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Indigenous graphic communication systems : a theoretical approach
\"Challenges Western academic views on what writing is and explores how these concepts can be improved by analyzing the sophisticated graphic communication systems found in Central Mesoamerica and Andean South America. Exploring and rejecting the Western notion that writing exists only to record the chain of speech\"--Provided by publisher.
Book
Indigenous Graphic Communication Systems
Indigenous Graphic Communication Systems challenges the adequacy of Western academic views on what writing is and explores how they can be expanded by analyzing the sophisticated graphic communication systems found in Central Mesoamerica and Andean South America. By examining case studies from across the Americas, the authors pursue an enhanced understanding of Native American graphic communication systems and how the study of graphic expression can provide insight into ancient cultures and societies, expressed in indigenous words. Focusing on examples from Central Mexico and the Andes, the authors explore the overlap among writing, graphic expression, and orality in indigenous societies, inviting reevaluation of the Western notion that writing exists only to record language (the spoken chain of speech) as well as accepted beliefs of Western alphabetized societies about the accuracy, durability, and unambiguous nature of their own alphabetized texts. The volume also addresses the rapidly growing field of semasiography and relocates it more productively as one of several underlying operating principles in graphic communication systems. Indigenous Graphic Communication Systems reports new results and insights into the meaning of the rich and varied content of indigenous American graphic expression and culture as well as into the societies and cultures that produce them. It will be of great interest to Mesoamericanists, students, and scholars of anthropology, archaeology, art history, ancient writing systems, and comparative world history. The research for and publication of this book have been supported in part by the National Science Centre of Poland (decision no. NCN-KR-0011/122/13) and the Houston Museum of Natural Science. Contributors: Angélica Baena Ramírez, Christiane Clados, Danièle Dehouve, Stanisław Iwaniszewski, Michel R. Oudijk, Katarzyna Szoblik, Loïc Vauzelle, Gordon Whittaker, Janusz Z. Wołoszyn, David Charles Wright-Carr
eBook
Visual Culture of the Ancient Americas : Contemporary Perspectives
\"A contributed volume featuring studies on Latin American art and archaeology by former students and current colleagues of Esther Pasztory, an influential art historian who is now professor emerita at Columbia University\"--Provided by publisher.
Book
scotopic and photopic visual sensitivity in the nocturnal tree frog Agalychnis callidryas
The red-eyed tree frog (Agalychnis callidryas) is endemic to the rainforests of Central America. During the night, it hunts for insects in the treetops whereas at daytime, the frogs rest under leaves. In the present study we determined the relative visual sensitivity spectrum of this nocturnal frog species by ERG recordings in both the dark- and light-adapted state. In both the scotopic- and photopic-sensitivity curve, we found only minor individual variations among the tested individuals. The sensitivity maximum of the scotopic curve was determined at 500 nm, which matches the absorption properties of the RH1-visual pigment expressed in the red rods of frogs. The sensitivity maximum of the photopic curve was found at 545 nm which is close to the absorption maximum of the LWS pigment type expressed in most cones of the frog retina. The threshold curves determined by ERG recordings here reveal no unusual features in the sensitivity spectrum of the red-eyed tree frog that could be interpreted as adaptations for its strictly nocturnal life style.
Journal Article
Indianizing Film
Latin American indigenous media production has recently experienced a noticeable boom, specifically in Bolivia, Ecuador, and Colombia.Indianizing Filmzooms in on a selection of award-winning and widely influential fiction and docudrama shorts, analyzing them in the wider context of indigenous media practices and debates over decolonizing knowledge. Within this framework, Freya Schiwy approaches questions of gender, power, and representation.
Schiwy argues that instead of solely creating entertainment through their work indigenous media activists are building communication networks that encourage interaction between diverse cultures. As a result, mainstream images are retooled, permitting communities to strengthen their cultures and express their own visions of development and modernization.Indianizing Filmencourages readers to consider how indigenous media contributes to a wider understanding of decolonization and anticolonial study against the universal backdrop of the twenty-first century.
eBook
Visualities
In recent years, works by American Indian artists and filmmakers such as Jaune Quick-To-See Smith, Edgar Heap of Birds, Sherman Alexie, Shelley Niro, and Chris Eyre have illustrated the importance of visual culture as a means to mediate identity in contemporary Native America. This insightful collection of essays explores how identity is created and communicated through Native film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach,Visualities: Perspectives on Contemporary American Indian Film and Artdraws on American Indian Studies, American Studies, Film Studies, Cultural Studies, Women's Studies, and Postcolonial Studies. Among the artists examined are Hulleah J. Tsinhnahjinnie, Eric Gansworth, Melanie Printup Hope, Jolene Rickard, and George Longfish. Films analyzed include Imprint, It Starts with a Whisper, Mohawk Girls, Skins, The Business of Fancydancing, and a selection of Native Latin films.
eBook
Borderlands Saints : Secular Sanctity in Chicano/a and Mexican Culture
In Borderlands Saints, Desiree A. Martin examines the rise and fall of popular saints and saint-like figures in the borderlands of the United States and Mexico. Focusing specifically on Teresa Urrea (La Santa de Cabora), Pancho Villa, Cesar Chavez, Subcomandante Marcos, and Santa Muerte, she traces the intersections of these figures, their devotees, artistic representations, and dominant institutions with an eye for the ways in which such unofficial saints mirror traditional spiritual practices and serve specific cultural needs. Popular spirituality of this kind engages the use and exchange of relics, faith healing, pilgrimages, and spirit possession, exemplifying the contradictions between high and popular culture, human and divine, and secular and sacred. Martin focuses upon a wide range of Mexican and Chicano/a cultural works drawn from the nineteenth century to the present, covering such diverse genres as the novel, the communique, drama, the essay or cronica, film, and contemporary digital media. She argues that spiritual practice is often represented as narrative, while narrative - whether literary, historical, visual, or oral -- may modify or even function as devotional practice.
eBook
The culture of history : English uses of the past 1800-1953
In this original and widely researched book, Billie Melman explores the culture of history during the age of modernity. Her book is about the production of English pasts, the multiplicity of their representations and the myriad ways in which the English looked at history (sometimes in the most literal sense of ‘looking’) and made use of it in a social and material urban world, and in their imagination. Covering the period between the Napoleonic Wars and the Coronation of 1953, Melman recoups the work of antiquarians, historians, novelists and publishers, wax modellers, cartoonists and illustrators, painters, playwrights and actors, reformers and educationalists, film stars and their fans, musicians and composers, opera-fans, and radio listeners. Avoiding a separation between ‘high’ and ‘low’ culture, Melman analyses nineteenth-century plebeian culture and twentieth-century mass-culture and their venues - like Madame Tussaud’s Chamber of Horrors, panoramas, national monuments like the Tower of London, and films - as well as studying forms of ‘minority’ art - notably opera. She demonstrates how history was produced and how it circulated from texts, visual images, and sounds, to people and places and back to a variety of texts and images. While paying attention to individuals’ making-do with culture, Melman considers constrictions of class, gender, the state, and the market-place on the consumption of history. Focusing on two privileged pasts, the Tudor monarchy and the French Revolution, the latter seen as an English event and as the framework for narrating and comprehending history, Melman shows that during the nineteenth century, the most popular, longest-enduring, and most highly commercialized images of the past represented it not as cosy and secure, but rather as dangerous, disorderly, and violent. The past was also imagined as an urban place, rather than as rural. In Melman’s account, City not green Country, is the centre of a popular version of the past whose central Images are the dungeon, the gallows, and the guillotine.
eBook