DOCSLIB.ORG

Las Mujeres Mayas En La Antigüedad

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Las Mujeres Mayas En La Antigüedad María J. Rodríguez-Shadow Miriam López Hernández editoras LAS MUJERES MAYAS EN LA ANTIGÜEDAD CENTRO DE ESTUDIOS DE ANTROPOLOGÍA DE LA MUJER 2011 Los artículos que conforman este libro fueron sometidos a un proceso de dictamen bajo la modalidad de doble ciego realizado por pares expertos en la materia. Primera edición: noviembre 2011 DR © CENTRO DE ESTUDIOS DE ANTROPOLOGÍA DE LA MUJER Av. Centenario 283, edificio H22, entrada 3, departamento 1 Lomas de Plateros, Álvaro Obregón, C. P. 01480 México, D.F. www.ceam.mx Diseño e ilustración de portada: Miriam López Hernández Hecho en México ISBN 978-607-00-4649-0 ÍNDICE INVESTIGACIONES SOBRE LAS MUJERES MAYAS ANTIGUAS: AVANCES Y DESAFÍOS 5 María J. Rodríguez-Shadow, Miriam López Hernández ANCIANAS MAYAS PREHISPÁNICAS ¿QUIÉNES SON Y CÓMO SE LAS REPRESENTA? Rocío García Valgañón 15 LAS JÓVENES ORADORAS: PARTICIPACIÓN DE LA MUJER PREHISPÁNICA EN LA RELIGIÓN MAYA Miriam Judith Gallegos Gómora 41 MUJER Y PODER EN EL CLÁSICO MAYA. ENTRE REALIDAD HISTÓRICA Y FICCIÓN ANTROPOLÓGICA Marcos Noé Pool Cab 71 GÉNERO, AGRICULTURA Y ASENTAMIENTO ENTRE LOS MAYAS DEL PERIODO CLÁSICO Héctor Hernández Álvarez, Gastón Medina Midence 91 LAS MUJERES EN LOS TEXTOS DEL MAYA CLÁSICO Kathryn Josserand 107 LA EVALUACIÓN SOCIAL DE LAS MUJERES EN LA SOCIEDAD AZTECA Y MAYA PREHISPÁNICA: PRESTIGIO, PODER POLÍTICO Y PRODUCCIÓN Julia A. Hendon 139 EDAD Y GÉNERO EN EL POPOL VUH Beatriz Barba Ahuatzin 159 LAS MUJERES EN LA ANTIGUA CULTURA MAYA María J. Rodríguez-Shadow 209 REPRESENTACIONES DE VIDA Y MUERTE EN TORNO A LA MENSTRUACIÓN ENTRE LOS MAYAS Y OTROS GRUPOS MESOAMERICANOS Miriam López Hernández 231 ACERCA DE LAS AUTORAS Y AUTORES 251 INVESTIGACIONES SOBRE LAS MUJERES MAYAS ANTIGUAS: AVANCES Y DESAFÍOS María J. Rodríguez-Shadow Miriam López Hernández esde que se inició el interés por el estudio de las mujeres mayas en la Arqueología ya han transcurrido más de dos décadas. Ahora, este tema D se perfila como una cuestión, no sólo legítima y valiosa por sí misma, sino sumamente interesante, que ha llamado la atención de los especialistas de otros campos, de escritores amateurs, así como la de un grupo muy amplio de fascinados lectores. En este sentido, y respondiendo a la demanda, tanto de la dinámica interna de nuestra disciplina, como a las exigencias de una sociedad ávida de obras que develen las incógnitas de nuestras predecesoras, se han producido numerosas publicaciones que han llamado poderosamente la atención, ya sean textos de ficción literaria (Obregón, 2009a; 2009b), pesquisas de carácter periodístico (Malvido, 2006); o textos de investigación académica (López Hernández, en prensa; Hernández y Pool, 2010). Como puede observarse, el tema de las mujeres mayas genera una intensa curiosidad en un público muy amplio y por ello mismo, alienta a los especialistas a encausar sus esfuerzos para producir obras bien documentadas en las que se examinen aspectos ignorados, o que den a conocer los hallazgos que se producen durante el proceso de las investigaciones arqueológicas, análisis bibliográficos o el estudio de las fuentes documentales (por ejemplo, Gallegos y Hendon, en prensa). Empero, como nuestras labores de investigación se efectúan en el contexto de la globalización es necesario que los resultados de nuestro trabajo se difundan en los medios a los que usualmente las personas recurren cuando buscan información sobre un tema determinado. Por esta y otras razones hemos decidido que –independientemente de que esta obra se publique en otros formatos- debe estar disponible en internet. Entonces, esta colección de ensayos debe considerarse como un esfuerzo que han llevado a cabo un grupo de especialistas por dar a conocer los frutos de su trabajo académico a un público amplio, de la misma manera que hemos hecho con la colección de ensayos sobre Género y sexualidad (véase López Hernández y Rodríguez-Shadow, 2011). 5 LAS MUJERES MAYAS EN LA ANTIGÜEDAD En esta compilación, por lo tanto, se exponen las labores de muchos científicos que, interesados en la temática de las mujeres en las sociedades antiguas en México, enfocaron sus energías en dilucidar, a partir de diversos marcos teóricos, distintas metodologías y diferentes ejes temáticos, la forma en la que las mujeres definieron sus espacios sociales y sus quehaceres en los contextos económicos y culturales de diversas entidades políticas mayas en la antigüedad. Nuestro interés en dar a conocer estas investigaciones tiene como fin ampliar los horizontes de conocimiento de aspectos poco tratados de la cultura maya. En esta antología se reúnen nueve trabajos de estudiosos de la cultura maya en los que se abordan distintos ámbitos, unidades políticas y periodos históricos con el propósito de ofrecer una muestra del amplio y complejo panorama social en el que se desarrollaba la vida de las mujeres. El primer tema que se trata aquí, el de la vejez, es una cuestión que ha sido poco estudiada debido, quizá, a que en el México antiguo las poblaciones morían jóvenes a consecuencia de la guerra, el desgaste laboral, las enfermedades y otros factores; por ello, los datos disponibles son raros. Sin embargo, en esta antología se logró reunir dos investigaciones sobre esta temática: el de Beatriz Barba Ahuatzin que lo desarrolla de manera magistral a través de un análisis comparativo entre una fuente documental y el registro arqueológico, y el que proviene de la indagación meticulosa de Rocío García Valgañón. En este trabajo titulado “Ancianas mayas prehispánicas ¿quiénes son y cómo se las representa?”, Rocío García analiza el papel de las ancianas mayas a través de cuatro tipos de soportes representativos: figurillas tipo Jaina, vasos cerámicos pintados, escultura monumental y códices. La mayoría de las representaciones pictóricas que García Valgañón investigó datan del Clásico Tardío, debido a que son más abundantes pese a que se tratan de soportes que provienen de un ámbito elitista y privado; mientras que las imágenes que se derivan de la escultura monumental tienden a ser más escasas, aunque ambas son de compleja interpretación. A partir del análisis de las imágenes femeninas en los materiales arqueológicos ya señalados la estudiosa detecta una percepción androcéntrica y limitada de las mujeres en general, y de las ancianas en particular; pero, también infiere que las mujeres en su vejez desempeñaron un papel destacado, en especial quienes mostraban aspectos masculinos y quienes ratificaban el poder de los varones. Una hipótesis que ha resultado muy popular entre los estudiosos de la realidad social del México antiguo es que la esfera de lo religioso tenía una importancia capital y que las ideologías de este tipo dominaban la vida cotidiana de los sujetos sociales. 6 INVESTIGACIONES SOBRE LAS MUJERES MAYAS ANTIGUAS Tomando como base la premisa de que los aspectos religiosos tuvieron mucha importancia en las culturas de ese periodo histórico, puede suponerse que el estudio de los roles y la participación de las mujeres en este tipo de ceremonias podría ofrecer pistas para conocer su relevancia social. En este contexto se comprende la importancia del análisis que nos ofrece Miriam Judith Gallegos Gómora. Esta destacada arqueóloga plantea, a partir de su amplia experiencia con los materiales arqueológicos que provienen del estado de Tabasco y sus vastos conocimientos de las fuentes documentales, que las mujeres intervenían en los rituales religiosos en un ambiente en el que la elite sacerdotal era predominantemente masculina. Su estudio, “Las jóvenes oradoras: participación de la mujer prehispánica en la religión maya”, constituye un interesante contrapunto con la investigación de Rocío García puesto que se enfocan en poblaciones femeninas que se distinguen por su grupo de edad. Tradicionalmente, como lo señala Gallegos Gómora, los estudios abocados a delinear la función del género femenino en la antigua sociedad maya, habían sido pocos. Sin embargo, este panorama está cambiando. El capítulo de la autoría de Miriam Judith Gallegos, inicia con un examen muy crítico de los documentos etnohistóricos legados por los cronistas europeos, generalmente religiosos, con la meta de explorar los papeles sociales que, según los frailes, desempeñaban las mujeres de los pueblos mayas con los que convivieron. Como un complemento necesario y de mucha utilidad analiza los datos que provienen del registro arqueológico sobre los roles y las características de las mujeres que habitaban en los pueblos situados en o cerca de la costa del Golfo de México. Su propósito, como lo señala en el título de su ensayo, es indagar la intervención de las mujeres en diferentes espacios de esta región (tanto al interior de la unidad doméstica como en la comunidad), averiguar las normas que debían respetar y, en especial, en cuáles actividades del ámbito ceremonial les era permitido participar de acuerdo a las fuentes y los contextos arqueológicos, los cuales señalan que la esfera de la ritualidad era un espacio de dominio masculino. Como resultará claro para quienquiera que lea todos los ensayos compilados en esta obra no existe un consenso en torno a la posición social que las mujeres detentaban en las diferentes comunidades mayas en distintos periodos históricos. Es digno de destacarse que, aunque todas las investigadoras analizan a las mujeres que habitaban la región bajo estudio, no todas llegan a las mismas conclusiones. Esto se debe, sobre todo a que los ámbitos sociales bajo escrutinio son distintos, o se refieren a diferentes estratos sociales o emplean marcos teóricos disímiles. Por estas razones, aunque Rocío García y Miriam Judith Gallegos plantean que las mujeres mayas vivían en culturas en las que se privilegiaba lo masculino, el ensayo que presenta Marcos Noé Pool Cab, que trata el tema de 7 LAS MUJERES MAYAS EN LA ANTIGÜEDAD “Mujer y poder en el Clásico maya. Entre realidad histórica y ficción antropológica” llegará a conclusiones distintas. Este arqueólogo, que se ha distinguido por ser uno de los pocos investigadores varones que se interesan por estos asuntos, ofrece una serie de reflexiones teóricas vinculadas a la manera en la que se han interpretado los datos procedentes del registro arqueológico y explica el por qué de su postura.
Load more

Recommended publications
  • Prehispanic Art of Mesoamerica 7Th Grade Curriculum
    Prehispanic Art of Mesoamerica 7 th Grade Curriculum Get Smart with Art is made possible with support from the William K. Bowes, Jr. Foundation, Mr. Rod Burns and Mrs. Jill Burns, and Daphne and Stuart Wells. Written by Sheila Pressley, Director of Education, and Emily K. Doman Jennings, Research Assistant, with support from the Education Department of the Fine Arts Museums of San Francisco, © 2005. 1 st – 3 rd grade curriculum development by Gail Siegel. Design by Robin Weiss Design. Edited by Ann Karlstrom and Kay Schreiber. Get Smart with Art @ the de Young Teacher Advisory Committee 1 st – 3 rd Grade Renee Marcy, Creative Arts Charter School Lita Blanc, George R. Moscone Elementary School Sylvia Morales, Daniel Webster Elementary School Becky Paulson, Daniel Webster Elementary School Yvette Fagan, Dr. William L. Cobb Elementary School Alison Gray, Lawton Alternative School Margaret Ames, Alamo Elementary School Kim Walker, Yick Wo Elementary School May Lee, Alamo Elementary School 6th Grade Nancy Yin, Lafayette Elementary School Kay Corcoran, White Hill Middle School Sabrina Ly, John Yehall Chin Elementary School Donna Kasprowicz, Portola Valley School Seth Mulvey, Garfield Elementary School Patrick Galleguillos, Roosevelt Middle School Susan Glecker, Ponderosa School Steven Kirk, Francisco Middle School Karen Tom, Treasure Island School Beth Slater, Yick Wo Elementary School 7th Grade Pamela Mooney, Claire Lilienthal Alternative School th 4 Grade Geraldine Frye, Ulloa Elementary School Patrick Galleguillos, Roosevelt Middle School Joelene Nation, Francis Scott Key Elementary School Susan Ritter, Luther Burbank Middle School Mitra Safa, Sutro Elementary School Christina Wilder, Dr. Martin Luther King Jr. Middle School Julia King, John Muir Elementary School Anthony Payne, Aptos Middle School Maria Woodworth, Alvarado Elementary School Van Sedrick Williams, Gloria R.
    [Show full text]
  • Central America
    World Archaeology at the Pitt Rivers Museum: A Characterization edited by Dan Hicks and Alice Stevenson, Archaeopress 2013, page 384-400 18 Central America Elizabeth Graham, Dan Hicks and Alice Stevenson 18.1 Introduction Describing a visit to Teotihuacan, Mexico in March-June 1856, Edward Burnett Tylor – who would become a central figure in the foundation and early history of the Pitt Rivers Museum – noted the vast quantities of antiquities readily accessible to foreign travellers: ‘In the ploughed fields in the neighbourhood we made repeated trials whether it was possible to stand still in any spot where there was no relic of old Mexico within our reach; but this we could not do. Everywhere the ground was full of unglazed pottery and obsidian; and we even found arrows and clay figures that were good enough for a museum’ (Tylor 1861: 147). Pre-Columbian artefacts had been circulating in Europe since the 16th and 17th centuries; objects, mostly Aztec (Boone 1993: 318), of gold and silver, ceramic figurines, feather shields and painted codices all found their way across the Atlantic. The 19th century, however, saw a new period of European collecting of pre-Columbian material from Mesoamerica. The extensive New World archaeological collections now held in British museums were largely formed during the late 19th and early 20th centuries, by individuals acting privately such as William Bullock, Alfred Maudslay – and Henry Christy, whom the 24-year-old Tylor accompanied in his exploration of Mexico, after a chance meeting on a bus in Havana, Cuba (Tylor 1861: 1). The Pitt Rivers Museum (PRM) holds a significant collection, largely created through the activities of such private collectors.
    [Show full text]
  • Ritual Humor in Classic Maya Religion
    CHAPTER 4 Ritual Humor in Classic Maya Religion Our understanding of Classic Maya society and religion has changed radically over the last several decades. Due to the epigraphic insights of Tatiana Proskouriakoff and others, it is now known that the individuals depicted on Maya monuments are not calendar priests, but kings. It is becoming increasingly evident that the monumental texts record dynastic history, the achievements of particular rulers, and the structure and organization of regional polities. In this extremely exciting and fruitful time of glyphic and iconographic research, there has been a primary orientation toward the monuments and their accompanying texts. However, this has given a somewhat limited view of Classic Maya religion and society. The scenes pro- vided by this public art are highly idealized portrayals of rulership. Almost invariably kings are presented in the prime of youth, despite the fact that they are frequently mentioned in the texts as being of advanced years. Were all Maya kings handsome, young and trim? Probably not. Important figures captured from other sites are depicted with wrinkles, lumpy noses, withered limbs, and sagging bellies (e.g., Piedras Negras Stelae 8 and 12). The recurrent themes in Classic monumental scenes appear to be warfare and the humiliation of captives, ancestor worship, and blood sacrifice. However, there was surely more to Classic ceremonial life than this. Scenes portrayed on portable objects, notably ceramic vessels and figurines, reveal a complex array of festival events and characters, many of which can be related to ceremonial performances of the Colonial and contemporary periods. In an important work, Victoria Bricker (1973) discussed ritual humor of the post- Conquest Maya.
    [Show full text]
  • In the Realm of the Vision Serpent Decipherments And
    Dr. Linda Schele was a pioneer in the decipherment of the Maya Hieroglyphic Writing In the Realm of the Vision Serpent and an extraordinary professor of Maya and Mesoamerican Studies at the University of Texas at Austin. She was a very influential and passionate professor that mentored her Decipherments and Discoveries in Mesoamerica students to excellence and inspired them to discover and interpret the diverse aspects A Symposium in Homage to of the Mesoamerican World with a critical approach. Many of them are today among the leaders in the field of Mesoamerican Studies. Mentored by Merle Greene Robertson, Schele worked with Peter Mathews and Floyd Lounsbury to decipher a major section of the list of Palenque kings, presenting her work in the 1973 conference Mesa Redonda Dr. Linda Schele de Palenque, organized by Robertson. Her work stimulated several later discoveries, by (1942-1998) herself and others. Schele became a Fellow in pre-Columbian Studies at Dumbarton Oaks in Washington, D.C. in 1975. She focused on the study of word ordering in Mayan inscriptions for the next two years there. She produced a massive volume of drawings of stelae and inscriptions, which, following her wishes, are free for use to scholars. In 1977, she founded the annual Maya Meetings at the University of Texas at Austin, which became one of the most important forums in the world for the study of Mesoamerican cultures and the Maya Hieroglyphic Writing. She wrote more than one hundred articles and reports, and the following books: • The Blood of Kings (Schele and Mary Ellen Miller 1986) • A Forest of Kings (Schele and David Freidel 1990) • Maya Cosmos (Freidel, Schele, and Parker 1993) • Hidden Faces of The Maya (Schele and Jorge Perez de Lara 1997) • The Code of Kings (Schele and Peter Mathews 1998) On April 18, 1998, she passed away of pancreatic cancer at the age of 55.
    [Show full text]
  • The Cacaxtla Murals
    The Cacaxtla Murals DONALD ROBERTSON he discovery of new murals in Highland Mexico the pictures were painted on the walls of a building in T with obvious Maya traits is an important contribu­ Tlaxcala. tion to our knowledge of the arts of the pre-Col­ In this essay we will examine the paintings for evi­ umbian New World. I The murals found at Cacaxtla in dences of style that will give us clues to the place of the present-day state of Tlaxcala in September 1975, are origin of the artists in terms of their training as painters, a major addition to the small number of pre-Columbian by establishing the relation of these murals to other paint­ mural paintings that have survived to our time. 2 They ings from the Maya area and from Highland Mexico. We present the historian of art with a number of specific have to operate on a high level of generalization, dealing questions which must be answered before we can put the with style at the level of large regions rather than in terms murals into a meaningful context. These questions in­ of a more precise definition of style limited to individual clude defining the style of the painters as demonstrated artists or even individual schools. Such definitions, at in the paintings and determining the source or sources present, are simply not available to us. Future studies of this style. may very well be able to define the number of artists The student of painting in pre-Columbian America is who painted at Cacaxtla, on the basis of definitions of faced with almost insurmountable problems when he at­ their individual styles.
    [Show full text]
  • Art of the Americas at the De Young 1 Feather Basket, 1890–1910 Pomo
    Art of the Americas at the de Young Feather basket, 1890–1910 Pomo, Sonoma County, California Fibers, feathers, shells, and glass beads Museum purchase 21478 Cradle, ca. 1870–1900 Atsugewi or Paiute, Hot Springs Valley, California Reed frame, buckskin, glass beads, hazel shoots, willow shoots, and cotton Gift of Mrs. A.G. Boggs 46896 Totem pole, late 19th century Tsimshian or Northwestern style, Prince Rupert area, British Columbia Wood and paint Gift of Captain Gustave Niebaum through the Alaska Commercial Company 8947 Feast bowl, late 19th century Kwakiutl, Quatsino Sound, British Columbia Wood, paint, horn, and glass Gift of Mr. John L. Bardwell 5751 Mask of a deity or ruler, 900–400 BC Olmec, Arroyo Pesquero, Veracruz, Mexico Serpentine Museum purchase, Salinger Bequest Fund 72.43 Elite figure with maguey leaves, A.D. 650–750 Tlacuilapaxco, Teotihuacán, Mexico Volcanic ash and mud backing, lime coating, and red pigments Bequest of Harald J. Wagner 1985.104.4 Mural with feathered serpent and flowering trees, A.D. 600–750 Techinantitla, Teotihuacán, Mexico Volcanic ash and mud backing, lime coating, and red, green, yellow, and blue pigments Bequest of Harald J. Wagner 1985.104.1a-d Incense burner lid, A.D. 300–700 Teotihuacán-style, Tiquisate-Escuintla, Guatemala Earthenware, yellow and white pigment Gift of Dr. and Mrs. Larry Otis 1981.51.7 1 Art of the Americas at the de Young Stela with Queen Ix Mutal Ahaw, A.D. 761 National Patrimony of Mexico, Guatemala, or Belize Limestone Museum purchase, gift of Mrs. Paul Wattis 1999.42a-k Female dignitary, Jaina, A.D.
    [Show full text]
  • Analyses of Fine Paste Ceramics
    BNL 28105 Excavations at Selbal Department: of Peten, Guatemala ANALYSES OF FINE PASTE CERAI-CCS Edited By Jeremy A. Sabloff with contributions by Ronald L. Bishop Garman Harbottle Robert L. Rands Jeremy A. Sabloff Edward V. Sayre Research carried out under the auspices of the United States Department of Energy under contract no. CE-AC02-~fCK0C016. Peabody Museua Menoir Volune Number ANALYSES OF FIKE PASTE CERAMICS CONTENTS Chapter One: Introduction: A Brief Informal History of the Sroofchaven Fine Paste Ceramics Project JEREMY A. SABLOFF 00-00 Chapter Two: Chemical and Mathematical Procedures Employed la the 00-00 Mayan Fine Paste Ceramics Project RONALD L. BISHOP. GASMAN HARBOTTLE. and EDWARD V. SAYRE Chapter Three: Mayan Fine Paste Ceramics: A Compositional Perspective 00-00 RONALD L. BISHOP and ROBERT L. RANDS Chapter Four: Mayan Fine Paste Ceramics: An Archaeological Perspective 00-00 ROBERT L. RANDS. RONALD L. BISHOP, and JEREHf A. SABLOFF LIST OF FIGURES Figure 1. Map of Che Maya area. With the exception of Kixpcfc, site* shova are those represented by pottery from the Maya area that is analyzed in the present study* Figure 2. Q-mode Factor Plot of Fine Orange-Fine Gray Pottery O Maya Area O Tuztlas -A El Taj in + San Lorenzo .X Laribityeco Figure 3. Log ]T) / jwj for 14 Variable* and 10 Conponents Figure 4. Chemical Paste Compositional Reference Units, Discriminant Axes 1 and 2 Figure 5. Chemical Paste Compositional Reference Units, Discriminant Axes 1 and 3 Figure 6. Chemical Paste Compositonal Reference Units, Oiscriisinant Axes 2 and 3 Figure 7. Chemical Paste Compositional Reference Units, Volcanic Oust Abundance 0 Absent T Trace R Rare C Common No petrogtaphic analysis List of Figures (cont'd) - 2 - Figure 8.
    [Show full text]
  • The Iconography of Toltec Period Chichen Itza
    CHAPTER 10 The Iconographyof Toltec PeriodChichen Itza The site of Chichen Itza, Yucatan, contains the largest corpus of ancient bas-relief sculptures in the Maya area. Found primarily in architectural contexts on exterior façades, benches, columns, lintels, and interior chambers, the majority of these scenes are quite unlike Classic Maya sculpture of the southern Maya lowlands or even that of the nearby and roughly con- temporaneous Puuc region. Since the 19th century work of Désiré Charnay (1887), it has been widely recognized that the iconography of Chichen Itza is notably similar to that of Tula, Hidalgo, situated some 1,100 kilometers to the west (e.g., Seler 1902-1923:1:668-705, 5:197- 388; Tozzer 1930, 1957; Jiménez Moreno 1941; Lothrop 1952; Ruz Lhuillier 1962; Andrews IV 1965; Kristan-Graham 1989). For many years, it has been thought that this art followed the Puuc florescence of the northern Maya lowlands. The Puuc style traits at Chichen Itza were considered to be before the advent of Central Mexican art and iconography. Thus the contrasts between the Maya “Old Chichen” and the Toltec “New Chichen” were examined and explained through a chronological construct. A foreign Toltec culture entirely eclipsed earlier Classic Maya art and architecture. Invasion and mass-migration have been frequently cited as explanations for the widespread appearance of Toltec imagery at Chichen Itza (e.g., Morley and Brainerd 1956; Tozzer 1957; Kelley 1983). In recent years, it has become increasingly evident that the Maya and Toltec styles at Chichen Itza do not simply form two distinct periods but rather, are at least partly contem- poraneous.
    [Show full text]
  • LCSH Section J
    J (Computer program language) J.G.L. Collection (Australia) J. R. (Fictitious character : Bell) (Not Subd Geog) BT Object-oriented programming languages BT Painting—Private collections—Australia UF J. R. Weatherford (Fictitious character) J (Locomotive) (Not Subd Geog) J.G. Strijdomdam (South Africa) Weatherford, J. R. (Fictitious character) BT Locomotives USE Pongolapoort Dam (South Africa) Weatherford, James Royce (Fictitious J & R Landfill (Ill.) J. Hampton Robb Residence (New York, N.Y.) character) UF J and R Landfill (Ill.) USE James Hampden and Cornelia Van Rensselaer J. R. Weatherford (Fictitious character) J&R Landfill (Ill.) Robb House (New York, N.Y.) USE J. R. (Fictitious character : Bell) BT Sanitary landfills—Illinois J. Herbert W. Small Federal Building and United States J’rai (Southeast Asian people) J. & W. Seligman and Company Building (New York, Courthouse (Elizabeth City, N.C.) USE Jarai (Southeast Asian people) N.Y.) UF Small Federal Building and United States J. Roy Rowland Federal Courthouse (Dublin, Ga.) USE Banca Commerciale Italiana Building (New Courthouse (Elizabeth City, N.C.) USE J. Roy Rowland United States Courthouse York, N.Y.) BT Courthouses—North Carolina (Dublin, Ga.) J 29 (Jet fighter plane) Public buildings—North Carolina J. Roy Rowland United States Courthouse (Dublin, Ga.) USE Saab 29 (Jet fighter plane) J-holomorphic curves UF J. Roy Rowland Federal Courthouse (Dublin, J.A. Ranch (Tex.) USE Pseudoholomorphic curves Ga.) BT Ranches—Texas J. I. Case tractors Rowland United States Courthouse (Dublin, J. Alfred Prufrock (Fictitious character) USE Case tractors Ga.) USE Prufrock, J. Alfred (Fictitious character) J.J. Glessner House (Chicago, Ill.) BT Courthouses—Georgia J and R Landfill (Ill.) USE Glessner House (Chicago, Ill.) J-Sharp (Computer program language) USE J & R Landfill (Ill.) J.J.
    [Show full text]
  • Courtly Art of the Ancient Maya
    children’ s guide Courtly Art of the Ancient Maya national gallery of art, washington 4 april – 25 july 2004 · fine arts museums of san francisco, california palace of the legion of honor 4 september 2004 – 2 january 2005 Cancun Chichen Itza Mérida yucatan Jaina Island quintana roo campeche gulf of caribbean mexico sea mexico Calakmul Belize City Palenque belize Tikal Piedras Negras Tonina Yaxchilan gulf of chiapas Bonampak honduras guatemala honduras Copan Guatemala City el salvador pacific ocean Mesoamerica The Maya They were artists, mathematicians, and scribes, warriors, weavers, and astronomers. In the rainforests of Meso- america, they built the most sophisticated civilization the New World had ever seen. They developed a complex writing system, invented the idea of zero, and tracked the stars and planets more accurately than anyone else. Since European explorers first found the crumbling ruins of Maya cities in the sixteenth century, the Maya have slowly given up their secrets. In this exhibition you will discover the Maya, too. You’ll see works they made between about and , when their civilization was at its peak. Most of them come from the courts of Maya kings. By about , the 1 · Maya woman carry- greatness of Maya civilization had passed. Five hundred ing flowers through a market in Chichicasten- years later, more than half the population died of new ango, Guatemala diseases brought by Spanish conquerors. But the Maya people survived. Today some six million Maya live in Mexico and Central America—and probably a million more have settled in the United States. Maya culture is diverse and alive, rich with traditions from the past.
    [Show full text]
  • Redalyc.BIODISTANCES AMONG MEXICA, MAYA, TOLTEC, AND
    Chungara, Revista de Antropología Chilena ISSN: 0716-1182 [email protected] Universidad de Tarapacá Chile Willermet, Cathy; Edgar, Heather J.H.; Ragsdale, Corey; Aubry, B. Scott BIODISTANCES AMONG MEXICA, MAYA, TOLTEC, AND TOTONAC GROUPS OF CENTRAL AND COASTAL MEXICO Chungara, Revista de Antropología Chilena, vol. 45, núm. 3, 2013, pp. 447-459 Universidad de Tarapacá Arica, Chile Available in: http://www.redalyc.org/articulo.oa?id=32628520006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Volumen 45, Nº 3, 2013. Páginas 447-459 Chungara, Revista de Antropología Chilena BIODISTANCES AMONG MEXICA, MAYA, TOLTEC, AND TOTONAC GROUPS OF CENTRAL AND COASTAL MEXICO LAS DISTANCIAS BIOLÓGICAS ENTRE LOS MEXICAS, MAYAS, TOLTECAS, Y TOTONACAS DE MÉXICO CENTRAL Y ZONA COSTERA Cathy Willermet1, Heather J.H. Edgar2, Corey Ragsdale2 and B. Scott Aubry3 Migration patterns in pre-European contact Mexico were complex. Studies using dental morphological data have successfully detected microevolutionary patterns of biological affinity between local populations in other areas of the world. We compare Classic and Postclassic dental samples from four cultural groups from adjacent regions in Mexico to illuminate local population differences among the Toltecs, Mexica, Totonacs, and Maya. We calculated pseudo Mahalanobis D2 distances using observations of 12 dental traits to compare models for how culture group, geography, and time may have structured interpopulation relationships. Cluster analysis and principal components analyses of pairwise population distances suggest that phenetic similarities best reflect differences among cultural groups.
    [Show full text]
  • The Old San Ildefonso College Presents “The Mayas” and “Art of the Academies”
    The Old San Ildefonso College Presents “The Mayas” and “Art of the Academies” Angela de la Riva * he Old San Ildefonso College, one of Mexico City’s most important cultur - T al venues, hosted the exhibit “The Mayas” from August to December 1999. More than 557 pieces, rigorously selected for their beauty and variety, testified to the funda - mental achievements of this Mesoamerican civilization. Organized by theme, the exhibition clear - ly illustrated the Mayas’ relationship to nature, the architectural and religious design of their cities, the social fiber of their civi - lization, the central characters of their soci - ety, as well as their inscriptions with their mathematical, astronomical and historio - graphic content. For the first time this exhib - . it gathered together works from the main cities s a p a of the Maya region, representing different i h C , periods of the civilization’s development with, e u q n however, considerable predominance of the e l a P A D A D classical period from . 300 to . 900. , d . o e i r u Guatemala, Honduras, Belize, El Salvador e q p n e c l i and Costa Rica all contributed their national a s s P a , l c collections, which, together with the collec - m u e t e a s tions of 40 Mexican museums, brought the L u . r M e e d t public the magnificence of Mayan art in an l i o S h , r e e i s l l n i e u c h n L * Journalist. i z n u a R f Photos by Michel Zabé.
    [Show full text]