Images Of Ruptured Ovarian Cysts

Ancient Mesoamerica News Updates 2011, No. 29: Mexico City - Series of Conferences That Accompanied the Exhibit "Six Cities Ancient Mesoamerica" \u200b\u200bBegins
Yesterday, Friday May 13, 2011, the National Institutes of Anthropology and History (INAH) Began the series of conferences That Accompanied the exhibit "Six Cities." The exhibit is extended to August 2011 and is Shown at the National Museum of Anthropology in Mexico City. Each Friday afternoon in May and June, Starting at 12.00 hrs., A conference will Be held in the Auditorium Tlaloc of the National Museum of Anthropology (MNA). The entrance to These conferences is free. Following the INAH posted the bulletin after the first conference by Diana Magaloni, director of the MNA, on the "Sacred Mountains" at the center of Each of the six cities (edited by amanu):
prehispanic pyramids represent foundational myth - The majestic pyramids of the Sun in Teotihuacan, Los Niches, El Tajin, and the Temple of Inscriptions in Palenque, are clear examples of symbolic representation the prehispanic people did the myth of the "Holy Mountain", the which refers to the beginning of all time, a creative partner, joining forces made earth emerge from the depths of the ocean, a large hill. Diana explained this
Magaloni, director of the National Museum of Anthropology (MNA), to provide the first conference that began the lecture series "Six Ancient Towns of Central America," which takes place in a complementary manner to the exposure of same name that appears on this site the National Institute of Anthropology and History (INAH).
By way of preamble, on the mythical story that supported the worldview of pre-Columbian peoples, the restoration and said the start line of the six ancient cities on which the statement relates, Monte Alban, Palenque, Teotihuacan, The Tajin, Tenochtitlan and Tlatelolco, whose developments were from a large temple on a mountain: the pyramid.
"As synthetic and symbolic reflection of the ordering principles of the gods, each of the cities built large temples in the form of mountains, sometimes built on a spring or a cave, this according to origin myths Nahua, Maya Zapotec and Mixtec, respectively.
"The foundational myth that at the beginning of time everything was dark and quiet, the sky and water were joined by a silent chaos, nothing moved and there was no sunlight, all traditions also refer to a creative partner that to join forces made earth emerge from the depths of the ocean like a great mountain.
"So Mesoamerican cities represented the idea of \u200b\u200bthe great mountain alive through large pyramidal structures, reproductions of the 'First City', a symbol of fertility, renewal and abundance." Magaloni
explained that the truncated pyramids, sunken plazas, caves and mountain scenery on the horizon, are elements that construct a narrative in which each city is embedded in the mythic time for endless recreation, to legitimize power and to express membership of the inhabitants of the established order by the gods. To
the director of the Museum of Anthropology need to incorporate this story intangible, as they did at the time our ancestors, generation after generation, because, he said, "The real breakthrough after the English conquest in our minds, so these exhibitions serve to remove our origin.
"The Mesoamerican cities are places where the times of this historic and perennial stories are myths, and stories that portray the myths, that is the reason for the 'Holy Mountain' with their holy city, are centers that link the past and the present, as a parenthesis.
"They are symbolic acts / rituals that transformed the landscape into a conceptual construction of the habitat, which is the city itself and its sacred grounds. "
This belief system, detailed, study was made possible from the monuments themselves and their iconography, and the reading of the creation myths collected and transcribed into the Latin alphabet in the sixteenth century, among them manuscripts such as Vaticanus, the Rivers, or the sacred Mayan book Popol Vuh.
is how scholars know that the ancient Mesoamerican cities were built along the lines of a thought common to all indigenous peoples of the past but with their own space and time. Diana
Magaloni myths referred to as one included in the Popol Vuh, which describes the supreme creative force and an elderly couple called Xpiyacoc and Xmucane, the Mixtec myth naming the couple as the unit "A deer" Nahua myths call the principle dual Ometéotl, "God Two" or "God of Duality."
Referring to Monte Alban, located in the valley of Oaxaca, said the concept was amplified here because all the big city is the Mountain of Dawn of the ruling lineages, 200 years BC the inhabitants had accomplished the feat of construction engineering Having cut and flattened the top of the mountain to build the great central plaza and various buildings.
"Monte Alban is the dream referred to in the codices, about which the gods live in the axis, in their palaces, at the top of the hills. Translates the myth of origin between the sacred mountain to the palaces above it, because they express the myths Mixtec and Zapotec in urban planning. "
In Palenque, Chiapas, the Temple of Inscriptions is embedded in the mountains and reproduced, in Teotihuacan, the Pyramid of the Sun was equipped with a channel around it, so that in times of water that seems to float in the ocean the first time, moreover, the Pyramid of the Moon resembles the shape and channel the power of Cerro Gordo behind It also serves to guide the north-south axis which lies to the entire city.
At El Tajin, Veracruz, the city is oriented towards the hill called the Maintenance and in Tenochtitlan and Tlatelolco, Mexico City, were built on the waters of Lake Texcoco, so that their temples and buildings were the live image creation time and order of the cosmos.
The lecture series will continue every Friday in May and June at 12:00 pm in the Auditorium Tlaloc National Anthropology Museum (Reforma and Gandhi, Bosque de Chapultepec). Admission is free. The next conference will be devoted to Monte Alban by archaeologist Nelly Robles, director Oaxaca INAH Center. (Source INAH)

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Ancient Mesoamerica News Updates 2011, No. 28: Mexico City - New Exhibit "Wings of the indigenous world" To Open on May 9 at the MNA
Yesterday, Wednesday May 4, 2011, the National Institutes Anthropology and History Informed That on May 9, 2011, the new exhibit "Wings of the indigenous world" will open at the National Museum of Anthropology in Mexico City. This exhibit is the second part of the exposition "The Flight of the images, the first of Which WAS Shown at the National Art Museum. A total of 376 ethnographic objects will Represent the art of feather work Practise by 34 Different as Indigenous People in Mexico, Including Chichimec, Raramuri, Totonac, Tzeltal, Tzotzil, Yaqui, and Zapotec (edited by amanu):
Museum of Anthropology presents feather Stock - Symbolism, use and presence birds in rituals and daily life of indigenous cultures, will be shown through 376 ethnographic objects, among which is a blouse that was attributed to La Malinche, the indigenous world Wings exhibition will be opened on 9 May at the National Museum of Anthropology (MNA).
At a press conference to publicize the details of this second part exposure Flight images-the first opened in March at the National Art Museum, "Diana Magaloni, director of the MNA, said that indigenous world Wings is" a broad and plural on the art of contemporary indigenous cultures, which represent the most important wealth of the country, an exhibition concerned about the relationship of birds with these companies, and the use of feathers reflected in objects, myths and rituals. "
In this sense, this exhibition will represent Mexico's 34 indigenous groups including Cora Chichimeca rarámuri, Totonac, Tzeltal, Tzotzil, Yaqui Zapotec to name a few, reported in his speech Alejandro González Villarruel, deputy director of the Museum of Ethnography, and anthropologists Catalina Rodríguez and Arturo Gomez, curators of the exhibition. Alas
the indigenous world is organized by the National Institute of Anthropology and History (INAH) and National Institute Fine Arts (INBA), and among the works to be exhibited features a blouse that decades earlier was attributed La Malinche, a woman who served as translator to the English conquistadors in the sixteenth century. This is a piece of cotton with feathers, made on a backstrap loom, whose design representation double-headed eagle, the mythical bird revered by various indigenous groups.
"This blouse received the title by the similarity to the one used by La Malinche, according to some manuscripts as illustrations of the Tlaxcala Canvas and Florentino. It was felt that seniority was the sixteenth century, however the studies in 1999, it was determined that dates from between 1770 and 1800 AD, according to anthropologist Catherine Rodriguez.
third of the pieces presented in Flight images are unique, since they were recently acquired by the National Museum of Anthropology. These ethnographic objects emphasizes "a white blouse, brocade with colorful cotton yarns, the Tzotzil town of Santa Maria Magdalena, Aldama, Chiapas.
"Among the Tzotzil this garment is used by the wives of men holding the office of lieutenant-person presiding acts during religious festivities in the community. The designs are of great symbolism, alluding to the universe, heaven, earth, the underworld, animals and plants and water that gives life, as well as the plumed serpent, "said Catherine Rodriguez.
Each of these items, he added, has a space for data from the artisan who produced it, and simultaneously the realization of his blouse create another image for employer's place (Mary Magdalene), and in that place reserved for the wives left their request for protection implied.
addition, the researcher said to be exhibited for the first time a shirt Zapotec Yautepec from San Bartolo, Oaxaca, which is used by the men of the community during religious ceremonies. Is made of white cotton and is decorated many images of birds of the feathered serpent, made of purple-dyed yarns.
Likewise, you will see a blouse belonging to the municipality of Ometepec Amuzgo, Guerrero, made in 1965. "It was made with brown cotton , Which is grown only in some regions, so that does not require dyeing. His main reason is also the feathered serpent and the accompanying representations of chickens, birds common in the clothing of women in this culture, "the anthropologist explained.
Along with these textiles are other parts that indigenous groups considered high symbolic value, for example, a headdress as the Tzotzil da hierarchy and status to those who carry it, which is why it is only used by the lieutenant, this motif is felt and decorated with peacock feathers.
The exhibition is organized into six modules: Birds lavish, Bird myths Mythical Birds, Birds dancers, warriors and dancers offering and sacrifice that relate to the relevance and use of birds in myth, and ritual dances, in addition to its practical value and artistic standard of the indigenous groups of Mexico.
The exhibition also includes pottery, rattan, wood, stone, paper, bark, tule, among other materials, which have different representations of mythical birds referred to in legends handed down from generation to generation regarding the origin of things and the creation of the world.
also display objects that are used in two types of dances performed indigenous cultures. The first known like birds dancing, where a local man dressed as bird and dance imitating the movements of this animal.
The second, called the war dance is a representation of the struggle between peoples pre-Hispanic and English conquerors. Headdresses, rattles and boxes, arrows (also known as quiver by rarámuri) and chimallis (prehispanic shields) are some of the elements used in these rituals and to display in the exhibition.
also be screened some videos, made by the Media Division of the INAH, about rituals of various ethnic groups slaughtering birds in rain rituals to apply, cures or appreciation for good harvest.
worth mentioning that the first part of the exhibition flight of the images presented in the National Art Museum, entitled Art feather in Mexico and Europe, and will be open until June 19. It brings together more than 170 Hispanic pieces and New Spain which testify to the development and importance in the world of this artistic technique of pre-Hispanic origin. [...]
-up - The National Museum of Anthropology will give a workshop called Mosaic in feather art, from 9 to 13 May from 16:00 to 19:00, will be taught by amantecas (artist dedicated to the feather) michoacana Martha Leticia Lopez which teach the materials, tools and gluing technique of the pen to perform various works of art. Space is limited.
addition, the symposium held lights and shadows in art production universal, from 16 to 18 June, which will examine the qualities, skills and feather art materials and their transformation and impact in the world.
Alongside the exhibits at the Museum of Anthropology and Munal, from May 9 photographic exhibition will present the Flight of the images in Chapultepec, at the gates of the Forest, on Avenida Reforma.
is 150 images that bear witness to the beauty and complexity feather art, Mesoamerican origins, its development in New Spain, its international impact and continuity of production to this day. This exhibition, which is possible with the support of the Ministry of Culture of the Federal District, will remain until 13 May. (Source INAH)

Do European Women Not Wear Panties

Ancient Mesoamerica News Updates 2011, No. 27: Nayarit, Mexico - 287 INAH Receives Collection of Objects Belonging to the Aztatlán Culture
Yesterday, Wednesday May 4, 2011 , the National Institutes of Anthropology and History Informed That They Have Received a collection of 287 That objects belong to the Aztatlán culture. This Florish entre culture circa AD 200-1350 in the northwest of the lexical state of Nayarit. The collection WAS DURING Formed Some 25 years by the Mexican plastic artist Vladimir Cora, Who reside in the town of Acaponeta, Nayarit, Located about halfway entre Tepic and Mazatlan. The INAH bulletin Provides information on the origin of the collection and the culture and presents Aztatlán Some short descriptions of iconography (edited by amanu):
INAH receives archaeological pieces Aztatlán culture - An archaeological collection consisting about 300 pieces dating from 200 to 1350 AD, considered one of the most important Aztatlán related to culture that developed in the northwestern lowlands of Nayarit, was received by the National Institute of Anthropology and History (INAH) from the hands of artist Vladimir Cora.
Over 25 years, Vladimir Cora formed and preserved the archaeological collection at his home in the city of Acaponeta, thus avoiding traffic and marketing outside the entity it recently handed over the nation, through the delegation INAH in Nayarit, where he will make the recording, study and restoration of the 287 pre-Columbian objects that compose it.
The collection of these objects prehispanic, which allow specialists to deepen their knowledge of the ceremonial practices of this ancient civilization, is composed mainly of pottery, among which are vessels decorated with designs allusive to the ritual sacrifice and sun worship, and copper bells , shell beads and finely cut green stone, travertine urns and zoomorphic ( tecali ).
also excel seals, spindle whorls smooth and decorated, projectile points and figurines, some of them are anthropomorphic Mazapa style and still retain pigment residues. Mauricio Garduño
Archaeologist Ambriz, Nayarit INAH Center, who has specialized in the study of the archeology of the coastal nuclear Aztatlán said the handover ceremony of this collection is relevant to regional archeology, because it is "a rare display of representative material culture of these ancient populations over time. "
also said, this collection is a reflection of social experience gained over at least 15 centuries of continuous occupation in the fertile floodplain located in this coastal area, covering a long period of adaptation and transformation of the environment from Terminal Formative (0-150/200 AD) to the Late Postclassic (1350-1530 AD). "
Among the symbolic designs identified in the vessels of the complex-dating Aztatlán Postclassic (850/900-1350 AD) - are celestial bands, knives for sacrifice ( tecpatl ) tied with feathers, sea shells sectioned, rattlesnakes, snakes Fire ( Xiuhcoatl ) and staggered frets.
addition, these tools are represented high-ranking personages richly dressed wearing masks of Tlaloc, as well as numerous skulls associated with balls of grass ( zacatapayolli ) that were embedded in the long bones and maguey thorns, commonly used in self-sacrifice ceremonies in annual ritual cycle. These elements, as well as the glyph for the planet Venus, have been identified for the first time in the iconographic repertoire Aztatlán.
"With this wealth of information will be possible to form a more comprehensive scheme of religious concepts and rituals of propitiatory character associated with the complex ceremonial Aztatlán Postclassic period," said Mauricio Garduño expert.
Preliminary inventory and packaging of pre-Hispanic pieces were made by Paula García Reyes restorer and archaeologist Geylú Valderrama. It is noteworthy that the transfer was made by the same strict standards security with support from the Federal Highway Police, until he arrived at Nayarit Regional Museum in the city of Tepic.
archaeological collection is currently being guarded in the hold of cultural property of the museum, from its registration, restoration and curation will screen the design and installation of a temporary exhibition on coastal archeology Aztatlán, which it plans to carry out end of 2012 in that place. (Source INAH)

What Is The Largest Diameter Curling Iron

For historical context Contribution to the Critique of Political Economy by Karl Marx.

This is the official (slightly improved) that has made the Editorial Siglo XXI of the new version of KEY ELEMENTS FOR THE CRITIQUE OF POLITICAL ECONOMY of Karl Marx .

The Building Blocks for the Critique of Political Economy constitute the first synthesis of Marx's investigations began in November 1850 in London, when after the defeat of the revolution of 1848 is removed from the scene to resume its previous public economics studies. Despite its fragmentary state, if only the "working draft" (Grundrisse) of a work that Marx never finished, texts are fundamental to understand the process of developing the Marxist critique of liberal political economy. This book is the missing link that can be reconstructed in a different intellectual journey of a Marx that appears today in a new light.

For this new version in Castilian have been taken into account, besides the original German edition of the translations that are tributary to the Castilian classics to the emergence of this new version, the huge work of critical cleansing conducted by the Institute Marx Engels Lenin (IMEL) in Moscow, showing the large amount Errors and inaccuracies, contradictory and confusing criteria to be contained in the first edition in German. This has enabled the team of translators provide for the first time after the recent Russian translation, a version of the 'Grundrisse' debugger Y. therefore, of unquestionable scientific value. The translation, collation and preparation of the original notes were made by a team of Editorial Siglo XXI, Argentina, coordinated by Pedro Scaron, translator and expert on issues close to the original Marxian thought.

A curiosity: The term 'Marxist' applies to any theory or, where appropriate, to a subject or a group are identified and are considered followers or followers of Marx's thought considered as a body of doctrine. For its part, the term 'Marxist' should be applied to what is considered originally produced or proposed by Marx himself. Thus, it is more correct to speak of 'Marxist thought' that 'Marxist theory', using the expression to Marx's own production. In the same way that it is more correct to speak of Cartesian thought 'Cartesian' or 'rational' if we are referring to their own thinking and the original production of Descartes. According

a celebrated anecdote a Marx who was bedridden in his last days, knowing of the heated discussions taking place about the nature Marxist or Marxist who should have the Second International reconstitution (which occurred in 1889, five years after his death) and he wrote to his son, the French socialist Paul Lafargue: "Ce qu'il already c'est Un certain that moi, je ne suis pas Marxist." The story is more interesting, according to some interpretations, which would seem at first sight: It was not a simple irony of the founder of 'scientific socialism', but a complaint and a renunciation of dogmatism, ie the existence of theoretical or scientific bodies locked and incontestable.

What Kind Of Printer Did Bella Have In New Moon

BEATITUDE in STORM IN A GLASS

Arisen to the fifties in the United States, the beat generation was a real break with the prevailing ways of life then, with a country that was beginning to take off largely supported in the consumer unconscious and the abdication of responsibility for the welfare. About transgressive attitudes, such as drug use, sex, uninhibited and free, and improvisation aesthetic issues in the story or poem (the way of their heroes admired jazz), the authors of the beat generation ( Burroughs, Ginsberg, Cassady, Kerouac , Ferlinghetti, Corso and many others) marked, for the present and future, any literary style, which only the big get, alone or in groups, marked the whole mentality and way of living which echoes persist today.

Accordingly, the influence of those deluded writers, perhaps the last authentic bohemian rebels and Literature, wants to testify Bliss (visions of the beat generation) , a book where 33 authors, different ages and nationalities, write about how Howling poems or novels as Along the way, The Dharma Bums or Naked Lunch conditioned his thinking and in several cases, their way of life, based on the journey, the continuing search for did not know quite what, but in any case outside how easy and provisions, sensitivity and common rules, both critical and aesthetic. They are, as noted above, authors of various ages, from some who could well have been the younger brothers of those hitchhikers with a novel in progress in the knapsack (one of the participants, in fact, tells how he came to San Francisco the latter part of this sudden fever of life), and others have barely come to know the echo of the legend of those types, or to warn on their pages they lose strength in his day. Composed of texts, therefore, different styles, from different and varied points of view, the overall volume level is excellent. There are stories simply brilliant, dazzling, huge, like "On the road soviet" by Miquel Silvestre , where the author recounts a trip by motorcycle in the former Soviet Union in a journey that, although shorter, of course, little has to envy to the novel on which it relies. Others also excellent, as "the end of the road" by José Ángel Barrueco , or choosing a path, " Pepe Pereza of , where with a sharp sense of humor tell us how difficult it is to follow that path opened by the beatniks, and how many times our desires are dashed against reality. "India or fear" by Ana Pérez Cañamares , chronicle of a bumpy ride, and nothing else, a hippy out of your time will never come to Kathmandu. bucolic vision Patxi Irurzun "My father, books Reno, Ned Flanders and beats, all in the same sentence" (great title, by the way). The brutal story "Footprints in the dust," hard and forceful, of David Gonzalez . The courage of Mario Crespo in "Route 23", when talking about the much maligned and ridiculed "bakalao path" with a lyrical echo beat ...
As in any joint book, of course, there are highs and lows, in this case several authors who take advantage of the aesthetic as an excuse to beat sprawl texts meaningless, masturbatory exercises allegedly lyric or malcubren file with the appeal, tiring and boring, to "not think of anything and is exhausted term. " But apart from these cases, few and surely inevitable in any joint work, the overall level is excellent and in the pages of Bliss feels often, turning a page, the vital pulse of the honorees. The echo, often near those old beatniks.

Miguel Baquero

http://latormentaenunvaso.blogspot.com/2011/04/beatitud-visiones-de-la-beat-generation. html

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Ancient Mesoamerica News Updates 2011, No. 26: Xochicalco, Morelos - Exhibit Shows Three Important Sculptures Discovered 20 Years Ago
The new exhibit "Xochicalco. Heritage. 100 years of archaeological investigations 1910-2010," Shown at the Regional Museum Cuauhnáhuac in Cuernavaca (Morelos), presents three important sculptures Which Were found 20 years ago at the site of Xochicalco. The exhibit presents These three sculptures, after Careful Reassembly and conservation, for the first time to the general public, WAS Reported as last Friday, April 29, 2011, by the National Institute of Anthropology and History (edited by amanu; photos: Durango context)
commemorate 100 years of archaeological research in Xochicalco - Three sculptures prehispanic size were found in pezados almost 20 years in the archaeological zone of Xochicalco, are shown for the first time in the Regional Museum Cuauhnáhuac after a hard work of assembly and restoration. His presentation is part of the exhibition which commemorates 100 years of archaeological investigations at the site of the State of Morelos, conducted from 1910 to today.
These are representations of a male deity called The Creator, a jaguar and an iguana, about a thousand years old, which account for artistic creation reached by Xochicalco civilization of which there are still many puzzles to decipher , given that so far has explored 15% of the area occupied this city, said the archaeologist Silvia Garza Tarazona, responsible for the reconstruction of the sculptures and curator of the exhibition.
"They are works in which mixed the earthly with the divine, hence the high symbolic value," said the researcher from the National Institute of Anthropology and History (INAH), in detailing the discovery of these sculptures dating from Epi-Classic period (650-1100 AD) - was recorded in 1992, as part of Xochicalco Project excavations, under the direction of archaeologist Norberto González Crespo.

"were located in what we call a 'pre-Hispanic dump', discovered by exploring the buildings of the Great Platform, near the Acropolis. In one room, with the roof down, we found lot of pieces of ceramic sculptures, vases, figurines, human and animal bones, of which so far have been 343 pieces. "
One hypothesis of this wealth of material, the archaeologist said Garza Tarazona, is that in pre-Hispanic sculptures were placed on the roof of one of the rooms of the Acropolis. "This idea is based on the stucco with which the sculptures were coated sample signs of weathering due to exposure to sun and rain.
"We also believe that it was an important group of sculptures, because it has been determined that there were 18 (11 anthropomorphic four iguanas and three pumas). For the weight and the amount we can suppose that they were on the roof "he explained.
Archaeologist Morelos INAH Center abounded that the violent events that occurred Xochicalco, circa 1100, by the discontent of the people with forms of government and religion, and that led to its decline, the building where the sculptures were was burned until it collapsed, and with it came the fragmentation of the works. Given
complexity for the reassembly of the 18 sculptures, this commemorative exhibition was only the reconstruction of the three presented in the Museum Cuauhnáhuac "Palacio de Cortes", where they will continue their run into mid-July.

The iconic piece is called The Creator, who is a life-size sculpture made of clay from 1.14 m, 55 cm wide and 65 cm thick. "It represents an adult man of great solemnity. It has a hooked nose and sticks her mouth because it has large curved tusks. Kneeling on the left leg and holding a vine of his address is unknown it has not been found. The eyes have similarity to the Maya pantheon of deities.
"represents a deity connected with fertility because it has two penises in the form of vines that reach back to his shoulder, chest and tied one end reaches the left thigh and the other possibly in the right arm" said archaeologist Silvia Garza Tarazona.
The specialist, who for nearly 30 years has worked in exploration of Xochicalco, adding that this character also wears a headdress that symbolizes time and cacao seeds representing wealth. This sculpture must have been painted as pointing the remains of red pigment still in use in ears, hair and the vine.
Moreover, the archaeologist explained that the iguana sculpture measures 1.05 m long, 47 cm high and 34 cm thick. "Of all the sculpture is the figure showing more movement because it has the tail raised and pointing to the left side. Also in the legs slide bracelets and a necklace of large accounts. " While
puma sculpture, 77 cm high, 51 wide and 54 thick, is the cat sitting with ears back, in alertness, and wears a neck cord whose ends form a rectangle. This piece retains its original colors: yellow body, red gums and tongue, and white chest.
Xochicalco exposure. World Heritage. 100 years of archaeological investigations 1910-2010, the Regional Museum presents Cuauhnáhuac "Palacio de Cortes", located in the center of Cuernavaca, Morelos. Hours: Tuesday to Sunday from 9:00 to 18:00. Cost of access to the same ticket to the museum. (Source INAH)

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SATORI IN PARIS

invented stories and romances about what would happen if ... Children and adults are idiots who are afraid to admit in a book look like fear the mirror when they are sick or injured or hangover or crazy.

Jack Kerouac, Satori in Paris of (Ediciones Escalera, 2009).

Small Table With Drawer Blue Print

Bliss in La Rioja, full page larioja.com

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Beatitude in the hand of Diego Marin

Although the rate of publication in La Rioja has been reduced, this has not alleged that the writers are unemployed. Numerous books, anthologies and book collections and national groups containing the texts of young writers Rioja. The clearest example is 'Bliss' (Baladí Editions, 2011), a tribute to the Beat Generation (Keruac, Burroughs, Ginsberg ...) involving Sonia San Román, John Smith, Carmen Beltrán and Rodríguez Lucas. "This indicates that the literature in La Rioja enjoys excellent health," says Sonia San Román, which recognizes that "the influences of the Beat Generation I get sifted through the grunge movement , which is what fell on me live in the 90. I am Generation X, and we inherited some pessimism, disbelief, avoidance and rejection of traditional values, "says the writer.

Pepe Pereza, actor in recent months is immersed in the literature (and who has already published e-book), said that his involvement with the story "Choosing a path '' impromptu speech from a trip I did in my youth, motivated by reading books like 'On the Road' by Jack Kerouac." Participants in this kind of book groups that proliferated in recent years are repeated in many cases and remind others, as is the case of 'Hank over' and the recent edition of 'Vinalia Trippers. " Vicente Muñoz Álvarez himself has revived this popular fanzine of 90 and with cover artist Miguel Angel Martin, has sought a deluxe edition. It Rioja collaborate Pepe Pereza, Lucas Rodríguez, Enrique Cabezón, Adriana Camacho and Sonia Bañares San Román.

is the latter, together with the logroñeses Cabezón and Nuria Ruiz de Viñaspre, which repeats itself again in another book. This is the anthology "Poetry Puta '(Gauge Lights, 2010)," a modest form of solidarity with prostitutes and in particular Hetaria' group to which the publisher will donate all the proceeds from the sale of this book. A total of 81 poets are included in this work, including Karmelo C. Iribarren and Roger Wolfe. But there's more. 'Poetics Hamlet V. Children's poetry. Dada in verse '(Opera Prima, 2011), which brings together authors as Aute, Ouka Leele and Jesus Munarriz, also features San Román and Cabezón in its pages, and that he participated in the previous installment, the fourth is devoted to sex. Http://www.larioja.com/v/20110426/cultura/jovenes-golpean-fuerte-literatura-20110426.html

7 Weeks Pregnant Is My Cervix Closed

INTERVIEW IN THE CHAIR VOLTAIRE

In beat we trust.

Sure, we believe in the beat, we believe in good literature and, of course, we believe in quality radio, as it does in the armchair Voltaire its director and Castanon presenter Sofia .

We leave here the link to listen to the program that were interviewed, anthologist and writer Vicente Muñoz Álvarez and editor David Vicente . There was talk of the last publication of editions Baladí, Bliss. Anthology of Beat Generation . But he spoke in general of all that has to do with the beat.

http://www.ivoox.com/capitulo-17-in-beat-we-trust-audios-mp3_rf_621894_1.html

Pain In Thighs When Ovulating Why

writer and poet Vicente Muñoz Álvarez and Ignacio Escuín Borao writer met in Bliss 33 stories in which authors such as Nacho Abad, Sergio Gaspar, Almudena Vidorreta, Inma Luna, Pablo Casares Eloy Fernandez Porta Sonia San Román or provide referrals, appointments, personal experiences and a generous testimony of how culture came to his vidder beat and how it influenced his approach to literature, film, music, etc. Bliss is a tribute, then, to the legendary generation that compredió to Kerouac, Burroughs, Ginsberg, and Cassady Di Prima, voices that contributed their creations to present a new way of understanding the world.

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Ancient Mesoamerica News Updates 2011, No. 25: 49 Archaeological Objects Presented to the Mexican Embassy in Germany Today a news item from Germany (currently I am in Bonn .) This Friday, April 15, 2011, The Germ goverment Archaeological Passed 49 objects to the Mexican embassy. The objects were received by embassador Francisco Nicolás González Díaz and include one large stone mask and 48 smaller stone objects which originally served as ear adornments. The objects are of unknown provenance and were confiscated at the Frankfurt international airport. The news was reported, among others, by the online version of the daily German newspaper Frankfurter Allgemeine (edited by AMaNU, photo: DAPD):

Raubgrabungs-Gut aus grünem Granit - Dem mexikanischen Botschafter in Deutschland, Francisco Nicolás González Díaz, sind am Freitag in Wiesbaden 49 archäologische Fundstücke übergeben been, which had ensured the customs at Frankfurt Airport. The authorities believe that originate from granite-made mask and the 48 ear pieces of jewelry from illegal excavations. Already in 2004, the finds came as cargo to Germany. On Saturday, they are flown back to Mexico, where she will be issued not yet clear, according to the ambassador. The value of the finds, would amount to around 100 000 dollars, said a spokesman. For the ambassador was the only significant cultural and historical value ". Such pieces help my nation to understand the history of our country" (written by Stephanie Huber, source Frankfurter Allgemeine )

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Ancient MesoAmerica News Updates 2011, No. 24: Costa Grande, Guerrero - Over 800 Rocks with Petroglyphs Registered by INAH During recent years researchers of the Instituto Nacional de Antropología e Historia (INAH-Conaculta) have registered over 800 rocks in the Costa Grande, Guerrero, with petroglyphs, incised or engraved graphic representations. The oldest petroglyphs may date to circa 3000 B.C., while the most recent petroglyphs may date from the period A.D. 1300-1500. The INAH posted the following bulletin on the subject yesterday, Tuesday April 5, 2011. The bulletin provides short descriptions of some of the most important petroglyphs (edited by AMaNU; photo: INAH):

Studying ancient petroglyphs of the Costa Grande - Through the use of photographic filters recently applied to images of petroglyphs that are distributed along the Costa Grande of Guerrero, specialists from the National Institute of Anthropology and History (INAH) have been able to confirm the presence of anthropomorphic, zoomorphic, points and bars that served to counts that were recorded for thousands of years in the rocks and not visible to the naked eye. The researcher Ruben Manzanilla López, of the Directorate INAH Archaeological Salvage, said in the statement Guerrero is no record of more than 800 engraved rocks, and its largest presence is seen in the Costa Grande region, whose estimated age of 3000 BC to 750 AD, and where more than two decades the study carried out the rock art. La Costa Grande of Guerrero is a region covering over 300 miles long, between the bay of Acapulco in Guerrero and the mouth of the Balsas River within the limits of Michoacán. "The archaeological work in this area began in 1986 when he toured the area, which was a simple report with photographs and handmade background where some petroglyphs were interpreted, particularly Zihuatanejo.

"Last year was resumed this work in the towns of Coacoyul, La Perica, La Escondida, Soledad de Maciel and Murga, points at which the pre-Hispanic era tax settled province of the Mexica called Xihuatlán. In these places the second visit was made to verify the condition of the petroglyphs, and could corroborate the designs that had broken earlier, and the recording of other had not been seen with the naked eye in the years 80. "

This was expressed by the expert during his participation in the Permanent Conference of Archaeology whose lectures are held monthly at the Museo del Templo Mayor, where he explained that for this new record of the petroglyphs were used filters in the photographs of the petroglyphs, such as negative type and relief, in addition to using channels, yellow and green lights; It became evident with engraved designs on the rocks and obtained new evidence. "For example, in a petroglyph of Coacoyul were visualized concentric circles that were not registered, and it was clear that the small holes that have themselves were not of stone but had been made by man, and possibly served to some count, "said the archaeologist.

From the petroglyphs recorded and studied recently, those of Coacoyul, which is located 6 km from Zihuatanejo on this site was located in the courtyard of a house, recorded a rock 2 meters high by 2.5 wide, which presents an anthropomorphic figure of about 68 inches, with circular head, the body elongated and elaborate sit-down lines and lots of little dimples. " Manzanilla López abounded that this same rock, on one side, shows traces of sharpening of chisels. These prints have been calculated which were made between the Preclassic (2500 BC-200 AD) and Classic (200 - 650 AD).

"Near this site there are two stones with petroglyphs, the former has an account number, the other has several cavities that are known as little wells, elements may be used as mortars for grinding or to collect rainwater these cavities are circular and oval measuring approximately 10 centimeters in diameter by 6 deep. These pozuelos or eyes of God, as well as the name the locals are rather common in Guerrero, for example, only in the municipality of Petatlán 273 stones have been found with these characteristics, "the archaeologist of the INAH. Another

the sites that is recorded was that of La Perica, located one kilometer from Zihuatanejo, "there is a rock of 1.80 to 2 meters with a comb-like figure, it is observed with the representation of a head with a plume, concentric circles, and the drawing of a temple and a serpent, designs belonging to the Postclassic period, 450 to 1300 of our era. " In this same area, on top of a hill, he added Manzanilla López, was found another huge stone 1.40 by 1.30 meters, which is broken and apparently was dragged to the site, has solar representations (lines around discs) a circle divided into four parts and two Figures that appear cloudy or nose rings similar to those of Tlaloc, god of rain. "

On the other hand, the site of La Escondida was photographed a rock that is engraved with a circular shape, the face of a woman, an anthropomorphic body, small faces and wavy lines that appear to be representing streams. Figures from the late Postclassic period (1300-1500 AD). In the case of Soledad de Maciel, on the hill of Witchcraft was a petroglyph that the people call The ship, which has a solar representation, a character, two bullets in the opposite direction and wavy lines that would also make reference to a river ; given the elements recorded on the surface of this rock is thought to possibly be related to the theme of the conquest of a people, said Ruben Manzanilla.

Finally, in the town of Thompson's The Stone Monkey, which is eight meters long by two wide at its thickest part, has traces of soles, human bodies and a skull gritty Mexican style, which was recorded later, perhaps as evidence of mastery of this town. According to the archaeologist Ruben Manzanilla, these are just some examples of the enormous wealth created in the volcanic rocks of the Costa Grande, "which need to be preserved and maintained not only by specialists but for the communities where these "pieces of history," he concluded. (Source INAH)

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Ancient Mesoamerica News Updates 2011, No. 23: Italy confiscate Archaeological Objects Nine Returns To Mexico Today, Tuesday, April 5, 2011, the Mexican daily newspaper El Reported That Universal Italy has returned nine Archaeological Which Were confiscate objects at the end of 2009 (edited by amanu; photo: El Universal / EFE):

Italy delivery to Mexico archaeological - Italy gave Mexico on Tuesday nine antiquities illegally removed from that country and confiscated by Italian police in Turin and Bologna, northern Spain, in late 2009. The pieces, among which there are bottles, painted bowls and incense burner made in clay and terracotta, which are well preserved, dating from between 100 BC and 1,300 AD One of the most valuable, found at a market in Bologna clay is the representation of a warrior belonging to one of Western civilizations of Mexico, while the remaining eight were confiscated from a textile industry. The recovery of these parts are made in the framework of the UNESCO Convention on measures to be taken to prohibit the import, Export and Transfer of Ownership of Cultural Property. Core Commander policeman Rome Tutela Patrimonio Cultural, General Pasquale Muggeo, presented the work to the Ambassador of Mexico Jorge Chen, in a ceremony at the embassy of that country. Muggeo said found in possession of some 300 archaeological pieces from various countries in South America that will be delivered later. The recovery of the Mexican archaeological heritage is of particular significance for the two countries, because it takes place as part of the actions of international cooperation in combating illicit trafficking of goods to Mexico and Italy favor in their relationship, said the ambassador. "Not only because both countries are signatories to the UNESCO Convention, in force since 1972, but mainly because both nations have an extraordinary wealth of archaeological sites from looting to be preserved through active and effective joint action," he added. Experts agree, in Mexico there are over 200 thousand archaeological sites where you can find a huge variety of remains, making it physically impossible, as in Italy, the entire estate inventory that allows comprehensive measures safety and security, "he said. The diplomat said that "Mexico and Italy contribute to the cultural heritage humanity the greatest number of works, sites, relics and forms of civilization than the average of other nations on the planet. "It is therefore disturbing the looting of archaeological globally and the growing involvement of criminal groups in trafficking, as well as international marketing, "he added. It is estimated that the transfer of cultural property could become a general annually to about five billion dollars. (Source El Universal )

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Ancient Mesoamerica News Updates 2011, No. 22: Soledad de Maciel, Petatlan, Guerrero - Recently Opened, The Museum Site Xihuacan On March 22, 2011, the Museo de Sitio Xihuacan, located at the archaeological site of Soledad de Maciel, was opened to the public. The museum showcases some 800 objects, many of which can be related to the central Mexican culture of Teotihuacan. Last Friday, April 1, 2011, the Instituto Nacional de Antropología e Historia (INAH) posted a bulletin on the museum. Since four years the INAH is excavating at the site and the site itself will be opened soon to the public as well. Featuring prominently at the site is a large ballcourt (edited by AMaNU; photos from various sources):

Nuevo museo exhibe objetos de estilo teotihuacano - A cuatro miles from Zihuatanejo-Acapulco highway, in the Costa Grande of Guerrero, is located Xihuacan Site Museum, which opened recently and features more than 800 archaeological pieces, most of Teotihuacan style, found over several years in the community of Soledad de Maciel, in the town of Petatlan. The museum's new exhibition presents a vast universe of prehispanic pieces, such as figurines, vases of obsidian, shell-work, copper axes, beads and bells, pottery and lithic collection through which explains the cultural development of this ancient city had a strong interaction with Teotihuacan during the Classic period (200 to 650 AD).

Xihuacan Site Museum is located in the Soledad de Maciel Archeological Zone, where for four years, the National Institute of Anthropology and History (INAH), carries out the exploration and appreciation of pre-Hispanic monuments, in order to open to the public later this year. The archaeologist Rodolfo Lobato, who is coordinating the exploration at the site, reported that among the ancient objects presented in the museum, stands a stone carved with the glyph Xihuacan toponym, which gives the area its name. "It measures three feet high by 50 wide and 25 centimeters thick, was found during Recent excavations in the area of \u200b\u200bthe Ball Game. The glyph is circular and reveals the name that this place was known pre-Hispanic times. Xihuacan is a Náhuatl word meaning "place of the holders of turquoise", which refers to a metaphor to describe those "who have the time" or "controlling the schedule." In this sense, the Guerrero INAH Center archaeologist, said that this allegory is associated with the role played by this settlement as the largest lead of the Costa Grande. In addition, the Court concluded that the urban plan is linked to celestial motions.

La colección de piezas que se muestran en el museo de sitio está conformada por aquellas halladas recientemente, así como de otras encontradas con anterioridad, cuando se hicieron los primeros registros y recorridos arqueológicos a cargo de especialistas como Pedro Hendrichs en 1943, Pedro Armillas en 1948 y Ellen Brush en 1968, así como Rubén Manzanilla a finales de los años 80. Rodolfo Lobato añadió que también se exhibe un aro de Juego de Pelota, labrado en granito con la representación de dos cabezas de serpientes, que fue encontrado en 1925 por campesinos y fue resguardado por la comunidad. Así mismo, destacan esculturas de cabezas de jaguares, pesas de barro, puntas y cuchillos de obsidiana, navajillas, bowls, winches, pots, bottles, ear muffs, a clay flute, a rod of stone and clay pot decorated with representations of heads of monkeys and birds, which dates from the year 500 AD. Rodolfo Lobato said that in the ancient pre-Hispanic times Xihuacan residents took advantage of the warm climate of the region for the cultivation of cotton and cocoa products highly valued in Mesoamerican societies. At the same time, high productivity of beans, corn and squash, thanks to complex systems of irrigation. In the room which alludes to the ancient inhabitants of Soledad de Maciel, explains that this site was the leading center of the Costa Grande. "Their heyday was in the Epi (650 to 950 AD), but was inhabited from the Preclassic (2500 BC to 200 AD), Classic (200 to 650 AD) until the Early Postclassic (950 to 1300 AD). The same context indicates that it had led to gradual abandonment by floods in the area, forcing the inhabitants to migrate to higher areas. " The archaeologist added that, according to historical sources of the sixteenth century, it is known that the region was occupied by groups and Cuitlatec tepuztecos, "but still can not specify the name of the ethnic groups that existed here. "In the specific case of Soledad de Maciel, its first inhabitants were agricultural groups over time managed consolidar una sociedad estratificada y una organización suficiente para levantar basamentos y crear obras de ingeniería hidráulica. Sus pobladores también tuvieron influencia olmeca, apreciable en sus figurillas de barro y cerámica”. Fue durante el periodo Clásico cuando se dio la influencia de la cultura teotihuacana, que se reflejó en la complejidad social y poderío que alcanzó Xihuacan; etapa en la que comenzó la construcción del gran conjunto ceremonial que caracteriza el sitio.

Exploración y restauración - La investigación arqueológica y consolidación de estructuras en el sitio prehispánico de Soledad de Maciel, se lleva a cabo en 29 of the 59 hectares which occupies the area, here is the ceremonial center with the highest concentration of old buildings, for which research and restoration INAH has spent more than three million pesos. "One of the particularities of this archaeological site is its system of construction, made of adobe. The settlement has risen to nearly eight feet from the ground by masonry bricks that create a platform on which structures were built, "said Lobato Rodriguez. The ceremonial area is comprised of four major structures or mounds, called "A" has a dimension of 100 meters long by 16 high. Archaeologist stressed that the design presented by the city to a classic Teotihuacan architectural layout: four temples surrounding architecture of smaller dimensions, such as altars, a ball game and a plaza. The specialist pointed out Guerrero INAH Center also performs the enhancement of a golf ball game, which is hinged to tecpan or site where the ruling elite resided. "The Ball Game is on land measuring 2.5 hectares and was built with large granite slabs and boulders, during his exploration were found markers or trowel of the bench rings and placed vertically." Finally, the archaeologist Rodolfo Lobato said Epi during the period (650 to 950 AD), the site reached its apogee with expansionist view and held commercial control. His great ceremonial center became a place of religious worship and seat of power farm. The INAH continues with excavation and consolidation in the Soledad de Maciel Archeological Zone with a view to opening for public visits this year, given the interest that the site has generated among the local community and tourism. Xihuacan Site Museum is open Tuesday to Sunday from 10:00 to 17:00. Since its recent opening, temporarily you can visit for free. (Source INAH)