1,753 research outputs found
The Carnegie Maya: the Carnegie Institution of Washington Maya Research Program, 1913-1957
No full textIncludes bibliographical references and index.The Carnegie Maya I -- The Carnegie Maya II -- The Carnegie Maya III -- The Carnegie Maya IV
The World's Classics
No full textI was happy to find this text available when I needed a La Fontaine text for an undergraduate course in fable literature. It had advantages that I liked: an broad selection of fables with explanatory notes in an inexpensive format. Thought it is not a high priority, I also like students to be able to see what the French actually says. I am sorry to report that my experience with the book was largely negative in two ways. First, my recollection is that I too often found the translation saying things that I did not find in the original, and so I had the bad experience of telling students that the original did not really mean what the translation said that it meant. Ouch! Now a year later, I check through my text for some examples. In WD (I 5), La Fontaine stresses the wolf's abhorrence of servitude by saying that he fled and is running still. Wood translates He's running still, I'm told. Why add the possibly damaging phrase I'm told except to fill out a rhyme with the prior line's for gold? For me, that kind of price for buying a rhyme is too high. Again, La Fontaine finishes FS (I 18) by mentioning his audience (Tricksters, it's for you I write) and commanding them to expect the same (Attendez-vous à la pareille). Woods translates the latter biters will be bit: don't bite. We have both a new image and a new command. In The Master's Eye (IV 21), La Fontaine writes that each servant struck the beast, and the tears he shed in vain appeal were not able to save him. Here is Wood's rendering: They all stabbed the Stag, and though he couldn't talk,/his tears spoke most eloquently, but in vain…. Why bring up in a fable the point that this stag could not talk when the poet himself did not raise it? At the end of The Lark and Her Young (IV 22), we do not even learn from Wood whether the little family flew! Instead we get flittering, fluttering,/skittering, scuttering,/hush!/shush!/all in a row… What?! Secondly, there were many fables needing to be read that I did not find included in this selection. Some of the fables I miss here are: The Lion's Partnership (I 6), The Double Sack (I 7), The Middle-Aged Man and His Two Would-Be Wives (I 17), and The Cock and the Pearl (I 20). And this is only within Book I! One hates finally to come across a typo--I assume it must be such--like that in these lines on 311: the smallest Merchant is too fly/to sigh, because he has to hide/his losses if he is to keep/his creditors at bay. Should that fly be sly?This is a hardbound book (hard cover)Language note: Bilingual: English/FrenchOriginal language: freApparent first printingTranslated by Christopher Woo
Figures of the Text : Reading and Writing (in) La Fontaine, par Michaël Vincent. (Purdue University Monographs in Romance Languages, 39). Amsterdam/Philadelphia, John Benjamins, 1992
No full textSlater Maya. Figures of the Text : Reading and Writing (in) La Fontaine, par Michaël Vincent. (Purdue University Monographs in Romance Languages, 39). Amsterdam/Philadelphia, John Benjamins, 1992. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°5, 1993. La Fontaine de Château-Thierry à Vaux-le-Vicomte (2-3 juillet 1992) p. 69
La Fontaine imitateur de lui-même : les dernières Fables
No full textSlater Maya. La Fontaine imitateur de lui-même : les dernières Fables. In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°8, 1996. Jean de La Fontaine, 1695-1995. Actes du Colloque du Tricentenaire 25-27 octobre 1995. pp. 129-136
Replication code for: Violence While in Utero: The Impacts of Assaults During Pregnancy on Birth outcomes
No full textWe provide the code necessary to replicate all of the output in the tables and figures of the article and online appendix. The README file describes our data sources and provides information for how to access them. It also describes the various Stata do-files used to produce our output. We also include a codebook that provides information on the variables used in our analysis
Table ronde animée par M. Jean Mesnard
No full textMesnard Jean, Fraser Amonoo Reginald, Sasaki Shigemi, Slater Maya, Crolet Vandoorne Marie-Christine. Table ronde animée par M. Jean Mesnard. In: Cahiers de l'Association internationale des études francaises, 1998, n°50. pp. 37-58
Museo maya de Cancún
No full textProyecto arquitectónico de vanguardia, muy respetuoso del ambiente natural, este museo inaugurado recientemente alberga una de las colecciones de la Cultura maya de mayor consideración en el país, propia del estado y proveniente de otros, que se incorpora a la zona arqueológica de San Miguelito.</p
Maya Gods of War
No full textNumerous archaeological projects have found substantial evidence of the military nature of Maya society, and warfare is a frequent theme of Maya art. Maya Gods of War investigates the Classic period Maya gods who were associated with weapons of war and the flint and obsidian from which those weapons were made. Author Karen Bassie-Sweet traces the semantic markers used to distinguish flint from other types of stone, surveys various types of Chahk thunderbolt deities and their relationship to flint weapons, and explores the connection between lightning and the ruling elite. Additional chapters review these fire and solar deities and their roles in Maya warfare and examine the nature and manifestations of the Central Mexican thunderbolt god Tlaloc, his incorporation into the Maya pantheon, and his identification with meteors and obsidian weapons. Finally, Bassie-Sweet addresses the characteristics of the deity God L, his role as an obsidian merchant god, and his close association with the ancient land route between the highland Guatemalan obsidian sources and the lowlands. Through analysis of the nature of the Teotihuacán deities and exploration of the ways in which these gods were introduced into the Maya region and incorporated into the Maya worldview, Maya Gods of War offers new insights into the relationship between warfare and religious beliefs in Mesoamerica. This significant work will be of interest to scholars of Maya religion and iconography
A Poem For My Wife
No full textSigned by the author and numbered 43/50.Noted as being Maya Broadside Two in green tex
An Afternoon with Maya Angelou
No full textMaya Angelou, a nationally renowned poet, educator, historian and author, is one of the great voices of contemporary literature. In addition, she is an accomplished actress, playwright, producer, and director. Dr. Angelou received an emmy nomination for best supporting actress in the television series Roots and received the coveted Golden Eagle Award for the PBS documentary Afro-American in the Arts. However, she is perhaps best known for the public for her autobiographies and books of poetry.
Maya Angelou has authored more than 10 best selling books and numerous articles in publications such as Life, Cosmopolitan, Harper\u27s Bazaar and The New York Times. She has received a wide variety of honors an awards including a Pulitizer Prize nomination for poetry, the Horatio Alger Award and 30 honorary Doctorate degrees from schools such as Smith College and Lawrence University. Today, she continues to lecture throughout the country and abroad, sharing the black experience and educating her audience on the human condition.
Excerpt from the attached progra
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