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ANDEAN PREHISTORY – Online Course ANTH 396-003 (3 Credits
ANTH 396-003 1 Andean Prehistory Summer 2017 Syllabus ANDEAN PREHISTORY – Online Course ANTH 396-003 (3 credits) – Summer 2017 Meeting Place and Time: Robinson Hall A, Room A410, Tuesdays, 4:30 – 7:10 PM Instructor: Dr. Haagen Klaus Office: Robinson Hall B Room 437A E-Mail: [email protected] Phone: (703) 993-6568 Office Hours: T,R: 1:15- 3PM, or by appointment Web: http://soan.gmu.edu/people/hklaus - Required Textbook: Quilter, Jeffrey (2014). The Ancient Central Andes. Routledge: New York. - Other readings available on Blackboard as PDFs. COURSE OBJECTIVES AND CONTENTS This seminar offers an updated synthesis of the development, achievements, and the material, organizational and ideological features of pre-Hispanic cultures of the Andean region of western South America. Together, they constituted one of the most remarkable series of civilizations of the pre-industrial world. Secondary objectives involve: appreciation of (a) the potential and limitations of the singular Andean environment and how human inhabitants creatively coped with them, (b) economic and political dynamism in the ancient Andes (namely, the coast of Peru, the Cuzco highlands, and the Titicaca Basin), (c) the short and long-term impacts of the Spanish conquest and how they relate to modern-day western South America, and (d) factors and conditions that have affected the nature, priorities, and accomplishments of scientific Andean archaeology. The temporal coverage of the course span some 14,000 years of pre-Hispanic cultural developments, from the earliest hunter-gatherers to the Spanish conquest. The primary spatial coverage of the course roughly coincides with the western half (coast and highlands) of the modern nation of Peru – with special coverage and focus on the north coast of Peru. -
Introduction and Will Be Subject to Additions and Corrections the Early History of El Museo Del Barrio Is Complex
This timeline and exhibition chronology is in process INTRODUCTION and will be subject to additions and corrections The early history of El Museo del Barrio is complex. as more information comes to light. All artists’ It is intertwined with popular struggles in New York names have been input directly from brochures, City over access to, and control of, educational and catalogues, or other existing archival documentation. cultural resources. Part and parcel of the national We apologize for any oversights, misspellings, or Civil Rights movement, public demonstrations, inconsistencies. A careful reader will note names strikes, boycotts, and sit-ins were held in New York that shift between the Spanish and the Anglicized City between 1966 and 1969. African American and versions. Names have been kept, for the most part, Puerto Rican parents, teachers and community as they are in the original documents. However, these activists in Central and East Harlem demanded variations, in themselves, reveal much about identity that their children— who, by 1967, composed the and cultural awareness during these decades. majority of the public school population—receive an education that acknowledged and addressed their We are grateful for any documentation that can diverse cultural heritages. In 1969, these community- be brought to our attention by the public at large. based groups attained their goal of decentralizing This timeline focuses on the defining institutional the Board of Education. They began to participate landmarks, as well as the major visual arts in structuring school curricula, and directed financial exhibitions. There are numerous events that still resources towards ethnic-specific didactic programs need to be documented and included, such as public that enriched their children’s education. -
Almanaque Marc Emery. June, 2009
CONTENIDOS 2CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009. Jan Susler. 6ENERO. 11 LAS FASES DE LA LUNA EN LA AGRICULTURA TRADICIONAL. José Rivera Rojas. 15 FEBRERO. 19ALIMÉNTATE CON NUESTROS SUPER ALIMENTOS SILVESTRES. María Benedetti. 25MARZO. 30EL SUEÑO DE DON PACO.Minga de Cielos. 37 ABRIL. 42EXTRACTO DE SON CIMARRÓN POR ADOLFINA VILLANUEVA. Edwin Reyes. 46PREDICCIONES Y CONSEJOS. Elsie La Gitana. 49MAYO. 53PUERTO RICO: PARAÍSO TROPICAL DE LOS TRANSGÉNICOS. Carmelo Ruiz Marrero. 57JUNIO. 62PLAZA LAS AMÉRICAS: ENSAMBLAJE DE IMÁGENES EN EL TIEMPO. Javier Román. 69JULIO. 74MACHUCA Y EL MAR. Dulce Yanomamo. 84LISTADO DE ORGANIZACIONES AMBIENTALES EN PUERTO RICO. 87AGOSTO. 1 92SOBRE LA PARTERÍA. ENTREVISTA A VANESSA CALDARI. Carolina Caycedo. 101SEPTIEMBRE. 105USANDO LAS PLANTAS Y LA NATURALEZA PARA POTENCIAR LA REVOLUCIÓN CONSCIENTE DEL PUEBLO.Marc Emery. 110OCTUBRE. 114LA GRAN MENTIRA. ENTREVISTA AL MOVIMIENTO INDÍGENA JÍBARO BORICUA.Canela Romero. 126NOVIEMBRE. 131MAPA CULTURAL DE 81 SOCIEDADES. Inglehart y Welzel. 132INFORMACIÓN Y ESTADÍSTICAS GENERALES DE PUERTO RICO. 136DICIEMBRE. 141LISTADO DE FERIAS, FESTIVALES, FIESTAS, BIENALES Y EVENTOS CULTURALES Y FOLKLÓRICOS EN PUERTO RICO Y EL MUNDO. 145CALENDARIO LUNAR Y DÍAS FESTIVOS PARA PUERTO RICO. 146ÍNDICE DE IMÁGENES. 148MAPA DE PUERTO RICO EN BLANCO PARA ANOTACIONES. 2 3 CÁLCULOS ASTRONÓMICOS PARA LOS PRESOS Febrero: Memorias torrenciales inundarán la isla en el primer aniversario de la captura de POLÍTICOS PUERTORRIQUEÑOS EN EL AÑO 2009 Avelino González Claudio, y en el tercer aniversario de que el FBI allanara los hogares y oficinas de independentistas y agrediera a periodistas que cubrían los eventos. Preparado por Jan Susler exclusivamente para el Almanaque Marc Emery ___________________________________________________________________ Marzo: Se predice lluvias de cartas en apoyo a la petición de libertad bajo palabra por parte de Carlos Alberto Torres. -
PUERTO RICO ARTE E IDENTIDAD ENSAYOS-TRASFONDO HISTORICO SOBRE LA Epoca
PUERTO RICO ARTE E IDENTIDAD ENSAYOS-TRASFONDO HISTORICO SOBRE LA EpOCA. LAPATRIA CRIOLLA SILVIA ALVAREZ CURVELO A 10 largo del siglo XIX, Puerto Rico gener6, en un denso entre-juego de fuerzas internas y externas, los contornos de una identidad nacional. Esta trama complicada requiri6 de transformaciones en entretejido de la sociedad. La Jlegada de miles de esclavos africanos para trabajar las promisorias haciendas azucareras y el arriba de otros miles de inmigrantes provenientes de Europa, Hispanoarnerica y las AntiJlas Menores, se tradujo en la textura plural que exhiben los puertorriqueiios hoy. Durante el siglo concluy6 tambien la ocupacion del territorio insular. La montana fue conquistada por avidos pobladores que roturaron I la tierra y empresarios que la comercializaron en el fomento de una nueva cuilura agraria: la del cafe. Nuevas identidades --el hacendado criollo, el comerciante peninsular, los jornaleros, los esclavos libertos, los obreros de fin de siglo, los intelectuales- emitieron, desde sus particulares estaciones de vida y visiones de mundo, utopias para sus comunidades y el pais. Alentados por los cambios geopoliticos y econ6micos que propici6 el cicio revolucionario, 1776-1825. los criollos pucrtorriquciios se movilizaron a favor de mayores libertades desde las primeras decadas del siglo. Mientras Espaiia enfrentaba las fuerzas francesas de ocupaci6n y la mayoria de sus colonias en America proclamaban su independencia, Puerto Rico marcaba un derrotero distinto. La Isla no se sum6 a Ia revoluci6n hispanoamericana de independencia que estall6 en 1810, pero personeros criollos como Ram6n Power y Giralt, primer diputado puertorriqueiio a las Cortes espaiiolas, respaldaron demandas de indiscutible corte liberal. -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
Tesis Doctoral, 12-10-2014
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA TESIS DOCTORAL Sincretismo paralitúrgico y representaciones escénicas asociados a la tradición festiva de América Latina MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Alberto José Díaz de Prado Maravilla Directores Eloy Gómez Pellón Francisco Javier Fernández Vallina Madrid, 2014 © Alberto José Díaz de Prado Maravilla, 2014 pág. 2 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DOCTORADO EN CIENCIAS DE LAS RELIGIONES TESIS DOCTORAL SINCRETISMO PARALITÚRGICO Y REPRESENTACIONES ESCÉNICAS ASOCIADOS A LA TRADICIÓN FESTIVA DE AMÉRICA LATINA Alberto José Díaz de Prado Maravilla Madrid, 2014 pág. 3 pág. 4 Dedico el presente trabajo a mis hermanos Jesús y Mari Carmen y a mis tíos Salvador y Maruja por el apoyo que siempre me han brindado. pág. 5 pág. 6 Agradecimientos: A mi prima Cati, a Emilio de Cos y a Miguel Angel Silva por sus colaboraciones, a Silvana Parascandolo y Martha G. Robinson por sus traducciones al inglés, a mi amiga Lola por su hospitalidad, a mi amigo Nacho por su precisiones y a mi amiga Merche por su confianza. pág. 7 pág. 8 ÍNDICE GENERAL ABSTRACT (SUMMARY)…………………………………………………..…………..11 INTRODUCCIÓN .............................................................................................................. 15 Justificación de la investigación ....................................................................................... 17 Objetivo de la Tesis Doctoral .......................................................................................... -
The Influence of Chimú Metalworks on Inca Metalworks
The Kennesaw Journal of Undergraduate Research Volume 5 Issue 2 College of the Arts Special Issue Article 1 October 2017 The Influence of Chimú Metalworks on Inca Metalworks Maria Shah Kennesaw State University, [email protected] Hannah Pelfrey Kennesaw State University, [email protected] Jessica J. Stephenson Kennesaw State University, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/kjur Part of the American Art and Architecture Commons Recommended Citation Shah, Maria; Pelfrey, Hannah; and Stephenson, Jessica J. (2017) "The Influence of Chimú Metalworks on Inca Metalworks," The Kennesaw Journal of Undergraduate Research: Vol. 5 : Iss. 2 , Article 1. DOI: 10.32727/25.2019.23 Available at: https://digitalcommons.kennesaw.edu/kjur/vol5/iss2/1 This Article is brought to you for free and open access by the Office of Undergraduate Research at DigitalCommons@Kennesaw State University. It has been accepted for inclusion in The Kennesaw Journal of Undergraduate Research by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Shah et al.: The Influence of Chimú Metalworks on Inca Metalworks The Influence of Chimú Metalworks on Inca Metalworks Maria Shah, Hannah Pelfrey, and Jessica Stephenson (Faculty Advisor) Kennesaw State University ABSTRACT One of the cornerstones of art history is the attribution of art work to an artist, culture or time period. Art historians perform this work through a number of methods, including an analysis of medium, provenance, and object history, with the goal of placing a work within a chronological sequence. However, art historical attribution becomes a challenge when studying lesser known cultures or cultures of the past whose art works have been removed from archaeological contexts without rigorous study. -
Lost Languages of the Peruvian North Coast LOST LANGUAGES LANGUAGES LOST
12 Lost Languages of the Peruvian North Coast LOST LANGUAGES LANGUAGES LOST ESTUDIOS INDIANA 12 LOST LANGUAGES ESTUDIOS INDIANA OF THE PERUVIAN NORTH COAST COAST NORTH PERUVIAN THE OF This book is about the original indigenous languages of the Peruvian North Coast, likely associated with the important pre-Columbian societies of the coastal deserts, but poorly documented and now irrevocably lost Sechura and Tallán in Piura, Mochica in Lambayeque and La Libertad, and further south Quingnam, perhaps spoken as far south as the Central Coast. The book presents the original distribution of these languages in early colonial Matthias Urban times, discusses available and lost sources, and traces their demise as speakers switched to Spanish at different points of time after conquest. To the extent possible, the book also explores what can be learned about the sound system, grammar, and lexicon of the North Coast languages from the available materials. It explores what can be said on past language contacts and the linguistic areality of the North Coast and Northern Peru as a whole, and asks to what extent linguistic boundaries on the North Coast can be projected into the pre-Columbian past. ESTUDIOS INDIANA ISBN 978-3-7861-2826-7 12 Ibero-Amerikanisches Institut Preußischer Kulturbesitz | Gebr. Mann Verlag • Berlin Matthias Urban Lost Languages of the Peruvian North Coast ESTUDIOS INDIANA 12 Lost Languages of the Peruvian North Coast Matthias Urban Gebr. Mann Verlag • Berlin 2019 Estudios Indiana The monographs and essay collections in the Estudios Indiana series present the results of research on multiethnic, indigenous, and Afro-American societies and cultures in Latin America, both contemporary and historical. -
ARCL0039 Ancient Civilisations of Andean South America
ARCL0039 Ancient Civilisations of Andean South America Years 2 & 3 (15 credits) Coursework deadlines: 12/NOV/2019 & 20/JAN/2020 Module Coordinator Dr. José R. Oliver [email protected] 2019-2020 ARCL. 0039 Andean Civilisations, Term 1, 2019 Module Handout ARCL 0039 Ancient Civilisations of Andean South America Term I - 2019 (15 Credits, 2 nd and 3 rd Year Option) Module Coordinator: Dr. José R. Oliv er Office: IoA Room 104 [email protected] - tel. (0207) 679 1524 Office Hours: As posted on Office Door or by appointment Lectures: Tuesdays 9-11 AM in Room B-13 Week by Week Lectures Date Lecture # Topic ESSAY DUE* 1 Introduction to the Module 01-OCT 2 Vertical Ecological Zonation and Cultural Adaptation in the Andes Cotton Preceramic Period 08-OCT 3 The Early Centers with Monumental Architecture 4 in Coastal Perú: (Part 1) 5 The Early Centers with Monumental Architecture 15-OCT in Coastal Perú Cotton-Norte Chico (Part 2) 6 The Maritime-Oasis Hypothesis 7 The Kotosh Religious Tradition of the Central 22-OCT Andean Highlands 8 The Collapse of the Late Preceramic/Initial Period & the Early Horizon "Revolution" 9 Chavín de Huántar: From Village to Civic- 29-OCT Ceremonial Centre 10 Chavín Art and Architecture 04-08 NOVEMBER READING WEEK (no lectures) 12-NOV 11 The Rise and Expansion of Moche Civilisation 12-NOV ESSAY 1 12 The Fall of the Moche: The Case of Pampa Grande 19 NOV 13 The Rise of Tiwanaku and its Capital Center 14 The Tiwanaku Capital Core and its Periphery 15 Tiwanaku Economy 26 NOV Raised Field ( waru-waru ) Agriculture 16 The Collapse of Tiwanaku 17 The Inca Imperial Organisation 03 DEC 18 The Inca Capital of Cuzco, Royal Estates & Sacred Landscapes 19 Inca Empire & Conquest: The Case of the Wanka 10 DEC (Huanca) in the Mantaro Valley 20 End of Empire: The Spanish Conquest Overview 20/JAN/2020 20 JAN ESSAY 2 *Marked essays will be returned two weeks after delivery deadline. -
Teaching Spirituality Through Art
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal de Revistas Académicas Universidad de Puerto Rico Margarita Sastre de Balmaceda Teaching Spirituality Through Art Margarita Sastre de Balmaceda Catedrática-Departamento de Humanidades UPR-Ponce Spirituality for our soul is as air leave me. We are moving towards a and food for our body. Intangibles can serious friendship”. Here we see be essential. In our modern society Redon‘s deep involvement with nature where materialism is rampant and values and with the spirit of one of the greatest have deteriorated or are non-existent, art writers of all ages, Dante. Among the teachers are called to foster in our mystical artists, Redon shines with a students transcendence in mind and special light. His work transcends the behavior. How can that be done? On corporeal, and even though we the one hand, we can emphasize the de- apprehend it through our senses it materialization of art making its propels us well beyond material elements —line, form, space, color— existence into the world of the spirit. most important in creation. The Writing on Millet ―…The poet elevation of the spirit, for example, can was never absorbed by the painter, he be taught through ascending lines or the had his vision. He looked for one found use of different tones of blue. We may in the ‗plain-air‘, an absolutely new also suggest themes in our drawing and world. He gave moral life to clouds…‖ painting classes which encompass Redon quotes Schumann —―Be a noble solidarity, equality and respect for each artist, and all the rest will be given to other ―no matter the gender, race or you‖. -
Rev Fronteras Historia 18-1 INT.Indd
ICANH B Enero-junio 2013 2013 18-1 J L P F: Indígenas guerreros de la Nueva España del siglo XVI. La representación de sí mismos como conquistadores V V P R : El virreinato peruano y los textos de José Ignacio de Lecuanda en una pintura ilustrada de 1799 T E S E : Las cofradías del Carmelo descalzo en la Nueva España R B C : Usos e apropriações da farinha de mandioca na colonização do estado do Maranhão e Grão-Pará C A D : Hacienda pública en tiempos de guerra: la Caja Real de Santafé de Bogotá durante la reconquista de la Nueva Granada, 1816-1818 E A M R J V T M: La función de Santafé en los sistemas de intercambio en la Nueva Granada a fines del siglo XVIII N M R: Circulación de efectos de Castilla en el Virreinato de la Nueva Granada a finales del siglo XVIII Tarifa postal reducida n.o 2013-502 4-72 La Red Postal de Colombia, vence el 31 de diciembre de 2013 ISSN 2027-4688 V 18-1 2013 FRONTERAS HISTORIAde la Enero-junio 2013 ISSN 2027-4688 V 18-1 2013 Rev Fronteras historia 18-1 INT.indd 1 26/06/13 5:45 Editor Director general Jorge Augusto Gamboa Mendoza Fabián Sanabria Sánchez Instituto Colombiano de Antropología e Historia (ICANH) Coordinador del Grupo de Historia Comité editorial Guillermo Sosa Abella Diana Bonne (Universidad de los Andes, Colombia) Jaime Borja (Universidad de los Andes, Colombia) Responsable del área de publicaciones Kris Lane (Tulane University, Estados Unidos) Nicolás Jiménez Guillermo Sosa (Instituto Colombiano de Antropología e Historia) Coordinación editorial Ángela Arias Comité asesor -
Inca Notes 1300 – 1541
Inca Notes 1300 – 1541 A. Inca Timeline (4000 BCE - 1541 CE) 4000 BCE - 400 BCE: Titicaca culture (Upper Peru and Bolivian highlands) 1800 BCE - 400 BCE: Chavín culture 400 BCE - 700 CE: Tiahuanaco culture 400 BCE - 800 CE: Nazca culture 200 CE - 800: Mochica culture 800 - 1100: Huari culture 1100 - 1400: Chimú culture, Cajamarca culture, Ica culture 1200: Manco Cápac organizes the kernel of the Inca people 1438 – 1533 (1541): Inca culture and empire (Tawantinsuyu) I. General Regarding the geographical context of the Andean civilizations—from the pre-Incas to the Incas themselves—Charles C. Mann says the following in his major work titled 1493 (Knopf, 2011): The altiplano (average altitude: about twelve thousand feet) holds most of the region’s arable land: it’s as if Europe had to support itself by farming the Alps. The sheer eastern face of the Andes catches the warm, humid winds from the Amazon, and consequently is beset by rain; the western, ocean-facing side, shrouded by the ―rain shadow‖ of the peaks, contains some of the earth’s driest lands. The altiplano between has a dry season and a wet season, with most of the rain coming between November and March. Left to its own devices, it would be covered by grasses in the classic plains pattern. From this unpromising terrain sprang, remarkably, one of the world’s great cultural traditions—one that by 1492 had reached, according to the University of Vermont geographer Daniel W. Gade, ―a higher level of sophistication‖ than any of the world’s other mountain cultures. Even as Egyptian kingdoms built the pyramids, Andean societies were erecting their own monumental temples and ceremonial plazas.