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)

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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)

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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)