{"title":"The Ecology of a Tallgrass Treasure: Audubon’s Spring Creek Prairie","authors":"P. Johnsgard","doi":"10.13014/k25b00nk","DOIUrl":"https://doi.org/10.13014/k25b00nk","url":null,"abstract":"","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133365615","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}
Follow this and additional works at: http://digitalcommons.unl.edu/zeabook Part of the Applied Mathematics Commons, Business and Corporate Communications Commons, Computer and Systems Architecture Commons, Computer Sciences Commons, Digital Communications and Networking Commons, E-Commerce Commons, Management Information Systems Commons, Operations Research, Systems Engineering and Industrial Engineering Commons, and the Other Computer Engineering Commons
{"title":"Minutes & Seconds: The Scientists","authors":"Patrick Aievoli","doi":"10.13014/K2FT8J8M","DOIUrl":"https://doi.org/10.13014/K2FT8J8M","url":null,"abstract":"Follow this and additional works at: http://digitalcommons.unl.edu/zeabook Part of the Applied Mathematics Commons, Business and Corporate Communications Commons, Computer and Systems Architecture Commons, Computer Sciences Commons, Digital Communications and Networking Commons, E-Commerce Commons, Management Information Systems Commons, Operations Research, Systems Engineering and Industrial Engineering Commons, and the Other Computer Engineering Commons","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133758976","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 : 2007-09-12DOI: 10.32873/unl.dc.zea.1329
D. Webster
To celebrate the 200th anniversary of the Mayflower Pilgrims’ Landing at Plymouth Rock, Daniel Webster (1782–1852), former congressman and future senator and secretary of state, delivered this long discourse to the assembled members of the Pilgrim Society. Always the consummate New Englander, Webster sketched 200 years of American history, surveyed the present era, and projected grand future prospects for a nation barely 40 years old, but with deep roots in Reformed Protestant values and English constitutionalism. Underlying all was his belief that “The character of their political institutions was determined by the fundamental laws respecting property.” Webster’s stories highlight the political, economic, intellectual, and moral contributions of the New England migrants and their progeny. His account of their enterprise makes them the ancestors of American democracy and dramatizes the concerns that shaped national politics in the decades before the Civil War.
{"title":"A Discourse, Delivered at Plymouth, December 22, 1820. In Commemoration of the First Settlement of New-England (1821)","authors":"D. Webster","doi":"10.32873/unl.dc.zea.1329","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1329","url":null,"abstract":"To celebrate the 200th anniversary of the Mayflower Pilgrims’ Landing at Plymouth Rock, Daniel Webster (1782–1852), former congressman and future senator and secretary of state, delivered this long discourse to the assembled members of the Pilgrim Society. Always the consummate New Englander, Webster sketched 200 years of American history, surveyed the present era, and projected grand future prospects for a nation barely 40 years old, but with deep roots in Reformed Protestant values and English constitutionalism. Underlying all was his belief that “The character of their political institutions was determined by the fundamental laws respecting property.” Webster’s stories highlight the political, economic, intellectual, and moral contributions of the New England migrants and their progeny. His account of their enterprise makes them the ancestors of American democracy and dramatizes the concerns that shaped national politics in the decades before the Civil War.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132208638","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 : 2007-07-25DOI: 10.32873/unl.dc.zea.1324
S. Shioya
Japanese children in the 1870s and 1880s were offspring of a centuries-old traditional order who faced a world suddenly dominated by foreign science and commerce. As a child in Meiji Japan, Sakae grew up among survivors of the shogunate and observed their samurai culture displaced by Western morals and practices. Meanwhile the traditional values of Japanese life still exerted a strong influence over his family and education and played a large part in shaping his experience, as recounted with charm and tenderness in this simple and reflective reminiscence. Sakae Shioya (1873–1961) attended Tokyo’s First Imperial College and came to the United States in 1901. He earned an M.A. degree from the University of Chicago in 1903 and a Ph.D. from Yale University in 1906, both in English. He translated works by contemporary Japanese writers, including Rohan Koda and Kenjiro Tokutomi. In addition to this childhood memoir published in 1906, his later works included Chushingura: An Exposition (1940).
{"title":"When I Was a Boy in Japan","authors":"S. Shioya","doi":"10.32873/unl.dc.zea.1324","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1324","url":null,"abstract":"Japanese children in the 1870s and 1880s were offspring of a centuries-old traditional order who faced a world suddenly dominated by foreign science and commerce. As a child in Meiji Japan, Sakae grew up among survivors of the shogunate and observed their samurai culture displaced by Western morals and practices. Meanwhile the traditional values of Japanese life still exerted a strong influence over his family and education and played a large part in shaping his experience, as recounted with charm and tenderness in this simple and reflective reminiscence.\u0000Sakae Shioya (1873–1961) attended Tokyo’s First Imperial College and came to the United States in 1901. He earned an M.A. degree from the University of Chicago in 1903 and a Ph.D. from Yale University in 1906, both in English. He translated works by contemporary Japanese writers, including Rohan Koda and Kenjiro Tokutomi. In addition to this childhood memoir published in 1906, his later works included Chushingura: An Exposition (1940).","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123976425","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.1418
Pascal Mongne
San Pablo Villa de Mitla –ubicado a unos 50 km al este de Oaxaca de Juárez, capital del estado mexicano del mismo nombre– es célebre por sus ruinas precolombinas visitadas desde la época colonial. Pero el pueblo de Mitla –como se lo conoce comúnmente– también es –o más bien era– famoso por su museo: El Museo Frissell de Arte Zapoteco, una institución privada que apareció a principios de los años 50 y reunió la colección de arte zapoteca más importante del mundo, después de las del Museo Nacional de México y del Museo Regional de Oaxaca. Entre estas piezas, había un gran número de urnas funerarias, objetos –por excelencia– representativos de esa cultura local, que floreció durante el primer milenio de nuestra Era. Conocido y apreciado por los turistas y los científicos que, durante su visita a las ruinas cercanas, no dejaban de pararse en el museo, éste fue, sin embargo, cerrado en 1995 y, unos diez años más tarde, vaciado de sus colecciones; lo que desencadenó una violenta polémica entre las autoridades del Estado de Oaxaca y las asociaciones locales que reivindican la devolución de las colecciones. Este breve texto no pretende ser un estudio histórico, sino que debe considerarse como una recogida de recuerdos y un homenaje a quienes animaron una institución con la que muchos investigadores (incluido el autor de las presentes líneas) están en deuda: Ervin Frissell (1882-1978), Howard Leigh (1896-1981) y, especialmente, John Paddock (1918-1998).
{"title":"El museo desaparecido. Las colecciones del Museo Frissell de Arte Zapoteca de Mitla (Oaxaca, México)","authors":"Pascal Mongne","doi":"10.32873/unl.dc.zea.1418","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1418","url":null,"abstract":"San Pablo Villa de Mitla –ubicado a unos 50 km al este de Oaxaca de Juárez, capital del estado mexicano del mismo nombre– es célebre por sus ruinas precolombinas visitadas desde la época colonial. Pero el pueblo de Mitla –como se lo conoce comúnmente– también es –o más bien era– famoso por su museo: El Museo Frissell de Arte Zapoteco, una institución privada que apareció a principios de los años 50 y reunió la colección de arte zapoteca más importante del mundo, después de las del Museo Nacional de México y del Museo Regional de Oaxaca. Entre estas piezas, había un gran número de urnas funerarias, objetos –por excelencia– representativos de esa cultura local, que floreció durante el primer milenio de nuestra Era. Conocido y apreciado por los turistas y los científicos que, durante su visita a las ruinas cercanas, no dejaban de pararse en el museo, éste fue, sin embargo, cerrado en 1995 y, unos diez años más tarde, vaciado de sus colecciones; lo que desencadenó una violenta polémica entre las autoridades del Estado de Oaxaca y las asociaciones locales que reivindican la devolución de las colecciones. Este breve texto no pretende ser un estudio histórico, sino que debe considerarse como una recogida de recuerdos y un homenaje a quienes animaron una institución con la que muchos investigadores (incluido el autor de las presentes líneas) están en deuda: Ervin Frissell (1882-1978), Howard Leigh (1896-1981) y, especialmente, John Paddock (1918-1998).","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"31 3 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":"117049008","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/:10.32873/unl.dc.zea.1408
Uwe Carlson
Cuando se inició la construcción del templo de Chavín alrededor del año 1000 a.C., los sacerdotes del sitio también crearon una nueva y sorprendente imagen divina. Esta cambió ligeramente en torno al año 800 a.C. como adaptación estilística al diseño de los numerosos relieves en piedra utilizados en el templo. Alrededor del año 550 a.C. y evidentemente como consecuencia de una catástrofe natural que afectó a Chavín, se produjo una modificación de la representación felínica del dios supremo añadiendo la imagen de la harpía. Dicha figura divina, ahora híbrida, con la adición del simbolismo atributivo de la fertilidad (diosa tierra y dios agua) en forma del meandro escalonado y/o el meandro serpiente, influyó en todas las culturas posteriores del antiguo Perú desde el 500 a.C. hasta el 1500 d.C. Esta imagen divina acompañó a todas las culturas con el mismo mensaje y se expresó en las más diversas formas artísticas, tales como la minimización, la estilización, la geometrización, la abstracción, el uso de sustituciones y, en particular, el recurso a las representaciones de las imágenes divinas de las culturas precedentes. Durante estos 2000 años, se utilizaron tanto representaciones divinas felínicas como ornitomorfas, pero los diversos diseños híbridos de todas las antiguas culturas peruanas se presentaron como creaciones artísticas extraordinarias.
{"title":"La imagen divina híbrida en las antiguas culturas del Perú y su iconografía","authors":"Uwe Carlson","doi":"10.32873/:10.32873/unl.dc.zea.1408","DOIUrl":"https://doi.org/10.32873/:10.32873/unl.dc.zea.1408","url":null,"abstract":"Cuando se inició la construcción del templo de Chavín alrededor del año 1000 a.C., los sacerdotes del sitio también crearon una nueva y sorprendente imagen divina. Esta cambió ligeramente en torno al año 800 a.C. como adaptación estilística al diseño de los numerosos relieves en piedra utilizados en el templo. Alrededor del año 550 a.C. y evidentemente como consecuencia de una catástrofe natural que afectó a Chavín, se produjo una modificación de la representación felínica del dios supremo añadiendo la imagen de la harpía. Dicha figura divina, ahora híbrida, con la adición del simbolismo atributivo de la fertilidad (diosa tierra y dios agua) en forma del meandro escalonado y/o el meandro serpiente, influyó en todas las culturas posteriores del antiguo Perú desde el 500 a.C. hasta el 1500 d.C. Esta imagen divina acompañó a todas las culturas con el mismo mensaje y se expresó en las más diversas formas artísticas, tales como la minimización, la estilización, la geometrización, la abstracción, el uso de sustituciones y, en particular, el recurso a las representaciones de las imágenes divinas de las culturas precedentes. Durante estos 2000 años, se utilizaron tanto representaciones divinas felínicas como ornitomorfas, pero los diversos diseños híbridos de todas las antiguas culturas peruanas se presentaron como creaciones artísticas extraordinarias.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"26 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":"127293765","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.1077
This volume presents the results of a workshop that took place on 24 November 2017 at the Centre for Textile Research (CTR), University of Copenhagen. The event was organised within the framework of the MONTEX project—a Marie Skłodowska-Curie individual fellowship conducted by Maria Mossakowska-Gaubert in collaboration with the Contextes et Mobiliers programme of the French Institute for Oriental Archaeology in Cairo (IFAO), and with support from the Institut français du Danemark and the Alexander von Humboldt Foundation. Twelve essays are arranged in 4 sections: I. Weaving looms: texts, images, remains; II. Technology of weaving: study cases; III. Dyeing: terminology and technology; IV. Textile production in written sources: organisation and economy. Contributors include: Maria Mossakowska-Gaubert, Johanna Sigl, Fleur Letellier-Willemin, Lise Bender Jørgensen, Anne Kwaspen, Barbara Köstner, Peder Flemestad, Ines Bogensperger & Helga Rösel-Mautendorfer, Isabelle Marthot-Santaniello, Aikaterini Koroli, Kerstin Dross-Krüpe, Jennifer Cromwell, and Dominique Cardon. With 66 full-colour illustrations.
本卷介绍了2017年11月24日在哥本哈根大学纺织研究中心(CTR)举行的研讨会的结果。该活动是在MONTEX项目的框架内组织的，该项目是由Maria Mossakowska-Gaubert与法国开罗东方考古研究所(IFAO)的上下文与移动方案合作开展的Marie Skłodowska-Curie个人奖学金，并得到了丹麦法语研究所和亚历山大·冯·洪堡基金会的支持。论文共十二篇，分为四个部分:一、织布机:文本、图像、遗存;2织造技术:案例研究3染色:术语和技术;四、纺织生产书面资料:组织性和经济性。撰稿人包括:Maria Mossakowska-Gaubert, Johanna Sigl, Fleur Letellier-Willemin, Lise Bender Jørgensen, Anne Kwaspen, Barbara Köstner, Peder Flemestad, Ines Bogensperger & Helga Rösel-Mautendorfer, Isabelle Marthot-Santaniello, Aikaterini Koroli, Kerstin dross - kr pe, Jennifer Cromwell和Dominique Cardon。有66张全彩插图。
{"title":"Egyptian textiles and their production: ‘word’ and ‘object’","authors":"","doi":"10.32873/unl.dc.zea.1077","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1077","url":null,"abstract":"This volume presents the results of a workshop that took place on 24 November 2017 at the Centre for Textile Research (CTR), University of Copenhagen. The event was organised within the framework of the MONTEX project—a Marie Skłodowska-Curie individual fellowship conducted by Maria Mossakowska-Gaubert in collaboration with the Contextes et Mobiliers programme of the French Institute for Oriental Archaeology in Cairo (IFAO), and with support from the Institut français du Danemark and the Alexander von Humboldt Foundation.\u0000Twelve essays are arranged in 4 sections: I. Weaving looms: texts, images, remains; II. Technology of weaving: study cases; III. Dyeing: terminology and technology; IV. Textile production in written sources: organisation and economy.\u0000Contributors include: Maria Mossakowska-Gaubert, Johanna Sigl, Fleur Letellier-Willemin, Lise Bender Jørgensen, Anne Kwaspen, Barbara Köstner, Peder Flemestad, Ines Bogensperger & Helga Rösel-Mautendorfer, Isabelle Marthot-Santaniello, Aikaterini Koroli, Kerstin Dross-Krüpe, Jennifer Cromwell, and Dominique Cardon. With 66 full-colour illustrations.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"8 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":"128806110","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.1325
L. Hearn
Chin-Chin Kobakama • The Goblin-Spider • The Old Woman Who Lost Her Dumplings • The Boy Who Drew Cats • The Silly Jelly-Fish • The Hare of Inaba • Shippeitarō • The Matsuyama Mirror • My Lord Bag-o’-Rice • The Serpent with Eight Heads • The Old Man and The Devils • The Tongue-Cut Sparrow • The Wooden Bowl • The Tea-Kettle • Urashima • Green Willow • The Flute • Reflections • The Spring Lover and the Autumn Lover • Momotaro The versions of the first four tales in this volume are by Lafcadio Hearn. The others are by Grace James, Professor Basil Hall Chamberlain and others. Originally published 1918 by Boni & Liveright, Inc.
{"title":"Japanese Fairy Tales","authors":"L. Hearn","doi":"10.32873/unl.dc.zea.1325","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1325","url":null,"abstract":"Chin-Chin Kobakama • The Goblin-Spider • The Old Woman Who Lost Her Dumplings • The Boy Who Drew Cats • The Silly Jelly-Fish • The Hare of Inaba • Shippeitarō • The Matsuyama Mirror • My Lord Bag-o’-Rice • The Serpent with Eight Heads • The Old Man and The Devils • The Tongue-Cut Sparrow • The Wooden Bowl • The Tea-Kettle • Urashima • Green Willow • The Flute • Reflections • The Spring Lover and the Autumn Lover • Momotaro\u0000\u0000The versions of the first four tales in this volume are by Lafcadio Hearn. The others are by Grace James, Professor Basil Hall Chamberlain and others.\u0000Originally published 1918 by Boni & Liveright, Inc.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"44 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":"128617017","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.1414
Mary Frame
Ychsma is one of the lesser-known textile styles of the central coast of Peru that date to the late periods. In this article, fragments of brocaded mantles from an Ychsma grave context, which is dated to the Late Horizon (1476-1532 A.D.) by the presence of an Inca plate, are described and illustrated. The mantles, which are characterized by certain technical features, images, colors and patterns of repetition, are used to identify further examples in museum collections. The expanded sample provides a detailed picture of one of the most spectacular types of textiles that belong to the Ychsma style, as well as highlighting a difference in orientation among them that may be significant.
{"title":"Ychsma brocades from the vicinity of Lima in the time of the Incas","authors":"Mary Frame","doi":"10.32873/unl.dc.zea.1414","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1414","url":null,"abstract":"Ychsma is one of the lesser-known textile styles of the central coast of Peru that date to the late periods. In this article, fragments of brocaded mantles from an Ychsma grave context, which is dated to the Late Horizon (1476-1532 A.D.) by the presence of an Inca plate, are described and illustrated. The mantles, which are characterized by certain technical features, images, colors and patterns of repetition, are used to identify further examples in museum collections. The expanded sample provides a detailed picture of one of the most spectacular types of textiles that belong to the Ychsma style, as well as highlighting a difference in orientation among them that may be significant.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"349 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":"115886467","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}
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