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Drawing on secondary works in archaeology, art history, folklore, ethnohistory, ethnography, and literature, the authors maintain that the mask is the central metaphor for the Mesoamerican concept of spiritual reality. Covers the long history of the use of the ritual mask by the peoples who created and developed the mythological tradition of Mesoamerica. Chapters: (1) the metaphor of the mask in Pre-Columbian Mesoamerica: the mask as the God, in ritual, and as metaphor; (II) metaphoric reflections of the cosmic order; and (III) the metaphor of the mask after the conquest: syncretism; the Pre-Columbian survivals; the syncretic compromise; and today's masks. Over 100 color and black-&-white photos.
Seven authentic Mexican folk masks, each based on an authentic historic example, include two sinister devil masks, a skull mask, a spectacular bat mask, and a tiger mask. Easy-to-follow instructions.
"A wide-ranging collection that allows the mask—as artifact, metaphor, theatrical costume, fetish, strategy for self-concealment, and treasured cultural object—to clarify modernity’s relationship to history."--Carrie J. Preston, author of Modernism’s Mythic Pose: Gender, Genre, Solo Performance "Covering an impressive range of geographies, cultures, and time periods, these carefully researched essays explore the fascinating role of masks and masking in mediating the relationship between tradition and modernity in both art and literature."--Paul Jay, author of The Humanities “Crisis” and the Future of Literary Studies Behind the Masks of Modernism reconsiders the meaning of "modernism" by taking an interdisciplinary approach and stretching beyond the Western modernist canon and the literary scope of the field. The essays in this diverse collection explore numerous regional, national, and transnational expressions of modernity through art, history, architecture, drama, literature, and cultural studies around the globe. Masks--both literal and metaphorical--play a role in each of these artistic ventures, from Brazilian music to Chinese film and Russian poetry to Nigerian masquerade performance. The contributors show how artists and writers produce their works in moments of emerging modernity, aesthetic sensibility, and deep societal transformations caused by modern transnational forces. Using the mask as a thematic focus, the volume explores the dialogue created through regional modernisms, emphasizes the local in describing universal tropes of masks and masking, and challenges popular assumptions about what modernism looks like and what modernity is.
Lynn V. Andrews takes the reader with her as she goes on inward journeys with the help of the Sisterhood of the Shields, and relates the stories of others. Join her as she is initiated into the Sisterhood and creates her own shield, which will show her the nature of her spiritual path (Spirit Woman). Follow her to the Yucatan, where the medicine wheel leads her, and she is faced with the terrifying reality of the butterfly tree (Jaguar Woman). Enter the Dreamtime with her, where she emerges in medieval England as Catherine, and encounters the Grandmother, who offers to show Andrews how to make her life one of goodness, power, adventure, and love (The Woman of Wyrrd). Not all these stories describe the author's own spiritual experiences. Meet Sin Corazón, an initiate into the Sisterhood, whose husband abandons her. She nearly succumbs to her inner dark power and unleashes her rage on men and the Sisterhood (Dark Sister). Andrews also writes about the elder women of the Sisterhood: their loves, their lives, their losses (Tree of Dreams). Andrews shows us how to channel our own spiritual and intellectual energy and balance the need for love with the desire for power (Love and Power). She takes the reader on numerous spiritual journeys that inevitably uplift.
Tatiana Proskouriakoff, a preeminent student of the Maya, made many breakthroughs in deciphering Maya writing, particularly in demonstrating that the glyphs record the deeds of actual human beings, not gods or priests. This discovery opened the way for a history of the Maya, a monumental task that Proskouriakoff was engaged in before her death in 1985. Her work, Maya History, has been made ready for press by the able editorship of Rosemary Joyce. Maya History reconstructs the Classic Maya period (roughly A.D. 250-900) from the glyphic record on stelae at numerous sites, including Altar de Sacrificios, Copan, Dos Pilas, Naranjo, Piedras Negras, Quirigua, Tikal, and Yaxchilan. Proskouriakoff traces the spread of governmental institutions from the central Peten, especially from Tikal, to other city-states by conquest and intermarriage. Thirteen line drawings of monuments and over three hundred original drawings of glyphs amplify the text.
All the poems of a great 20th-century poet.
Volume IV deals with the 'Middle Ages'. It starts with the expansion of Islam and closes with the discovery of the New World. Various events during this period led to a significant expansion in communications: the rapid spread of Islam and of Gengis Khan's Mongol Empire, as well as the Crusades and the development of trans-Saharan and maritime routes around Africa to the Indian Ocean, leading to multiplied exchanges between the peoples and cultures of Africa, Asia and Europe.
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Telling the story of the Maya peoples from their earliest beginnings to the start of the 20th century, this book divides the 3,000 year time span into seven distinct sections. Each provides a detailed vignette of the events, explorers, and people of a particular Maya era, starting with the tropical lowlands' Olmec civilization. Among the topics covered are the shamanistic rites by which Mesoamerican monarchs based their power to rule; the Preclassic megacity of El Mirador and its near neighbor Nakbe; the Maya creation myth of the Hero Twins and its role in organizing Maya society; and the power struggles between the cities Tikal and Calakmul.
In this provocative book, The Cydonia Codex authors George J. Haas and William R. Saunders use archaeological research discoveries and photographs from NASA and other space programs to document the uncanny similarities between Martian and now-extinct Earth cultures. The Martian Codex begins with a review of the thirty-year history of documenting the famous “Face on Mars” landform from NASA’s first photographs in 1976 to the Mars Reconnaissance Orbiter’s HiRISE shots in 2007. Detailed analysis shows it as a split-faced structure that precisely resembles a set of masks from a temple in Cerros, Mexico. Part two provides additional examples of two-faced and composite structures all over the red planet. Haas and Saunders explore a series of recurring motifs by providing side-by-side views of the Martian geoglyphs with their terrestrial pre-Columbian counterparts. The results substantiate a commonality between two worlds in that both depict specific gods and characters from the creation mythology of the Mayan people, as recorded in the sacred Popol Vuh. This fact-based book represents the most persuasive argument yet that extraterrestrials may indeed have appeared on Earth during an earlier era.