Download Free Hacerse Hombres Cabales Masculinidad Entre Tojolabales Segunda Edicion Book in PDF and EPUB Free Download. You can read online Hacerse Hombres Cabales Masculinidad Entre Tojolabales Segunda Edicion and write the review.

Muchas personas citan a Simone de Beauvoir, a quien le atribuyen haber señalado que las mujeres no nacen, sino que devienen o llegan a ser mujeres y que algo similar puede afirmarse para los hombres o varones. El libro de Martín de la Cruz López Moya, con el sugerente título de Hacerse hombres cabales. Masculinidad entre tojolabales, nos permite sumar un matiz a la frase anterior; por el hecho de nacer hombre se espera que ciertos sujetos aprendan a comportarse como tales y que en función de qué tanto lo logran puedan ser reconocidos con el adjetivo de cabales; es decir, hombres completos.
For hundreds of years, Maya artists and scholars used hieroglyphs to record their history and culture. In the nineteenth and twentieth centuries, archaeologists, photographers, and artists recorded the Maya carvings that remained, often by transporting box cameras and plaster casts through the jungle on muleback. The New Catalog of Maya Hieroglyphs, Volume I: The Classic Period Inscriptions is a guide to all the known hieroglyphic symbols of the Classic Maya script. In the New Catalog Martha J. Macri and Matthew G. Looper have produced a valuable research tool based on the latest Mesoamerican scholarship. An essential resource for all students of Maya texts, the New Catalog is also accessible to nonspecialists with an interest in Mesoamerican cultures. Macri and Looper present the combined knowledge of the most reliable scholars in Maya epigraphy. They provide currently accepted syllabic and logographic values, a history of references to published discussions of each sign, and related lexical entries from dictionaries of Maya languages, all of which were compiled through the Maya Hieroglyphic Database Project. This first volume of the New Catalog focuses on texts from the Classic Period (approximately 150-900 C.E.), which have been found on carved stone monuments, stucco wall panels, wooden lintels, carved and painted pottery, murals, and small objects of jadeite, shell, bone, and wood. The forthcoming second volume will describe the hieroglyphs of the three surviving Maya codices that date from later periods.
This volume offers new calendrical models and methodologies for reading, dating, and interpreting the general significance of the Madrid Codex. The longest of the surviving Maya codices, this manuscript includes texts and images painted by scribes conversant in Maya hieroglyphic writing, a written means of communication practiced by Maya elites from the second to the fifteenth centuries A.D. Some scholars have recently argued that the Madrid Codex originated in the Petén region of Guatemala and postdates European contact. The contributors to this volume challenge that view by demonstrating convincingly that it originated in northern Yucatán and was painted in the Pre-Columbian era. In addition, several contributors reveal provocative connections among the Madrid and Borgia group of codices from Central Mexico. Contributors include: Harvey M. Bricker, Victoria R. Bricker, John F. Chuchiak IV, Christine L. Hernández, Bryan R. Just, Merideth Paxton, and John Pohl. Additional support for this publication was generously provided by the Eugene M. Kayden Fund at the University of Colorado.
Dancing into Dreams explores 8th-century Maya vase painting of the Ik' kingdom, located in the tropical lowlands of present day Guatemala. Ik' vases are acclaimed for their naturalistic color, veristic portraiture, and calligraphic line. Their painted surfaces depict historical subject matter and often include the names of the artists and patrons, as well as hieroglyphic explanations of the portrayed events and vessel production. Collectively, such self-consciously historical works offer a precision and nuance, unparalleled in the ancient Americas, to the study of the role of art in elite society. Authoritative and accessible, this handsomely illustrated volume presents a history of Ik' vase painting and describes the dramatic scenes represented on the vases with compelling and historically accurate vignettes.
These articles mark a significant stage in the study of Maya architecture and the society that built it. They represent advances in our understandings of the past, point toward avenues for further studies, and note the distance yet to travel in fully appreciating and understanding this ancient American culture and its material remains.
Lavishly illustrated with nearly 400 color images, Painting the Maya Universe is the most thorough study and brilliant display of Classic Maya ceramic painting yet published. Building on twenty years of research and debate, Dorie Reents-Budet and her collaborators Joseph W. Ball, Ronald L. Bishop, Virginia M. Fields, and Barbara MacLeod bring together many perspectives, including the art historical, archaeological, epigraphical, and ethnohistorical, to examine one of the world's great but overlooked painting traditions. With an emphasis on sixth- to eighth-century pottery featuring both pictorial and hieroglyphic imagery, Painting the Maya Universe presents an extraordinary exploration of the cultural roles and meanings of these Guatemalan, Belizean, and Mexican elite painted ceramics. Maya pottery is discussed both in aesthetic terms and for the important information it reveals about Maya society, artistry, politics, history, religion, and ritual. The range of ceramic painting styles developed during this period is also presented and defined in detail. Painting the Maya Universe is the first publication to present a definitive translation of the hieroglyphic texts painted on these objects. With many glyphs deciphered here for the first time, this analysis reveals much about how these vessels were perceived and used by the Maya, their owners' names, and, in several cases, the names of the artists who created them. This information is combined with archaeological and other data, including nuclear chemical analyses, to correlate painting styles with specific Maya sites. Published in conjunction with Duke University Museum of Art and an exhibition touring the United States, Painting the Maya Universe presents an astonishing visual record as well as a monumental scholarly achievement. With photographs by Justin Kerr, the foremost photographer of pre-Columbian art, it includes over 90 unique full-color rollout photographs, each showing the entire surface of an object in a single frame. The book also addresses the questions and controversy regarding the loss of information that occurs when objects are removed from their archaeological context to become part of public and private collections. Painting the Maya Universe will energize discussion of Maya pottery, hieroglyphic texts, and iconography. Its photographs, a lasting resource on this great painting tradition, will stimulate and delight the eye. It is a breakthrough in art history and Latin American scholarship that will enrich general readers and scholars alike.