participation in the excavation of the Classic period royal tomb called the Oropéndola Tomb. -
4.0 a Guide to Warrior Suits 4.1 the Basic Feather Costume
4.0 A GUIDE TO WARRIOR SUITS Here follows a broad outline of the various warrior suits that were known to be associated with the Aztecs. It should be noted that all of these showy feather suits were available to the noblemen only, and could never be worn by the common man. The prime source of information for the following chapter is from the tribute lists in the Codex Mendoza and the Matricula de Tributos, the suit and banner lists in the Primeros Memoriales plus some commentary in Duran's Book of the Gods, History of the Indies and some of the Florentine Codex. The first two give clear examples of many different types of war suits, as well as a defined list of warrior and priest suits with their associated rank. Unfortunately they do not show all the suit types possible, nor do they explain what several of the suit types sent in tribute were for. Trying to mesh these sources is not neat, and some interpretation is required. While Chapter 3 examined the tribute from various provinces on a province by province basis, this chapter concentrates only on the warrior suit types as individual topics. The Mendoza Noble Warrior List (Section 4.2) and Priest Warrior List (Section 4.3) are further expanded upon with information from the tribute lists and then any other primary sources with relevant information or images. These lists are then followed up by a list of suit types not covered by either of these two lists (Section 4.4.) This section of the documentation does not cover the organisational or ranking levels of the suits except as a method for listing the suits for discussion. -
51St International Congress on Medieval Studies
51st lntemational Congress on Medieval Studies May 12-15,2016 51st International Congress on Medieval Studies May 12–15, 2016 Medieval Institute College of Arts and Sciences Western Michigan University Kalamazoo, MI 49008-5432 wmich.edu/medieval 2016 Table of Contents Welcome Letter iii Registration iv-v On-Campus Housing vi Off-Campus Accommodations vii Travel viii Driving and Parking ix Food x-xi Campus Shuttles xii Construction xiii Hotel Shuttles xiv Hotel Shuttle Schedules xv Facilities xvi Logistics xvii Varia xviii Lecture/Performance xix Exhibits Hall xx Exhibitors xxi Plenary Lectures xxii Advance Notice—2017 Congress xxiii The Congress: How It Works xxiv Travel Awards xxv Richard Rawlinson Center xxvi Center for Cistercian and Monastic Studies xxvii M.A. Program in Medieval Studies xxviii Medieval Institute Affiliated Faculty xxix Medieval Institute Publications xxx–xxxi About Western Michigan University xxxii Endowment and Gift Funds xxxiii The Otto Gründler Book Prize xxxiv 2016 Congress Schedule of Events 1–175 Index of Sponsoring Organizations 177–183 Index of Participants 185–205 List of Advertisers A-1 Advertising A-2 – A-48 Maps M-1 – M-7 ii The Medieval Institute College of Arts and Sciences Dear Colleague, Summer passed with the Call for Papers; fall came with a change of colors to Kalamazoo and the organization of sessions; we are now in winter here at Western Michigan University, starting to look forward to the spring and the arrival of you, our fellow medievalists, to the 51st International Congress on Medieval Studies. The Valley III cafeteria and adjoining rooms will host booksellers and vendors; cafeteria meals will be served in Valley II’s dining hall. -
Encounter with the Plumed Serpent
Maarten Jansen and Gabina Aurora Pérez Jiménez ENCOUNTENCOUNTEERR withwith thethe Drama and Power in the Heart of Mesoamerica Preface Encounter WITH THE plumed serpent i Mesoamerican Worlds From the Olmecs to the Danzantes GENERAL EDITORS: DAVÍD CARRASCO AND EDUARDO MATOS MOCTEZUMA The Apotheosis of Janaab’ Pakal: Science, History, and Religion at Classic Maya Palenque, GERARDO ALDANA Commoner Ritual and Ideology in Ancient Mesoamerica, NANCY GONLIN AND JON C. LOHSE, EDITORS Eating Landscape: Aztec and European Occupation of Tlalocan, PHILIP P. ARNOLD Empires of Time: Calendars, Clocks, and Cultures, Revised Edition, ANTHONY AVENI Encounter with the Plumed Serpent: Drama and Power in the Heart of Mesoamerica, MAARTEN JANSEN AND GABINA AURORA PÉREZ JIMÉNEZ In the Realm of Nachan Kan: Postclassic Maya Archaeology at Laguna de On, Belize, MARILYN A. MASSON Life and Death in the Templo Mayor, EDUARDO MATOS MOCTEZUMA The Madrid Codex: New Approaches to Understanding an Ancient Maya Manuscript, GABRIELLE VAIL AND ANTHONY AVENI, EDITORS Mesoamerican Ritual Economy: Archaeological and Ethnological Perspectives, E. CHRISTIAN WELLS AND KARLA L. DAVIS-SALAZAR, EDITORS Mesoamerica’s Classic Heritage: Teotihuacan to the Aztecs, DAVÍD CARRASCO, LINDSAY JONES, AND SCOTT SESSIONS Mockeries and Metamorphoses of an Aztec God: Tezcatlipoca, “Lord of the Smoking Mirror,” GUILHEM OLIVIER, TRANSLATED BY MICHEL BESSON Rabinal Achi: A Fifteenth-Century Maya Dynastic Drama, ALAIN BRETON, EDITOR; TRANSLATED BY TERESA LAVENDER FAGAN AND ROBERT SCHNEIDER Representing Aztec Ritual: Performance, Text, and Image in the Work of Sahagún, ELOISE QUIÑONES KEBER, EDITOR The Social Experience of Childhood in Mesoamerica, TRACI ARDREN AND SCOTT R. HUTSON, EDITORS Stone Houses and Earth Lords: Maya Religion in the Cave Context, KEITH M. -
A Conference in Pre-Columbian Iconography Elizabeth P. Benson
A Conference in Pre-Columbian Iconography OCTOBER 3l ST AND NOVEMBER l ST, 1970 Elizabeth P. Benson, Editor Dumbarton Oaks Research Library and Collections TRUSTEES FOR HARVARD UNIVERSITY Washington, D.C. Copyright 1972 Dumbarton Oaks Research Library and Collection Trustees for Harvard University, Washington, D.C. Library of Congress catalog number 72-90080 Preface OBERT WOODS BLISS began collecting Pre-Columbian art because he was lured by the beauty of the materials, the fineness of the craftsmanship, and Rthe fascination of the iconography of the first Pre-Columbian objects he saw. The Bliss Collection has been, since its beginning in 1912, primarily an esthetic one-probably the first esthetically oriented collection of Pre-Columbian artifacts- so it seemed appropriate to organize a conference that would focus on a cross-cultural, art-historical approach. When we sought for a theme, the first that came to mind was that great unifying factor in Pre-Columbian cultures, the feline. Large cats such as the jaguar and puma preoccupied the artists and religious thinkers of the very earliest civilizations, the Olmec in Mesoamerica and Chavín in Peru. The feline continued to be an important theme throughout much of the New World until the European con- quests. We are indebted to Barbara Braun for the title, “The Cult of the Feline.” Pre-Columbian studies merge many disciplines. This conference was not only cross- cultural but cross-disciplinary-with contributions from anthropologists, archaeolo- gists, art historians, and ethnologists-since we believed that the art-historical ap- proach to iconography should be based on the knowledge of what has been found archaeologically and what is known of the customs of the present-day peoples who have been isolated enough to carry on what must be very ancient traditions. -
Ad Alta: the Birmingham Journal of Literature Volume Ix, 2017
Ad Alta: The Birmingham Journal of Literature Volume IX, 2017 AD ALTA: THE BIRMINGHAM JOURNAL OF LITERATURE VOLUME IX 2017 Cover image taken from ‘Axiom’ by WILLIAM BATEMAN Printed by Central Print, The University of Birmingham, Birmingham, UK This issue is available online at: www.birmingham.ac.uk/adalta Ad Alta: the Birmingham Journal of Literature (Print) ISSN 2517-6951 Ad Alta: the Birmingham Journal of Literature (Online) ISSN 2517-696X © Ad Alta: the Birmingham Journal of Literature Questions and Submissions: Joshua Allsop and Jessica Pirie ([email protected]) GENERAL EDITORS Joshua Allsop & Jessica Pirie EDITORIAL BOARD Tom White REVIEW PANEL Emily Buffey Maryam Asiad Ruth Caddick POETRY AND ARTS EDITORS Hannah Comer Katherine Hughes Polly Duxfield Slava Rudin Brianna Grantham Charles Green NOTES EDITOR Christian Kusi-Obodum Yasmine Baker Paula Lameau James McCrink BOOK REVIEWS EDITOR Aurora Faye Martinez Geoff Mills Antonia Wimbush PROOFS EDITOR Jack Queenan Ad Alta: the Birmingham Journal of Literature wishes to acknowledge the hard work and generosity of a number of individuals, without whom this journal would never have made its way into your hands, or onto your computer screen. First, our editorial board Tom White and Emily Buffey should be thanked. Tom White, with tireless patience, was always available with invaluable advice and support throughout the entire process. Emily Buffey provided excellent feedback and commentary, sometimes at very short notice. Will Cooper of Central Print should also be thanked, without whose experience and expertise the publication of this journal would not have been possible. Also, our contributors, who dedicated so much precious time to writing and redrafting their submissions, and the section editors who guided and worked with them through that process. -
Whose Identity? the Responsibilities of Museums in the Representation of the Past and Present Stephanie Allen Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Sociology and Anthropology Honors Theses Sociology and Anthropology Department 4-21-2010 Whose Identity? The Responsibilities of Museums in the Representation of the Past and Present Stephanie Allen Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/socanthro_honors Part of the Anthropology Commons Recommended Citation Allen, Stephanie, "Whose Identity? The Responsibilities of Museums in the Representation of the Past and Present" (2010). Sociology and Anthropology Honors Theses. 2. http://digitalcommons.trinity.edu/socanthro_honors/2 This Thesis open access is brought to you for free and open access by the Sociology and Anthropology Department at Digital Commons @ Trinity. It has been accepted for inclusion in Sociology and Anthropology Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Whose Identity? The Responsibilities of Museums in the Representation of the Past and Present Stephanie Allen A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF ANTHROPOLOGY AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE ______ _______________________________ ________________________________ PRIMARY THESIS ADVISOR DEPARTMENT CHAIR _______________________________ SECONDARY THESIS ADVISOR _________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [√] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. -
Art of the Non-Western World Study Guide
ART OF THE NON- WESTERN WORLD STUDY GUIDE Nancy L. Kelker 1 Contents Introduction: Mastering Art History Chapter 1: Mesoamerica Questions Chapter 2 : Andes Questions Chapter 3: North America Questions Chapter 4: Africa Questions Chapter 5: West Asia Questions Chapter 6: India Questions Chapter 7: Southeast Asia Questions Chapter 8 : China Questions Chapter 9 : Korea and Japan Questions Chapter 10 : Oceanic Questions 2 Introduction : Mastering Art History What does it take to do well in art history classes? A lot of memorizing, right? Actually, doing well in art history requires developing keen observational and analytical skills, not rote memorization. In fact, art history is so good at teaching these skills that many medical schools, including the prestigious Harvard Medical School, are offering art classes to medical students with the aim making them more thoughtful and meticulous observers and ultimately better diagnosticians. So how do you actually develop these good observational skills? The first step is Mindful Looking. Researchers at the J. Paul Getty Museum have found that adult museum- goers spend an average of 30 seconds in front of any work of art1. How much can you glean about a work in half-a-minute? In that time the mind registers a general impression but not much more. Most people hurrying through life (and art museums) aren’t really paying attention and aren’t mindfully looking, which is one of the reasons that studies have shown so-called eye- witnesses to be really bad at correctly identifying suspects. Passively, you saw them but did not observe them. The barrage of media that assaults us 24/7 in the modern digital world exacerbates the problem; the ceaseless flow of inanely superficial infotainment is mind-numbing and the overwhelmed mind tunes out. -
The Promise of the Jaguar: Indigeneity in Contemporary Chicana/O Graphic Art
The Promise of the Jaguar: Indigeneity in Contemporary Chicana/o Graphic Art Jenell Navarro, California Polytechnic State University, San Luis Obispo Much of the artwork produced by Latino Graphic Art.” Overall, two Chicanas/os from the 1960s forward Indigenous themes emerge in this often stages significant elements of selection of artwork that cannot be indigeneity as a resurgent message and ignored: the centrality of the jaguar and meaning crucial to their represen- the prominence of women as powerful tations. While Chicanas/os have transmitters of culture. positively asserted their Indigenous Furthermore, in focusing on these identities at least since the 1960s, others themes, I contend the thread of have attempted to minimize or Indigenous survival in Chicana/o mythologize this reality resulting in contemporary art operates as a visual what many scholars have articulated as and creative de-linking from the logic the de-Indigenization of Chicanas/os and rhetoric of civility that has been (Forbes 1973; Bonfil Batalla 1996; Cintli historically utilized as a physical and Rodríguez 2014). Nonetheless, psychological strategy of colonization. Chicana/o art has maintained These prints disavow the settler state Indigenous narratives and history as a and even challenge Native nation’s kind of visual archive that asserts both insistence on blood quantum in order the spiritual and cultural force of for community members to be claiming Chicana/o indigeneity. And, acknowledged as Indigenous. I detail while the 1960s often presented an how these artists invest in Indigenous essentialist Aztec form of Indigenous alliance building across the Americas by identity, many Chicanas/os by the late privileging organic cultural and political 1970s and early 1980s were illustrating a formations and local cultural practices diversity of Indigenous identities. -
University of California, San Diego
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Social Implications of Ritual Behavior in the Maya Lowlands: A Perspective from Minanha, Belize. A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Sonja Andrea Schwake Committee in charge: Professor Geoffrey E. Braswell, Chair Professor Guillermo Algaze Professor Paul Goldstein Professor Elizabeth Newsome Professor Eric Van Young 2008 Copyright Sonja Andrea Schwake, 2008 All rights reserved. The dissertation of Sonja Andrea Schwake is approved, and it is acceptable in quality and form for publication on microfilm: _____________________________________________________ _____________________________________________________ _____________________________________________________ _____________________________________________________ _____________________________________________________ Chair University of California, San Diego 2008 iii DEDICATION This work is dedicated to my mother, Janja Van Lehn (Janette Schwake). Her endless support, love, and encouragement have helped me on so many occasions and I could not have completed this without her. She has an astonishing strength of spirit, and she has always taught me to reach for my dreams. Thanks Mom, you are the most amazing woman in the world, and a great inspiration to me. iv TABLE OF CONTENTS Signature Page........................................................................................... iii Dedication.................................................................................................