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.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.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.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.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.1413
Élodie Dupey Dupey García
Este capítulo estudia el pigmento conocido como azul maya a partir de las fuentes históricas sobre la cultura náhuatl prehispánica, específicamente la Historia universal de las cosas de Nueva España de Bernardino de Sahagún. La obra sahaguntina posibilita la identificación del nombre del azul maya en náhuatl, al mismo tiempo que contribuye a reconstruir su simbolismo en Mesoamérica, en particular, entre los nahuas. Asimismo, el capítulo explica por qué los datos contenidos en la Historia de Sahagún sugieren que el pigmento no era producido en el Valle de México, sino que llegaba ya manufacturado a manos de los artistas nahuas. This chapter addresses the pigment known as Maya blue from historical sources on pre-Hispanic Nahua culture, specifically Bernardino de Sahagún’s Historia universal de las cosas de Nueva España. Sahagún’s work makes it possible to identify the Nahuatl name for Maya blue, while helping to reconstruct its symbolism in Mesoamerica, in particular, among the Nahua. The chapter also explains why the data contained in Sahagún’s Historia suggest that the pigment was not produced in the Valley of Mexico, but that it came already manufactured to the hands of Nahua artists.
本章从前西班牙纳瓦特尔文化的历史资料，特别是贝纳迪诺·德·sahagun的《新西班牙事物通史》中研究了被称为玛雅蓝色的颜料。sahaguntina的工作使人们能够在纳瓦特尔语中识别玛雅蓝色的名字，同时有助于重建它在中美洲的象征意义，特别是在纳瓦特尔语中。这一章还解释了为什么sahagun的历史数据表明，颜料不是在墨西哥山谷生产的，而是由纳瓦艺术家手工制造的。这一章讨论了玛雅蓝的色素，从前西班牙纳瓦文化的历史来源，特别是Bernardino de sahagun的Historia universal de las cosas de Nueva espana。sahagun的作品使人们有可能确定玛雅蓝的纳瓦特人的名字，同时帮助重建它在中美洲的象征意义，特别是在纳瓦人中间。这一章还解释了为什么sahagun的历史中包含的数据表明，颜料不是在墨西哥山谷生产的，而是已经在纳瓦艺术家的手中生产的。
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Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1310
Natsume Sōseki
This English version of 吾輩は猫である (Wagahai-wa neko de aru: I Am a Cat), Chapters I and II, written by Natsume Sōseki, pseudonym of Natsume Kinnosuke (1867–1916), and translated by Kan-ichi Ando (1878-1924), was published by Hattori Shoten, Tokyo, in 1906. It begins: "I am a cat; but as yet I have no name." Its sardonic feline narrator describes his origins, his settlement in the household of a Meiji teacher-intellectual, and the goings-on and conversations among the cats and humans about the neighborhood. Of the men he concludes: "They are miserable creatures in the eyes of a cat. Japanese novelist Natsume Sōseki studied literature in England and became professor at Tokyo Imperial University. The success of his stories, beginning with "I Am a Cat," launched a successful career that produced 22 novels, including Botchan, Kokoro, and Light and Darkness.
《我是猫》(Wagahai-wa neko de aru: I Am a Cat)第一、二章由夏目Sōseki(笔名夏目Kinnosuke, 1867-1916)所著，安藤健一(1878-1924)译，于1906年由东京服部书堂出版。它是这样开头的:“我是一只猫;可是我还没有名字呢。”书中讽刺的猫叙述者描述了他的出身，他在明治知识分子教师家庭的定居，以及猫和人之间关于邻居的对话。对于男人，他总结道:“在猫的眼里，他们是可怜的生物。日本小说家夏目Sōseki曾在英国学习文学，并在东京帝国大学担任教授。从《我是一只猫》开始，他的小说获得了成功，此后他创作了22部小说，包括《Botchan》、《Kokoro》、《光明与黑暗》。
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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.
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