Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1406
Alexander Brust, Manuela Fischer, Adriana Muñoz
El presente trabajo muestra el panorama multifacético de colecciones clasificadas como etnográficas y que son controvertidas por sus contextos de adquisición y adscripciones alternativas en el trascurso del tiempo. El estudio se centra en cinco casos del Museo de las Culturas de Basilea (Suiza) del Museo Etnológico en Berlín (Alemania) y de los Museos Nacionales de la Cultura del Mundo en Gotemburgo, (Suecia) que los autores han acompañado de cerca en los últimos años y que involucran procesos de restitución. El trabajo esboza la complejidad de las visiones acerca del «objeto etnográfico» y muestra la importancia de entender las agendas de los actores involucrados –como instituciones privadas y estatales, representantes de comunidades indígenas, ONGs y particulares– en diferentes fases de los procesos, que a la vez suelen ser marcadas por cambios en las políticas patrimoniales, cambios de gobiernos y alianzas. El presente ensayo es una invitación a reflexionar profundamente sobre los contextos actuales, las intenciones y los trasfondos de pedidos de restitución.
{"title":"Las complejidades de colecciones históricas de Latinoamérica en museos europeos: casos de colecciones controvertidas y su seguimiento","authors":"Alexander Brust, Manuela Fischer, Adriana Muñoz","doi":"10.32873/unl.dc.zea.1406","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1406","url":null,"abstract":"El presente trabajo muestra el panorama multifacético de colecciones clasificadas como etnográficas y que son controvertidas por sus contextos de adquisición y adscripciones alternativas en el trascurso del tiempo. El estudio se centra en cinco casos del Museo de las Culturas de Basilea (Suiza) del Museo Etnológico en Berlín (Alemania) y de los Museos Nacionales de la Cultura del Mundo en Gotemburgo, (Suecia) que los autores han acompañado de cerca en los últimos años y que involucran procesos de restitución. El trabajo esboza la complejidad de las visiones acerca del «objeto etnográfico» y muestra la importancia de entender las agendas de los actores involucrados –como instituciones privadas y estatales, representantes de comunidades indígenas, ONGs y particulares– en diferentes fases de los procesos, que a la vez suelen ser marcadas por cambios en las políticas patrimoniales, cambios de gobiernos y alianzas. El presente ensayo es una invitación a reflexionar profundamente sobre los contextos actuales, las intenciones y los trasfondos de pedidos de restitución.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"407 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131935691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1313
L. Hearn
The works of Lafcadio Hearn (Koizumi Yakumo) played a critical role in introducing his adopted Japan to a worldwide audience. In Kokoro: Hints and Echoes of Japanese Inner Life, he writes, “The papers composing this volume treat of the inner rather than of the outer life of Japan, — for which reason they have been grouped under the title Kokoro (heart). This word signifies also mind, in the emotional sense; spirit; courage; resolve; sentiment; affection; and inner meaning, — just as we say in English, ‘the heart of things.’” After centuries of isolation Meiji-era Japan was forced to adjust its customs and beliefs to Western influences, and Hearn reflects on the value of these traditions of the “heart” as seen in Japanese popular justice, arts, economy, patriotism, and religion. Chapters include: At a Railway Station • The Genius of Japanese Civilization • A Street Singer • From a Traveling Diary • The Nun of the Temple of Amida • After the War • Haru • A Glimpse of Tendencies • By Force of Karma • A Conservative • In the Twilight of the Gods • The Idea of Preëxistence • In Cholera-Time • Some Thoughts About Ancestor-Worship • Kimiko • Three Popular Ballads: The Ballad of Shūntoku-maru • The Ballad of Oguri-Hangwan • The Ballad of O-Shichi, the Daughter of the Yaoya.
{"title":"Kokoro: Hints and Echoes of Japanese Inner Life","authors":"L. Hearn","doi":"10.32873/unl.dc.zea.1313","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1313","url":null,"abstract":"The works of Lafcadio Hearn (Koizumi Yakumo) played a critical role in introducing his adopted Japan to a worldwide audience. In Kokoro: Hints and Echoes of Japanese Inner Life, he writes, “The papers composing this volume treat of the inner rather than of the outer life of Japan, — for which reason they have been grouped under the title Kokoro (heart). This word signifies also mind, in the emotional sense; spirit; courage; resolve; sentiment; affection; and inner meaning, — just as we say in English, ‘the heart of things.’” After centuries of isolation Meiji-era Japan was forced to adjust its customs and beliefs to Western influences, and Hearn reflects on the value of these traditions of the “heart” as seen in Japanese popular justice, arts, economy, patriotism, and religion. Chapters include: At a Railway Station • The Genius of Japanese Civilization • A Street Singer • From a Traveling Diary • The Nun of the Temple of Amida • After the War • Haru • A Glimpse of Tendencies • By Force of Karma • A Conservative • In the Twilight of the Gods • The Idea of Preëxistence • In Cholera-Time • Some Thoughts About Ancestor-Worship • Kimiko • Three Popular Ballads: The Ballad of Shūntoku-maru • The Ballad of Oguri-Hangwan • The Ballad of O-Shichi, the Daughter of the Yaoya.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"194 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132088658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1318
Wayne J. Mollhoff
Nebraska Ornithologists' Union Occasional Paper Number 9 This publication is an attempt to provide a synopsis of the breeding information accumulated in the past two centuries. As with any compilation like this, other workers would likely come to different conclusions in choosing which records to accept and which to reject. I have tried to state the reasons for my decisions as clearly as possible. Most difficult to categorize are species which are not well documented. Hopefully by laying out the evidence I could find, others will be prompted to do more research, uncover definitive proof, and put more of our questionable reports to rest. Of necessity, this synopsis is incomplete, since there are undoubtedly publications, records, and museum specimens which I have been unable to access, and others of which I am unaware.
{"title":"Nest Records of Nebraska Birds","authors":"Wayne J. Mollhoff","doi":"10.32873/unl.dc.zea.1318","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1318","url":null,"abstract":"Nebraska Ornithologists' Union Occasional Paper Number 9\u0000\u0000This publication is an attempt to provide a synopsis of the breeding information accumulated in the past two centuries. As with any compilation like this, other workers would likely come to different conclusions in choosing which records to accept and which to reject. I have tried to state the reasons for my decisions as clearly as possible. Most difficult to categorize are species which are not well documented. Hopefully by laying out the evidence I could find, others will be prompted to do more research, uncover definitive proof, and put more of our questionable reports to rest. Of necessity, this synopsis is incomplete, since there are undoubtedly publications, records, and museum specimens which I have been unable to access, and others of which I am unaware.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132215284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1403
Denise Y. Arnold
Las técnicas de teñido por amarras en los textiles andinos, con el diseño de un punto en un cuadrado o rombo, tienen un amplio patrón de difusión. Se reconoce que son el origen de técnicas y diseños similares en Mesoamérica e incluso en el suroeste de Estados Unidos. Sin embargo, los estudios clave sobre estas técnicas y diseños en los Andes carecen de proponer cuáles serían los rasgos comunes que podrían haber impulsado esta difusión. Admiten que es probable que se compartiera el conocimiento técnico de esta técnica tejida por razones ideológicas o religiosas, pero no exploran cuáles podrían ser. Adoptando otra perspectiva sobre este problema, propongo que las técnicas, diseños y colores usados en el teñido por amarras revelan un lenguaje común de elementos asociados al cultivo del maíz. La difusión del cultivo del maíz en algunas regiones de las Américas coincide aproximadamente con el desarrollo de este conocimiento textil. Además, el impacto de los granos de maíz convertidos en cerveza en la historia sociopolítica de los Estados andinos explicaría el poder y la importancia simbólica atribuidos a estas imágenes tejidas.
{"title":"Los textiles andinos teñidos por amarras, el motivo del punto en el rombo y su patrón de difusión: Felinos, serpientes y el cultivo del maíz en un mundo en transformación","authors":"Denise Y. Arnold","doi":"10.32873/unl.dc.zea.1403","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1403","url":null,"abstract":"Las técnicas de teñido por amarras en los textiles andinos, con el diseño de un punto en un cuadrado o rombo, tienen un amplio patrón de difusión. Se reconoce que son el origen de técnicas y diseños similares en Mesoamérica e incluso en el suroeste de Estados Unidos. Sin embargo, los estudios clave sobre estas técnicas y diseños en los Andes carecen de proponer cuáles serían los rasgos comunes que podrían haber impulsado esta difusión. Admiten que es probable que se compartiera el conocimiento técnico de esta técnica tejida por razones ideológicas o religiosas, pero no exploran cuáles podrían ser. Adoptando otra perspectiva sobre este problema, propongo que las técnicas, diseños y colores usados en el teñido por amarras revelan un lenguaje común de elementos asociados al cultivo del maíz. La difusión del cultivo del maíz en algunas regiones de las Américas coincide aproximadamente con el desarrollo de este conocimiento textil. Además, el impacto de los granos de maíz convertidos en cerveza en la historia sociopolítica de los Estados andinos explicaría el poder y la importancia simbólica atribuidos a estas imágenes tejidas.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"53 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132535967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1250
Michelle Aanderud Ochoa
This methodological approach purports to expand the views from which the artistic image captured in prehispanic monuments is analyzed. This is conducted through a 5-phase method developed from the knowledge of illustration, photography, archaeology and theories of art. The conjunction of all this knowledge aims at getting a whole and interdisciplinary view through which the pre-Columbian art can be analyzed, thus moving from a theorical state to the moment of praxis. This methodological proposal is put to the test on the panels of the Great Ball Court of Chichen Itza, departing from its material nature to its symbolic level to exalt the need to widen the interpretative views through interdisciplinary interactions.
{"title":"Método Aanderud: Una propuesta interdisciplinaria de análisis iconográfico para monumentos prehispánicos y su aplicación sobre los paneles del Gran Juego de Pelota de Chichén Itzá","authors":"Michelle Aanderud Ochoa","doi":"10.32873/unl.dc.zea.1250","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1250","url":null,"abstract":"This methodological approach purports to expand the views from which the artistic image captured in prehispanic monuments is analyzed. This is conducted through a 5-phase method developed from the knowledge of illustration, photography, archaeology and theories of art. The conjunction of all this knowledge aims at getting a whole and interdisciplinary view through which the pre-Columbian art can be analyzed, thus moving from a theorical state to the moment of praxis. This methodological proposal is put to the test on the panels of the Great Ball Court of Chichen Itza, departing from its material nature to its symbolic level to exalt the need to widen the interpretative views through interdisciplinary interactions.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123799244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1258
Uwe Carlson
The Chavin culture had after the creation of its own divine image a lasting influence on all subsequent cultures of ancient Peru. The foundations of this image and its variations were particularly visible in the significant influence on the Paracas culture, which emerged at the same time and produced the most remarkable evidence of ancient Peruvian textile art. This not only regarding the specific technical textile aspects, but especially from an iconographic point of view. If the creation of a striking divine image is astonishing, it is even more remarkable that in Paracas a sequence of four different divine images is repeated in all details, which had already been shown several centuries earlier in Chavín. The divine image of Late Paracas, slightly altered, was taken over by the Early Nazca, while Late Nasca was visibly influenced by Tiahuanaco and Huari.
{"title":"Elementos chavinoides en textiles de Paracas y cerámicas de Nasca","authors":"Uwe Carlson","doi":"10.32873/unl.dc.zea.1258","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1258","url":null,"abstract":"The Chavin culture had after the creation of its own divine image a lasting influence on all subsequent cultures of ancient Peru. The foundations of this image and its variations were particularly visible in the significant influence on the Paracas culture, which emerged at the same time and produced the most remarkable evidence of ancient Peruvian textile art. This not only regarding the specific technical textile aspects, but especially from an iconographic point of view. If the creation of a striking divine image is astonishing, it is even more remarkable that in Paracas a sequence of four different divine images is repeated in all details, which had already been shown several centuries earlier in Chavín. The divine image of Late Paracas, slightly altered, was taken over by the Early Nazca, while Late Nasca was visibly influenced by Tiahuanaco and Huari.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125118475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1088
Aikaterini Koroli
{"title":"Textile production in the papyri: the case of private request letters","authors":"Aikaterini Koroli","doi":"10.32873/unl.dc.zea.1088","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1088","url":null,"abstract":"","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122017815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1312
L. Hearn
New Orleans in 1878 was the most exotic and cosmopolitan city in North America. An international port, with more than 200,000 inhabitants, it was open to French, Spanish, Mexican, South American, and West Indian cultural influences, and home to a thriving population descended from free African Americans. It was also a battleground in the fight against yellow fever (malaria) and in the political upheavals that followed the end of Reconstruction. The continued influx of Anglo-Americans and the renewed ascendancy of white supremacists threatened to overwhelm the local blend of languages, races, and cultures that enlivened the unique Creole character of the city. Writing for an English-language newspaper, Lafcadio Hearn presented the speech, charm, and humor of the Creolized natives on the other side of Canal Street, and illustrated his sketches with woodcut cartoons — the first of their kind in any Southern paper. These vignettes, published in the New Orleans Daily Item during 1878-1880, capture a traditionalist urban world and its colorful characters with a delicate and sympathetic understanding.
{"title":"Creole Sketches","authors":"L. Hearn","doi":"10.32873/unl.dc.zea.1312","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1312","url":null,"abstract":"New Orleans in 1878 was the most exotic and cosmopolitan city in North America. An international port, with more than 200,000 inhabitants, it was open to French, Spanish, Mexican, South American, and West Indian cultural influences, and home to a thriving population descended from free African Americans. It was also a battleground in the fight against yellow fever (malaria) and in the political upheavals that followed the end of Reconstruction. The continued influx of Anglo-Americans and the renewed ascendancy of white supremacists threatened to overwhelm the local blend of languages, races, and cultures that enlivened the unique Creole character of the city. Writing for an English-language newspaper, Lafcadio Hearn presented the speech, charm, and humor of the Creolized natives on the other side of Canal Street, and illustrated his sketches with woodcut cartoons — the first of their kind in any Southern paper. These vignettes, published in the New Orleans Daily Item during 1878-1880, capture a traditionalist urban world and its colorful characters with a delicate and sympathetic understanding.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114735545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1255
Elisa Cont
The representation of the bird in the Tiwanaku iconography is part of a set of sacred symbols, emblems of power, that condense knowledge about the cosmovision and may be linked to shamanic practices. The image of the bird, represented by simplified elements, such as wings, flying or eyes, symbolizes the ability to cross the boundaries between the worlds, to see the sacred, and may express the intermediation between men and divinities. This research aims to analyze those Tiwanaku iconographic elements that represent the bird and that are engraved on some ritual objects of different material. The images embodied on these ritual instruments have a special value: in addition to being symbols of knowledge, they become magicalsymbolic means to reach the divine.
{"title":"Representaciones del ave e instrumentos rituales tiwanakotas. Medios para llegar a lo divino","authors":"Elisa Cont","doi":"10.32873/unl.dc.zea.1255","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1255","url":null,"abstract":"The representation of the bird in the Tiwanaku iconography is part of a set of sacred symbols, emblems of power, that condense knowledge about the cosmovision and may be linked to shamanic practices. The image of the bird, represented by simplified elements, such as wings, flying or eyes, symbolizes the ability to cross the boundaries between the worlds, to see the sacred, and may express the intermediation between men and divinities. This research aims to analyze those Tiwanaku iconographic elements that represent the bird and that are engraved on some ritual objects of different material. The images embodied on these ritual instruments have a special value: in addition to being symbols of knowledge, they become magicalsymbolic means to reach the divine.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130919643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：