Inga Clendinnen's account of the Aztecs recreates the culture of that city in its last unthreatened years. It provides a vividly dramatic analysis of Aztec ceremony as performance art, binding the key experiences and concerns of social existence in the late imperial city to the mannered violence of their ritual killings.

    This is very much a living tradition, and many of the motifs and gods mentioned in early sources are still evoked in the lore of contemporary Mexico and Guatemala.Professor Taube discusses the different sources for Aztec and Maya myths. The Aztec empire began less than 200 years before the Spanish conquest, and our knowledge of their mythology derives primarily from native colonial documents and manuscripts commissioned by the Spanish. The Maya mythology is far older, and our knowledge of it comes mainly from native manuscripts of the Classic period, over 600 years before the Spanish conquest.Drawing on these sources as well as nineteenth- and twentieth-century excavations and research, including the interpretation of the codices and the decipherment of Maya hieroglyphic writing, the author discusses, among other things, the Popol Vuh myths of the Maya, the flood myth of Northern Yucatan, and the Aztec creation myths.

    Generally similar to such Mixtec manuscripts as the Codex Nuttall, the Codex Borgia is thought to have its origin (ca. A.D. 1400) in the southern central highlands of Mexico, perhaps in Puebla or Oaxaca. It is most probably a religious document that once belonged to a temple or sacred shrine.One use of the Codex many have been to divine the future, for it includes ritual 260 day calendars, material on aspects of the planet Venus, and a sort of numerological prognostic of the lives of wedded couples. Another section concerns various regions of the world and the supernatural characters and attributes of those regions. Also described are the characteristics of a number of deities, while still other passages relate to installation ceremonies of rulers in pre-Columbian kingdoms.Until the publication of this Dover edition, the Codex Borgia has been largely inaccessible to the general public. The priceless original is in the Vatican Library and previous photographic facsimiles are very rare or very expensive or both. Moreover, the original Codex has been damaged over the centuries, resulting in the obscuration and loss of many images. In order to recapture the beauty and grandeur of the original, Gisele Diaz and Alan Rodgers have painstakingly restored the Codex by hand —a seven-year project— employing the most scrupulous research and restoration techniques. The result is 76 large full-color plates of vibrant, striking depictions of gods, kings, warriors, mythical creatures, and mysterious abstract designs —a vivid panorama that offers profound insights into pre-Columbian Mexican myth and ritual. Now students, anthropologists, lovers of fine art and rare books —anyone interested in the art and culture of ancient Mexico— can study the Codex Borgia in this inexpensive, accurate, well-made edition. An informative introduction by noted anthropologist Bruce E. Byland places the Codex in its historical context and helps elucidate its meaning and significance.

    My husband had a family before he met me and never said a word. Now, this woman needs help. How can I do nothing? The problem is, I know nothing about children and how to fit them into my busy life. As I try to learn more about these kids who welcome me into their hearts, it is their mother who completely captures mine.

    Pagden’s English translation has been prepared from a close examination of the earliest surviving manuscript and of the first printed editions, and he also provides a new introduction offering a bold and innovative interpretation of the nature of the conquest and Cortes’s involvement in it. J. H. Elliot’s introductory essay explains Cortes’s conflicts with the Crown and with Diego Velazquez, the governor of Cuba.“The definitive edition [of the letters] in any language. . . . The book is a ’must’ for all those who are seriously interested in this traumatic clash of civilizations and the consequences, both for good and ill, which ensued.”—C. R. Boxer, English Historical Review“One of the most fascinating Machiavellian documents to come out of the Renaissance.”—Carlos Fuentes, Guardian “[Pagden] provides us with two important innovations: the first reliable edition of the most important Spanish text . . . and annotations that draw on Pagden’s own profound knowledge of Mesoamerican cultures.”—Helen Nader, Sixteenth Century Journal

    She demonstrates that between the 1690s and 1780s, Indian peoples including Caddos, Apaches, Payayas, Karankawas, Wichitas, and Comanches formed relationships with Spaniards in Texas that refuted European claims of imperial control.Barr argues that Indians not only retained control over their territories but also imposed control over Spaniards. Instead of being defined in racial terms, as was often the case with European constructions of power, diplomatic relations between the Indians and Spaniards in the region were dictated by Indian expressions of power, grounded in gendered terms of kinship. By examining six realms of encounter--first contact, settlement and intermarriage, mission life, warfare, diplomacy, and captivity--Barr shows that native categories of gender provided the political structure of Indian-Spanish relations by defining people's identity, status, and obligations vis-a-vis others. Because native systems of kin-based social and political order predominated, argues Barr, Indian concepts of gender cut across European perceptions of racial difference.

    Since then, Argentina's World Cup victory has become the stuff of legend, particularly their infamous victory over England--only four years after the country's defeat in the Falklands War--which featured arguably the best goal in history (Maradona's "Goal of the Century") and the worst (the notorious "Hand of God"). But Argentina's victory came after months of struggle and discord within the team, including the Argentine government's attempt to remove the team's management, a lack of equipment that forced the players to buy their own uniforms, and an argument that caused the team's captain to quit on the eve of the tournament. Now, thirty years after Argentina's magical victory, Maradona tells his side of the story, vividly recounting how he led the team to win one of the greatest World Cup triumphs of all time.

    The year is 947 AD, a time when southern Spain is under the rule of the Moors. The ruler, Caliph al Rahman III is rich, powerful and cultured. His lands are, at long last, at peace and the capital, Córdoba, is considered to be not only the most beautiful city in the civilised world but also the seat of learning and culture. Against this background we meet the artisan Qasim - he and his family have moved to Madinat al Zahra to make their fortune as potters. Qasim is a good husband and father. He works hard, says his prayers and keeps out of trouble. But Qasim has a secret; his past is not what it seems. When a stranger arrives asking questions about him, he is worried that his secret will be discovered and everything he has worked for will be destroyed. He has to take action.

    What was once a thriving paradise has become a battleground for fascist soldiers and Spanish patriots. It doesn't take long for Sophie to realize just how far from home she really is.Caught in the middle of what is quickly becoming a bloody battleground, she receives tragic news, but remaining in Spain is her only option. The route to safety is blocked and fighting surrounds her. On her darkest night, Sophie takes refuge with a brigade of international compatriots. It is among these volunteers, through the use of her fiance's camera and her art, that she pledges to make the plight of the Spanish people known around the world.

    The moving story of a simple parish priest from Oklahoma who would not abandon his Guatamalan parish and was martyred during the Guatamalan civil war at the age of 46.

    It happened over the course of several weeks. America was so wrapped up in what the media fed them that they were oblivious until it was too late. When society crumbled and the Dead walked the planet, resources became scarce causing strangers to become friends, neighbors to become family and some of the closest people to become enemies. Communities fortified their defenses, not only against the threat of the undead but the greed and jealousy of the living. When the Dead Rise follows several groups from the intial Outbreak through beyond.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    But everyone-including the baffled novelist-is trying to figure out exactly who San Vicente really is. There is some record of San Vicente in FBI records during the Wilson era, and some mention of him in anarchist records and rumors, but the rest has to be filled in. And who better to do this than Taibo? Meanwhile-with Taibo busy in the background trying to resolve the mystery of his hero's identity-San Vicente goes about his heroic avocation of organizing strikes against the capitalists, dodging thugs and hiding out from the Mexican Army."As an activist in Mexico in the '60s, Paco Ignacio Taibo II began a search for figures in leftist history that his generation could look up to. Today an internationally famous detective novelist (An Easy Thing, etc), the writer has validated his quest with a novel-documentary, in which he reimagines a historical figure-a mysterious Spanish anarchist named Sebastián San Vicente. Casting himself in a tale set 29 years before he was born, Taibo chronicles his present-day research and depicts a range of first person characters (some of them real figures) who engage with the elusive anarchist. Incorporating historical documents or documents based on fact-letters, telegrams, police files, etc.-the author further blurs the boundary between fact and fiction. Taibo's affectionate account of working-class culture in a phase of heroic struggle is a perfect little jeu d'esprit."-Publisher's Weekly"…a hilariously funny novel that satirizes every possible aspect of the politics and social fabric of 20th-century Mexico. Taibo is one of Mexico's most popular writers, known for his detective fiction and more mainstream novels like Leonardo's Bicycle. Then again, mainstream may be the wrong word-in the latter two titles, as in this, Taibo plays with the definitions of novel, history, politics and time. Very highly recommended."-Library Journal (starred review)"I am

    Its history reads like a history of pleasure itself. It is also a story of invasions and migrations, of artists and conmen, of drop-outs and love-ins. The Carthaginians established a cult to their goddess of sex there, and named the island after Bez, their god of dance. Roman centurions in need of a bit of down time between campaigns would go to Ibiza to get their kicks. And over the centuries, cultures around the Med have used the island either as a playground or a dump for the kind of people who didn't quite fit in back home, but who you'd probably quite like to meet at a party...This is the history of Ibiza, the fantasy island, framed by one long, golden summer where anything can happen - and it usually does.

    In fact, each setback they experience just seems to immerse them deeper into a life they have totally fallen in love with. 'Seriously Mum, Who's that Chicken?' is the latest installment of their adventures as they continue to seize the day, living off-grid and loving every minute.