AZTEC ART - Part 1
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Procesos De Urbanización Y Expansión Metropolitana En El Valle De México
PROCESOS DE URBANIZACIÓN Y EXPANSIÓN METROPOLITANA EN EL VALLE DE MÉXICO. LOS CASOS DE TECÁMAC, ACOLMAN Y TEMASCALAPA 1 Melesio Rivero Hernández 2 Enrique Moreno Sánchez 3 María de los Ángeles Velázquez Martínez RESUMEN Para las ciudades resulta central adaptarse a las nuevas tendencias que, inexorablemente, se manifiestan en el mundo, mediante nuevas formas de gestionar el espacio en función de los diseños institucionales prevalecientes; a partir de los cuales los actores públicos, privados y sociales toman decisiones. Si algo caracteriza a las ciudades es su innegable transformación permanente en función de las visiones y capacidades de los distintos actores que en ella participan en su reproducción. Por ello resulta necesario pensar y repensar las formas de conceptualizar lo urbano y lo metropolitano, a la luz de la reflexión teórica y su confrontación con las evidencias empíricas; por ello, metrópoli y periferia son dos conceptos centrales del presente trabajo. Desde principios de este siglo Acolman, Tecámac y Temascalapa se han considerado en los distintos planes urbanísticos del gobierno del Estado de México, como espacios de la Zona Metropolitana del Valle de México, con vocación de crecimiento urbano mediante la construcción de vivienda formal. A partir de fines de los noventa del siglo pasado en Tecámac se observa un acelerado proceso de urbanización, mientras que Acolman y Temascalapa han iniciado, recientemente, una tendencia inequívoca en tal sentido, vía la construcción de Conjuntos Urbanos. Actualmente son territorios que han modificado su fisonomía urbana y en ellos se observan nuevos patrones de ocupación del espacio. Por tal razón, el objetivo es analizar la relación entre los procesos de expansión urbana en esos tres municipios, considerados periféricos, y las políticas gubernamentales que desde los ámbitos federal y estatal se han implementado desde 2005 a la actualidad, con el propósito de determinar la pertinencia entre los procesos y las políticas gubernamentales tomando como base la construcción de vivienda formal. -
With the Protection of the Gods: an Interpretation of the Protector Figure in Classic Maya Iconography
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2012 With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography Tiffany M. Lindley University of Central Florida Part of the Anthropology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Lindley, Tiffany M., "With The Protection Of The Gods: An Interpretation Of The Protector Figure In Classic Maya Iconography" (2012). Electronic Theses and Dissertations, 2004-2019. 2148. https://stars.library.ucf.edu/etd/2148 WITH THE PROTECTION OF THE GODS: AN INTERPRETATION OF THE PROTECTOR FIGURE IN CLASSIC MAYA ICONOGRAPHY by TIFFANY M. LINDLEY B.A. University of Alabama, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Spring Term 2012 © 2012 Tiffany M. Lindley ii ABSTRACT Iconography encapsulates the cultural knowledge of a civilization. The ancient Maya of Mesoamerica utilized iconography to express ideological beliefs, as well as political events and histories. An ideology heavily based on the presence of an Otherworld is visible in elaborate Maya iconography. Motifs and themes can be manipulated to convey different meanings based on context. -
ATLANTE 3-Manuel Álvarez Bravo
1 Manuel Álvarez Bravo et la photographie contemporaine Nus, plantes, paysages Manuel Álvarez Bravo, Fruit défendu (1976) © Colette Urbajtel / Archivo Manuel Álvarez Bravo, SC Coordination Paul-Henri Giraud Atlante. Revue d’études romanes, automne 2015 2 Paul-Henri GIRAUD Imprévisible profondeur du visible. En guise d’avant-propos 4 Dossier José Antonio RODRIGUEZ La buena fama durmiendo: otro acercamiento 18 Jacques TERRASA Chevelures et pilosités dans l’œuvre de Manuel Álvarez Bravo 25 Juan Carlos BAEZA SOTO Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo 48 Daniel HAUTELIN Patience, obstination, révélation. Manuel Álvarez Bravo et Bertrand Hugues face au monde végétal 80 Annexes Vivienne Silver Manuel Álvarez Bravo. Clefs pour une œuvre 104 (Traduction de « A Guide to Viewing Manuel Alvarez Bravo », Exposure, 19:2, 1981, p. 42-49, par les étudiants du parcours « Traduction juridique et technique (JET) » du Master « Métiers du Lexique et de la Traduction (français-anglais) – MéLexTra » de l’Université Lille 3, promotion 2015-2016). Paul-Henri Giraud “Trato de simplificar al máximo lo representado” Entrevista con el fotógrafo Rafael Navarro 119 Paul-Henri Giraud « J’essaye de simplifier au maximum ce qui est représenté » Entretien avec le photographe Rafael Navarro (traduit par P.-H. Giraud) 125 Jacques Terrasa Micropaysages, portraits, nus Entretien avec le photographe Pierre-Jean Amar 131 Atlante. Revue d’études romanes, automne 2015 3 Eduardo Ramos-Izquierdo Suite de desnudos femeninos 147 Marcos Zimmermann Un encuentro con Manuel Álvarez Bravo en Arles y su Colección para la Fundación Televisa 153 Marcos Zimmermann Une rencontre avec Manuel Álvarez Bravo en Arles et sa Collection pour la Fundación Televisa (traduit par Michèle Guillemont) 156 Marcos Zimmermann Desnudos sudamericanos 159 Marcos Zimmermann Nus sud-américains (traduit par Michèle Guillemont) 165 Compte rendu Michele Carini Sur Promessi sposi d’autore. -
Kcsm-Transload-Mexico.Pdf
KANSAS CITY SOUTHERN Transload Terminals ESTADO DE MEXICO, Mexico October 2019 ESTADO DE MEXICO - TRANSLOAD TERMINALS STATION TRANSLOAD NAME Cuautitlan, EM Intermerk Cuautitlan, EM TLM Outsourcing Services Doña Rosa, EM Networks Crossdocking Ecatepec, EM FR Terminales Ecatepec, EM Movil Conteiner Lecheria, EM Intermerk Lecheria, EM Servicargo Los Reyes, EM Almacenadora Mercader (ALMER) Maclovio Herrera, EM Bulkmatic Maclovio Herrera, EM Diamond Internacional Tepexpan, EM PQ Servicios Lógisticos Tlalnepantla, EM Almacenadora Sur Tlalnepantla, EM Bulkmatic Toluca, EM Logistica Integral en Transportación (LIT) Intermerk STATION CITY STATE COUNTRY Cuautitlan, EM Cuautitlan Izcalli EM Mexico ADDRESS CONTACT James Watt 9 Javier Del Valle Molina Col. La Joya +52 55 3020 4601 Cuautitlan Izcalli, EM. 54730 [email protected] intermerk.com.mx HOURS OF OPERATION Mon-Fri: 08.00-19:00, Sat: 08:00-13:00 COMMODITIES OR PRODUCTS HANDLED EQUIPMENT SERVED Food X Metals / Steel - Haz-Mat Chemicals - Box Car X Bulk Materials X Automotive Parts X LPGs - Gondola / Coil Car - Consumer Goods X Plastics X Diesel & Gasoline - Hopper X Paper & Forest Products X Liquids / Oil - Dimensional - Tank Car - Flat Car - Container - TRACKS CAPACITY # OF TRACKS LENGTH (FT) OPERATING (CARS) UNLOADING (CARS) 100 7 7 7 STORAGE SCALE COVER ENCLOSED (FT 2) COVER OPEN (FT 2) RAILROAD (Y/N) TRUCK (Y/N) 150,695 86,111 NO NO TRANSLOAD EQUIPMENT AVAILABLE (X all that apply) Locomotive - Conveyor - Front End Loader - Ramp Portable X Track Mobile - Crane - LPG Transloader - Refined -
Problems in Interpreting the Form and Meaning of Mesoamerican Tomple Platforms
Problems in Interpreting the Form and Meaning of Mesoamerican Tomple Platforms Richard 8. Wright Perhaps the primary fascination of Pre-Columbian art the world is founded and ordered, it acquires meaning. We for art historians lies in the congruence of image and con can then have a sense of place in it. " 2 cept; lacking a widely-used fonn of written language, art In lhe case of the Pyramid of lhe Sun, its western face fonns were employed to express significant concepts, often is parallel to the city's most prominent axis, the avenue to peoples of different languages. popularly known as the Street of the Dead. Tllis axis is Such an extremely logographic role for art should oriented 15°28' east of true nonh for some (as yet) un condition research in a fundamental way. For example, to defined reason (although many other Mesoamcriean sites the extent that Me.wamerican an-fonns literally embody have similar orientations). Offered in explanation arc a concepts, !here can be no real separation of image and variety of hypotheses that often intenningle calendrical, meaning. To interpret such an in the Jjght of Western topographical and celestial elements.' conventions, where meaning can be indirectly perceived (as It should not be surprising to see similar practices in in allegory or the imitation of nature), is to project mislead other Mesoamerican centers, given the religious con• ing expectations which !hen hinder understanding. servatism of ancient cultures in general. Through the One of the most obvious blendings of form and common orientations and orientation techniques of many meaning in Pre-Columbian art is the temple, with its Mesoamerican sites, we can detect specific manifestations supponing platfonn. -
Catalogos a Nivel Entidad, Distrito Local, Municipio Y Seccion
DIRECCIÓN EJECUTIVA DEL REGISTRO FEDERAL DE ELECTORES CATALOGOS A NIVEL ENTIDAD, DISTRITO LOCAL, MUNICIPIO Y SECCION ENTIDAD NOMBRE_ENTIDAD DISTRITO_LOCAL MUNICIPIO NOMBRE_MUNICIPIO SECCION 15 MEXICO 1 107 TOLUCA 5207 15 MEXICO 1 107 TOLUCA 5208 15 MEXICO 1 107 TOLUCA 5209 15 MEXICO 1 107 TOLUCA 5210 15 MEXICO 1 107 TOLUCA 5211 15 MEXICO 1 107 TOLUCA 5212 15 MEXICO 1 107 TOLUCA 5213 15 MEXICO 1 107 TOLUCA 5214 15 MEXICO 1 107 TOLUCA 5215 15 MEXICO 1 107 TOLUCA 5216 15 MEXICO 1 107 TOLUCA 5217 15 MEXICO 1 107 TOLUCA 5218 15 MEXICO 1 107 TOLUCA 5219 15 MEXICO 1 107 TOLUCA 5220 15 MEXICO 1 107 TOLUCA 5221 15 MEXICO 1 107 TOLUCA 5222 15 MEXICO 1 107 TOLUCA 5223 15 MEXICO 1 107 TOLUCA 5224 15 MEXICO 1 107 TOLUCA 5225 15 MEXICO 1 107 TOLUCA 5226 15 MEXICO 1 107 TOLUCA 5227 15 MEXICO 1 107 TOLUCA 5228 15 MEXICO 1 107 TOLUCA 5229 15 MEXICO 1 107 TOLUCA 5230 15 MEXICO 1 107 TOLUCA 5231 15 MEXICO 1 107 TOLUCA 5232 15 MEXICO 1 107 TOLUCA 5233 15 MEXICO 1 107 TOLUCA 5234 15 MEXICO 1 107 TOLUCA 5235 15 MEXICO 1 107 TOLUCA 5236 15 MEXICO 1 107 TOLUCA 5237 15 MEXICO 1 107 TOLUCA 5238 1 DIRECCIÓN EJECUTIVA DEL REGISTRO FEDERAL DE ELECTORES CATALOGOS A NIVEL ENTIDAD, DISTRITO LOCAL, MUNICIPIO Y SECCION ENTIDAD NOMBRE_ENTIDAD DISTRITO_LOCAL MUNICIPIO NOMBRE_MUNICIPIO SECCION 15 MEXICO 1 107 TOLUCA 5239 15 MEXICO 1 107 TOLUCA 5240 15 MEXICO 1 107 TOLUCA 5241 15 MEXICO 1 107 TOLUCA 5242 15 MEXICO 1 107 TOLUCA 5243 15 MEXICO 1 107 TOLUCA 5244 15 MEXICO 1 107 TOLUCA 5245 15 MEXICO 1 107 TOLUCA 5246 15 MEXICO 1 107 TOLUCA 5247 15 MEXICO 1 107 TOLUCA 5248 15 -
Aztec Mythology
Aztec Mythology One of the main things that must be appreciated about Aztec mythology is that it has both similarities and differences to European polytheistic religions. The idea of what a god was, and how they acted, was not the same between the two cultures. Along with all other native American religions, the Aztec faith developed from the Shamanism brought by the first migrants over the Bering Strait, and developed independently of influences from across the Atlantic (and Pacific). The concept of dualism is one that students of Chinese religions should be aware of; the idea of balance was primary in this belief system. Gods were not entirely good or entirely bad, being complex characters with many different aspects and their own desires and motivations. This is highlighted by the relation between Quetzalcoatl and Tezcatlipoca. When the Spanish arrived with their European sensibilities, they were quick to name one good and one evil, identifying Quetzalcoatl with Christ and Tezcatlipoca with Satan during their attempts to integrate the Nahua peoples into Christianity. But to the Aztecs neither god would have been “better” than the other; they are just different and opposing sides of the same duality. Indeed, their identities are rather nebulous, with Quetzalcoatl often being referred to as “White Tezcatlipoca” and Tezcatlipoca as “Black Quetzalcoatl”. The Mexica, as is explained in the history section, came from North of Mexico in a location they named “Aztlan” (from which Europeans developed the term Aztec). During their migration south they were exposed to and assimilated elements of several native religions, including those of the Toltecs, Mayans, and Zapotecs. -
Myths and Legends: the Feathered Serpent God 1 Storytimetm
TM Storytime Myths and Legends: The Feathered Serpent God 1 Teaching Resources The Feathered Serpent God is a myth from the Aztec civilisation IN BRIEF about one of their most important gods, Quetzalcoatl, and how he brought people to life. 1 LITERACY LESSON IDEAS The Feathered Serpent God is a good story to read alongside learning about the Aztec civilisation. Quetzalcoatl was an important and powerful god in ancient Central America. Find out more about him on our Quetzalcoatl Fact Sheet and find out about other Aztec gods in our Top 10 Aztec Gods Sheet. See our Feathered Serpent God Word Wise Sheet to find the meanings of any new or tricky words, and have a go at our Quick Comprehension Checker and writing exercises. Put this myth in the correct order using our Story Sequencing Sheet. Looking at the pictures, write the story in your own words using our Simple Storyboards. Make up your own myth to explain why humans come in different shapes and sizes. Discuss your ideas in class. Use our Storytime Writing Sheet to write it. Act out The Feathered Serpent God myth using our printable Quetzalcoatl, Xolotl and Skeleton Masks. The skeletons can be the Lord and Lady of the Underworld. 2 SCIENCE LESSON IDEAS Imagine you are Quetzalcoatl and you have to put the bones you’ve carried back together to make a human. Do you know where each bones goes? Fill in the blanks on our Super Skeleton Sheet and learn the names of some important bones too. Continued on page 2... © storytimemagazine.com 2018 TM Storytime Myths and Legends: The Feathered Serpent God 2 Teaching Resources 3 HISTORY LESSON IDEAS The Aztecs were fascinating. -
Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices
1 Multilingual Discourses Vol. 1.2 Spring 2014 Tanya Ball The Power of Death: Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices hrough an examination of Aztec death iconography in pre- and post-Conquest codices of the central valley of Mexico T (Borgia, Mendoza, Florentine, and Telleriano-Remensis), this paper will explore how attitudes towards the Aztec afterlife were linked to questions of hierarchical structure, ritual performance and the preservation of Aztec cosmovision. Particular attention will be paid to the representation of mummy bundles, sacrificial debt- payment and god-impersonator (ixiptla) sacrificial rituals. The scholarship of Alfredo López-Austin on Aztec world preservation through sacrifice will serve as a framework in this analysis of Aztec iconography on death. The transformation of pre-Hispanic traditions of representing death will be traced from these pre- to post-Conquest Mexican codices, in light of processes of guided syncretism as defined by Hugo G. Nutini and Diana Taylor’s work on the performative role that codices play in re-activating the past. These practices will help to reflect on the creation of the modern-day Mexican holiday of Día de los Muertos. Introduction An exploration of the representation of death in Mexica (popularly known as Aztec) pre- and post-Conquest Central Mexican codices is fascinating because it may reveal to us the persistence and transformation of Aztec attitudes towards death and the after-life, which in some cases still persist today in the Mexican holiday Día de Tanya Ball 2 los Muertos, or Day of the Dead. This tradition, which hails back to pre-Columbian times, occurs every November 1st and 2nd to coincide with All Saints’ Day and All Souls’ day in the Christian calendar, and honours the spirits of the deceased. -
God of the Month: Tlaloc
God of the Month: Tlaloc Tlaloc, lord of celestial waters, lightning flashes and hail, patron of land workers, was one of the oldest and most important deities in the Aztec pantheon. Archaeological evidence indicates that he was worshipped in Mesoamerica before the Aztecs even settled in Mexico's central highlands in the 13th century AD. Ceramics depicting a water deity accompanied by serpentine lightning bolts date back to the 1st Tlaloc shown with a jaguar helm. Codex Vaticanus B. century BC in Veracruz, Eastern Mexico. Tlaloc's antiquity as a god is only rivalled by Xiuhtecuhtli the fire lord (also Huehueteotl, old god) whose appearance in history is marked around the last few centuries BC. Tlaloc's main purpose was to send rain to nourish the growing corn and crops. He was able to delay rains or send forth harmful hail, therefore it was very important for the Aztecs to pray to him, and secure his favour for the following agricultural cycle. Read on and discover how crying children, lepers, drowned people, moun- taintops and caves were all important parts of the symbolism surrounding this powerful ancient god... Starting at the very beginning: Tlaloc in Watery Deaths Tamoanchan. Right at the beginning of the world, before the gods were sent down to live on Earth as mortal beings, they Aztecs who died from one of a list of the fol- lived in Tamoanchan, a paradise created by the divine lowing illnesses or incidents were thought to Tlaloc vase. being Ometeotl for his deity children. be sent to the 'earthly paradise' of Tlalocan. -
A Mat of Serpents: Aztec Strategies of Control from an Empire in Decline
A Mat of Serpents: Aztec Strategies of Control from an Empire in Decline Jerónimo Reyes On my honor, Professors Andrea Lepage and Elliot King mark the only aid to this thesis. “… the ruler sits on the serpent mat, and the crown and the skull in front of him indicate… that if he maintained his place on the mat, the reward was rulership, and if he lost control, the result was death.” - Aztec rulership metaphor1 1 Emily Umberger, " The Metaphorical Underpinnings of Aztec History: The Case of the 1473 Civil War," Ancient Mesoamerica 18, 1 (2007): 18. I dedicate this thesis to my mom, my sister, and my brother for teaching me what family is, to Professor Andrea Lepage for helping me learn about my people, to Professors George Bent, and Melissa Kerin for giving me the words necessary to find my voice, and to everyone and anyone finding their identity within the self and the other. Table of Contents List of Illustrations ………………………………………………………………… page 5 Introduction: Threads Become Tapestry ………………………………………… page 6 Chapter I: The Sum of its Parts ………………………………………………… page 15 Chapter II: Commodification ………………………………………………… page 25 Commodification of History ………………………………………… page 28 Commodification of Religion ………………………………………… page 34 Commodification of the People ………………………………………… page 44 Conclusion ……………………………………………………………………... page 53 Illustrations ……………………………………………………………………... page 54 Appendices ……………………………………………………………………... page 58 Bibliography ……………………………………………………………………... page 60 …. List of Illustrations Figure 1: Statue of Coatlicue, Late Period, 1439 (disputed) Figure 2: Peasant Ritual Figurines, Date Unknown Figure 3: Tula Warrior Figure Figure 4: Mexica copy of Tula Warrior Figure, Late Aztec Period Figure 5: Coyolxauhqui Stone, Late Aztec Period, 1473 Figure 6: Male Coyolxauhqui, carving on greenstone pendant, found in cache beneath the Coyolxauhqui Stone, Date Unknown Figure 7: Vessel with Tezcatlipoca Relief, Late Aztec Period, ca. -
The Path from Aztlan to Mexico: on Visual Narration in Mesoamerican
The path from Aztlan to Mexico On visual narration in Mesoamerican codices FEDERICONAVARRETE The aim of this article is to examine certain graphic Mexica from Aztlan (a given place at a given time) to conventions used to represent time and space in Mexico (a different place at a later time). sixteenth-century Mesoamerican pictographic codices As will be seen below, all the other Mexica codices dealing with the history of the Mexica migration.1 This dealing with the migration employ similar devices for an as will, in turn, lead to analysis of such documents depicting space and time, and all of them combine visual narratives. these devices in a fashion that is deliberate and The most remarkable of these conventions is a set of systematic. The use of these conventions reflects the or lines blocks marking distance and duration that unites existence of highly developed visual narrative traditions the towns of Aztlan and Mexico-Tenochtitlan, the inMesoamerica. A comparison with other visual beginning and the end of the Mexica migration, and that narrative genres, such as modern comics and film, will a appears in different guises in all the codices dealing allow for better understanding of the Mexica codices with that historical event. as narrative discourses. Mikhail Bakhtin's concept of the Perhaps the best known codex dealing with the chronotope will, in turn, clarify the role of the space and Mexica migration is the Codex Boturini (also called time lines as devices used to organize and structure Tira de la Peregrinaci?n, Codex Boturini 1975). In this narrative genres (Bakhtin 1981).