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There are stories of biological evolution, and then there are stories of soul evolution. Set in the Southwest, this is a story of soul evolutionthe story of a soldier who came back from Vietnam and knew he had to adapt to a rapidly changing world. The story chronicles his transformation from soldier to a man of God, but for him the process of change was not always kind. Making his journey more difficult is the fact that he comes from a mixture of two cultures, Native American (Navajo) and white. He encounters people who are further along the path in their soul evolution than he is, along with incredible obstacles to his education and business endeavors. But most importantly, he must learn to reconcile his warrior nature with God's plan for him. In the end, will he succeed in this?
Davíd Carrasco draws from the perspectives of the history of religions, anthropology, and urban ecology to explore the nature of the complex symbolic form of Quetzalcoatl in the organization, legitimation, and subversion of a large segment of the Mexican urban tradition. His new Preface addresses this tradition in the light of the Columbian quincentennial. "This book, rich in ideas, constituting a novel approach . . . represents a stimulating and provocative contribution to Mesoamerican studies. . . . Recommended to all serious students of the New World's most advanced indigenous civilization."--H. B. Nicholson, Man
As archaeologists peel away the jungle covering that has both obscured and preserved the ancient Maya cities of Mexico and Central America, other scholars have only a limited time to study and understand the sites before the jungle, weather, and human encroachment efface them again, perhaps forever. This urgency underlies Yaxchilan: The Design of a Maya Ceremonial City, Carolyn Tate's comprehensive catalog and analysis of all the city's extant buildings and sculptures. During a year of field work, Tate fully documented the appearance of the site as of 1987. For each sculpture and building, she records its discovery, present location, condition, measurements, and astronomical orientation and reconstructs its Long Counts and Julian dates from Calendar Rounds. Line drawings and photographs provide a visual document of the art and architecture of Yaxchilan. More than mere documentation, however, the book explores the phenomenon of art within Maya society. Tate establishes a general framework of cultural practices, spiritual beliefs, and knowledge likely to have been shared by eighth-century Maya people. The process of making public art is considered in relation to other modes of aesthetic expression, such as oral tradition and ritual. This kind of analysis is new in Maya studies and offers fresh insight into the function of these magnificent cities and the powerful role public art and architecture play in establishing cultural norms, in education in a semiliterate society, and in developing the personal and community identities of individuals. Several chapters cover the specifics of art and iconography at Yaxchilan as a basis for examining the creation of the city in the Late Classic period. Individual sculptures are attributed to the hands of single artists and workshops, thus aiding in dating several of the monuments. The significance of headdresses, backracks, and other costume elements seen on monuments is tied to specific rituals and fashions, and influence from other sites is traced. These analyses lead to a history of the design of the city under the reigns of Shield Jaguar (A.D. 681-741) and Bird Jaguar IV (A.D. 752-772). In Tate's view, Yaxchilan and other Maya cities were designed as both a theater for ritual activities and a nexus of public art and social structures that were crucial in defining the self within Maya society.
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
One of the most extraordinary works of the human imagination and the most important text in the native languages of the Americas, Popul Vuh: The Mayan Book of the Dawn of Life was first made accessible to the public 10 years ago. This new edition retains the quality of the original translation, has been enriched, and includes 20 new illustrations, maps, drawings, and photos.