query: what culture lived in teotihuacan?

title: Teotihuacan

text: their culture. The ethnicity of the inhabitants of Teotihuacan is the subject of debate. Possible candidates are the Nahua, Otomi or Totonac ethnic groups. Scholars have suggested that Teotihuacan was a multi-ethnic state. The city and the archaeological site are located in what is now the San Juan Teotihuacán municipality in the State of México, approximately northeast of Mexico City. The site covers a total surface area of and was designated a UNESCO World Heritage Site in 1987. It is the most visited archaeological site in Mexico, receiving 4,185,017 visitors in 2017. The name "Teōtīhuacān" was given by the Nahuatl-speaking

title: Great Goddess of Teotihuacan

text: Great Goddess of Teotihuacan The Great Goddess of Teotihuacan (or Teotihuacan Spider Woman) is a proposed goddess of the pre-Columbian Teotihuacan civilization (ca. 100 BCE - 700 CE), in what is now Mexico. In years leading up to 1942, a series of murals were found in the Tepantitla compound in Teotihuacan. The Tepantitla compound provided housing for what appears to have been high status citizens and its walls (as well as much of Teotihuacan) are adorned with brightly painted frescoes. The largest figures within the murals depicted complex and ornate deities or supernaturals. In 1942, archaeologist Alfonso Caso identified these

title: Great Goddess of Teotihuacan

text: combination of masculine and feminine attributes should be seen as a mixed-gender performance, not subjected to the Western binary model of gender. Some American Indians, such as the Pueblo and Navajo, revered what seems to be a similar deity. Referred to as the Spider Grandmother, she shares many traits with the Teotihuacan Spider Woman. Great Goddess of Teotihuacan The Great Goddess of Teotihuacan (or Teotihuacan Spider Woman) is a proposed goddess of the pre-Columbian Teotihuacan civilization (ca. 100 BCE - 700 CE), in what is now Mexico. In years leading up to 1942, a series of murals were found in

title: Teotihuacan

text: Formative era, a number of urban centers arose in central Mexico. The most prominent of these appears to have been Cuicuilco, on the southern shore of Lake Texcoco. Scholars have speculated that the eruption of the Xitle volcano may have prompted a mass emigration out of the central valley and into the Teotihuacan valley. These settlers may have founded or accelerated the growth of Teotihuacan. Other scholars have put forth the Totonac people as the founders of Teotihuacan. There is evidence that at least some of the people living in Teotihuacan immigrated from those areas influenced by the Teotihuacano civilization,

title: Great Goddess of Teotihuacan

text: of the bird-headdress or the fanged nosepiece. Esther Pasztory speculates that the Great Goddess, as a distant and ambivalent mother figure, was able to provide a uniting structure for Teotihuacan that transcended divisions within the city. The Great Goddess is apparently peculiar to Teotihuacan, and does not appear outside the city except where Teotihuacanos settled. There is very little trace of the Great Goddess in the Valley of Mexico's later Toltec culture, although an earth goddess image has been identified on Stela 1, from Xochicalco, a Toltec contemporary. While the Aztec goddess Chalchiuhtlicue has been identified as a successor to

title: Teotihuacan

text: Teotihuacan Teotihuacan , (in Spanish: Teotihuacán) (, ), is an ancient Mesoamerican city located in a sub-valley of the Valley of Mexico, located in the State of Mexico northeast of modern-day Mexico City, known today as the site of many of the most architecturally significant Mesoamerican pyramids built in the pre-Columbian Americas. At its zenith, perhaps in the first half of the 1st millennium CE, Teotihuacan was the largest city in the pre-Columbian Americas, with a population estimated at 125,000 or more, making it at least the sixth largest city in the world during its epoch. Apart from the pyramids,

title: Teotihuacan

text: including the Zapotec, Mixtec, and Maya peoples. The builders of Teotihuacan took advantage of the geography in the Basin of Mexico. From the swampy ground, they constructed raised beds, called chinampas, creating high agricultural productivity despite old methods of cultivation. This allowed for the formation of channels, and subsequently canoe traffic, to transport food from farms around the city. The earliest buildings at Teotihuacan date to about 200 BCE. The largest pyramid, the Pyramid of the Sun, was completed by 100 CE. In January 378, while Spearthrower Owl supposedly ruled in Teotihuacan, the warlord Siyah K'ak' "conquered" Tikal, removing and

title: Teotihuacan Ocelot

text: the Mexican national collection. Teotihuacan Ocelot The Teotihuacan Ocelot or "Teotihuacán Ocelot" is the name of an alabaster sculpture of a feline found at the ancient Mesoamerican site of Teotihuacan, central Mexico. Discovered in the late nineteenth century. it was purchased by the British Museum in 1926. This unique sculpture is an offering vessel in the form of a recumbent ocelot. Carved from a single piece of prestigious alabaster, the figure reflects the geometric style and pattern of contemporary funerary masks and architecture from Teotihuacan. The eyes would have once been inlaid with shells or precious stones and the depression

title: Teotihuacan Ocelot

text: Teotihuacan Ocelot The Teotihuacan Ocelot or "Teotihuacán Ocelot" is the name of an alabaster sculpture of a feline found at the ancient Mesoamerican site of Teotihuacan, central Mexico. Discovered in the late nineteenth century. it was purchased by the British Museum in 1926. This unique sculpture is an offering vessel in the form of a recumbent ocelot. Carved from a single piece of prestigious alabaster, the figure reflects the geometric style and pattern of contemporary funerary masks and architecture from Teotihuacan. The eyes would have once been inlaid with shells or precious stones and the depression on the feline's back

title: Teotihuacan

text: the Gods and Symbols of Ancient Mexico and the Maya", Miller and Taube list eight deities: Esther Pasztory adds one more: The consensus among scholars is that the primary deity of Teotihuacan was the Great Goddess of Teotihuacan. The dominant civic architecture is the pyramid. Politics were based on the state religion; religious leaders were the political leaders. Religious leaders would commission artists to create religious artworks for ceremonies and rituals.The artwork likely commissioned would have been a mural or a censer depicting gods like the Great Goddess of Teotihuacan or the Feathered Serpent. Censers would be lit during religious

title: Teotihuacan

text: city, various squatters lived on the site. During Aztec times, the city was a place of pilgrimage and identified with the myth of Tollan, the place where the sun was created. Today, Teotihuacan is one of the most noted archaeological attractions in Mexico. In the late 17th century Carlos de Sigüenza y Góngora (1645–1700) made some excavations around the Pyramid of the Sun. Minor archaeological excavations were conducted in the 19th century. In 1905 Mexican archaeologist and government official, in the regime of Porfirio Díaz, Leopoldo Batres led a major project of excavation and restoration. The Pyramid of the Sun

title: Mezcala culture

text: looted andesite and serpentine artifacts. Based on excavations in Guerrero, examination of looted artifacts, and excavation of Mezcala artifacts at Teotihuacan, archaeologists have given the name "Mezcala culture" to a Mesoamerican culture that was based in the present-day Guerrero state of southwestern Mexico, in the upper Balsas River region. Archaeologists believe that the culture developed during the Middle and Late Preclassic periods of Mesoamerican chronology, between 700 and 200 BC. and continued into the Classic period (c.250-650 AD). At this time, the great metropolis of Teotihuacan developed to the north in the Valley of Mexico. In the Mezcala area, Teotihuacan

title: Salon Teotihuacan

text: one Miss Universe pageant held at Salon Teotihuacan, held in 1978, one of the participants was Miss Costa Rica, Maria Fernandez Garcia, who would end up staying in Mexico, becoming an actress and singer as Maribel Guardia. In addition to Maribel Guardia, other Mexican celebrities who have entertained at the Salon Teotihuacan have included Angélica María, Vicente Fernández, Antonio Aguilar, Pepe Aguilar, Lupita D'Alessio, Gloria Trevi, Paulina Rubio, David Bisbal, Vargas de Tecalitlán, Alejandra Guzmán and Angélica Vale. The latter—the daughter of Angélica María—was honored as Best Actress at the 2007 Premios TVyNovelas ceremony, held at Salon Teotihuacan. Although no

title: Teotihuacan

text: now seems clear that "Tollan" may be understood as a generic Nahua term applied to any large settlement. In the Mesoamerican concept of urbanism, "Tollan" and other language equivalents serve as a metaphor, linking the bundles of reeds and rushes that formed part of the lacustrine environment of the Valley of Mexico and the large gathering of people in a city. The early history of Teotihuacan is quite mysterious and the origin of its founders is uncertain. Around 300 BCE, people of the central and southeastern area of Mesoamerica began to gather into larger settlements. Teotihuacan was the largest urban

title: Mirrors in Mesoamerican culture

text: representations of mirrors. Mirrors are frequently represented in the iconography of the great city of Teotihuacan in central Mexico. Mirrors in Classic period Teotihuacan, as elsewhere in Mesoamerica, where associated with a corpus of spiritual beliefs, some of which have been passed down to the modern period. Mirrors were fashioned from three different types of stone at Teotihuacan, these were mica, obsidian and iron pyrite. Circular mirrors at Teotihuacan were associated symbolically with eyes and faces, flowers and shields; they are quite frequently encountered during excavations in the ruined city. Iron pyrite mosaic mirrors were fashioned by fixing pieces of

title: Temple of the Feathered Serpent, Teotihuacan

text: so was covered up by the Adosada. Temple of the Feathered Serpent, Teotihuacan The Temple of the Feathered Serpent is the third largest pyramid at Teotihuacan, a pre-Columbian site in central Mexico (the term Teotihuacan (or Teotihuacano) is also used for the whole civilization and cultural complex associated with the site). This structure is notable partly due to the discovery in the 1980s of more than a hundred possibly sacrificial victims found buried beneath the structure. The burials, like the structure, are dated to between 150 and 200 CE. The pyramid takes its name from representations of the Mesoamerican "feathered

text: Temple of the Feathered Serpent, Teotihuacan The Temple of the Feathered Serpent is the third largest pyramid at Teotihuacan, a pre-Columbian site in central Mexico (the term Teotihuacan (or Teotihuacano) is also used for the whole civilization and cultural complex associated with the site). This structure is notable partly due to the discovery in the 1980s of more than a hundred possibly sacrificial victims found buried beneath the structure. The burials, like the structure, are dated to between 150 and 200 CE. The pyramid takes its name from representations of the Mesoamerican "feathered serpent" deity which covered its sides. These

title: Mezcala culture

text: Mezcala culture The Mezcala culture (sometimes referred to as the Balsas culture) is the name given to a Mesoamerican culture that was based in the Guerrero state of southwestern Mexico, in the upper Balsas River region. The culture is poorly understood but is believed to have developed during the Middle and Late Preclassic periods of Mesoamerican chronology, between 700 and 200 BC. The culture continued into the Classic period (c.250-650 AD) when it coexisted with the great metropolis of Teotihuacan. Archaeologists have studied the culture through limited controlled excavations, the examination of looted artifacts, and the study of Mezcala sculptures

title: Mezcala culture

text: the 14th and 15th centuries. These included over fifty-six masks and ninety-eight figurines. Twenty-six of the figurines were divided equally between two stone boxes and arranged in south-facing rows. Mezcala-style sculpture is characterised by abstract facial features, suggested by lines and differences in texture. The sculptural style of the Mezcala culture may have been influenced by the Olmecs. In turn, it may have influenced the development of sculpture at the Classic-period metropolis of Teotihuacan in the Valley of Mexico. Mezcala culture The Mezcala culture (sometimes referred to as the Balsas culture) is the name given to a Mesoamerican culture that

title: Mirrors in Mesoamerican culture

text: Aguateca in the Petexbatún region produced 300 pyrite and indicates the likely presence of a mirror workshop within the royal court. The structure in question was apparently the residence of an elite status courtier. Several Early Classic mirrors from Copán in Honduras had stuccoed backs that were painted with motifs in the style of distant Teotihuacan. A mirror back from Kaminaljuyu sculpted with an ornate volute design apparently derived from the Classic period culture of Veracruz on the coast of the Gulf of Mexico. Pyrite mirrors at Kaminaljuyu were placed upon the small of the back of two individuals in

title: Teotihuacan

text: superior residences were typically made of plaster, each wall in every section elaborately decorated with murals. These compounds or apartment complexes were typically found within the city center. The vast lakes of the Basin of Mexico provided the opportunity for people living around them to construct productive raised beds, or chinampas, from swampy muck, construction that also produced channels between the beds. Different sections of the city housed particular ethnic groups and immigrants. Typically, multiple languages were spoken in these sections of the city. Knowledge of the huge ruins of Teotihuacan was never completely lost. After the fall of the

title: Mirrors in Mesoamerican culture

text: periods, with butterflies representing flames. The Olmecs of the Preclassic period fashioned concave mirrors that were capable of lighting fires. Mirrors were also associated with water; an Early Classic mirror in the style of Teotihuacan was excavated at distant Guácimo in Costa Rica. It included Teotihuacan imagery that was a stylised convention for representing bodies of water. Water imagery continued to be associated with mirrors in central Mexico right up to Aztec times. These representations of water-associated mirrors in Mesoamerican art apparently use the mirror to symbolise the surface of a pool of water. During the Classic Period mirrors were

title: Teotihuacan

text: note an individual nicknamed by scholars as "Spearthrower Owl", apparently ruler of Teotihuacan, who reigned for over 60 years and installed his relatives as rulers of Tikal and Uaxactun in Guatemala. Scholars have based interpretations about the culture at Teotihuacan on archaeology, the murals that adorn the site (and others, like the Wagner Murals, found in private collections), and hieroglyphic inscriptions made by the Maya describing their encounters with Teotihuacano conquerors. The creation of murals, perhaps tens of thousands of murals, reached its height between 450 and 650. The artistry of the painters was unrivaled in Mesoamerica and has been

title: Teotihuacan

text: on the Preclassic and Classic Maya, most likely by conquering several Maya centers and regions, including Tikal and the region of Peten, and influencing Maya culture. Architectural styles prominent at Teotihuacan are found widely dispersed at a number of distant Mesoamerican sites, which some researchers have interpreted as evidence for Teotihuacan's far-reaching interactions and political or militaristic dominance. A style particularly associated with Teotihuacan is known as "talud-tablero", in which an inwards-sloping external side of a structure ("talud") is surmounted by a rectangular panel ("tablero"). Variants of the generic style are found in a number of Maya region sites, including

title: Teotihuacan

text: evidence of malnutrition during the 6th century. Which is why there is different evidence that helps indicate that famine is most likely one of the more possible reasons for the decline of Teotihuacan. The majority of their food came from agriculture, they grew things such as maize, bean, amaranth, green tomatoes(tomatillos?), and pumpkin. But their harvest was not nearly sufficient to feed a population as big as it is believed lived in Teotihuacan. This finding does not conflict with either of the above theories, since both increased warfare and internal unrest can also be effects of a general period of

title: Teotihuacan

text: occurred over the centuries from the Terminal Preclassic to the Mid-Classic period. "Teotihuacan-inspired ideologies" and motifs persisted at Maya centers into the Late Classic, long after Teotihuacan itself had declined. However, scholars debate the extent and degree of Teotihuacano influence. Some believe that it had direct and militaristic dominance; others that adoption of "foreign" traits was part of a selective, conscious, and bi-directional cultural diffusion. New discoveries have suggested that Teotihuacan was not much different in its interactions with other centers from the later empires, such as the Toltec and Aztec. It is believed that Teotihuacan had a major influence

title: Salon Teotihuacan

text: longer Acapulco's largest exhibit hall—its dimensions are 187 feet (57 meters) by 377 feet (115 meters) for a total of nearly 70,500 square feet—Salon Teotihuacan has successfully made the transition to becoming a sports and entertainment venue. The arena's height is 39.5 feet (12 meters). On the occasion of the convention center's 40th anniversary, Salon Teotihuacan landed a new anchor tenant, becoming for the 2013-14 LNBP season the home of the Angeles Guerreros de Acapulco basketball team. Salon Teotihuacan Salon Teotihuacan (Teotihuacan Hall) is a 6,000-seat indoor arena in Acapulco, Guerrero. It is the flagship exhibit hall of Centro Internacional

title: Teotihuacan

text: largest and most populated center in the pre-Columbian Americas. Teotihuacan was home to multi-floor apartment compounds built to accommodate the large population. The term Teotihuacan (or Teotihuacano) is also used for the whole civilization and cultural complex associated with the site. Although it is a subject of debate whether Teotihuacan was the center of a state empire, its influence throughout Mesoamerica is well documented; evidence of Teotihuacano presence can be seen at numerous sites in Veracruz and the Maya region. The later Aztecs saw these magnificent ruins and claimed a common ancestry with the Teotihuacanos, modifying and adopting aspects of

title: Teotihuacan

text: drought and famine. Other nearby centers such as Cholula, Xochicalco, and Cacaxtla competed to fill the power void left by Teotihuacan's decline. They may have aligned themselves against Teotihuacan to reduce its influence and power. The art and architecture at these sites emulate Teotihuacan forms, but also demonstrate an eclectic mix of motifs and iconography from other parts of Mesoamerica, particularly the Maya region. The sudden destruction of Teotihuacan was common for Mesoamerican city-states of the Classic and Epi-Classic period. Many Maya states suffered similar fates in the coming centuries, a series of events often referred to as the Classic

title: Teotihuacan

text: Teotihuacan is also anthropologically significant for its complex, multi-family residential compounds, the Avenue of the Dead and its vibrant murals that have been well-preserved. Additionally, Teotihuacan exported fine obsidian tools that are found throughout Mesoamerica. The city is thought to have been established around 100 BCE, with major monuments continuously under construction until about 250 CE. The city may have lasted until sometime between the 7th and 8th centuries CE, but its major monuments were sacked and systematically burned around 550 CE. Teotihuacan began as a religious center in the Mexican Highlands around the first century CE. It became the

title: Salon Teotihuacan

text: Salon Teotihuacan Salon Teotihuacan (Teotihuacan Hall) is a 6,000-seat indoor arena in Acapulco, Guerrero. It is the flagship exhibit hall of Centro Internacional Acapulco, and was built in 1973. It was the largest exhibit hall until the 2008 completion of the Mundo Imperial complex. However, the hall has successfully doubled as a sports and entertainment venue, the largest indoor arena in the state of Guerrero. It has been used for boxing, wrestling, concerts, conventions, trade shows, banquets, and other sporting events. Additionally it has hosted La Academia's Third Generation finale, several Premios TVyNovelas ceremonies and the Miss Universe pageant. During

title: Teotihuacan

text: Terrence Kaufman presented linguistic evidence suggesting that an important ethnic group in Teotihuacan was of Totonacan or Mixe–Zoquean linguistic affiliation. He uses this to explain general influences from Totonacan and Mixe–Zoquean languages in many other Mesoamerican languages, whose people did not have any known history of contact with either of the above-mentioned groups. Other scholars maintain that the largest population group must have been of Otomi ethnicity, because the Otomi language is known to have been spoken in the area around Teotihuacan both before and after the Classic period and not during the middle period. In "An Illustrated Dictionary of

title: Teotihuacan

text: Maya collapse. Nearby in the Morelos valley, Xochicalco was sacked and burned in 900 and Tula met a similar fate around 1150. There is a theory that the collapse of Teotihuacan was caused by its agriculture being devastated by the 535 CE eruption of the Ilopango volcano in El Salvador. Archaeological evidence suggests that Teotihuacan was a multi-ethnic city, with distinct quarters occupied by Otomi, Zapotec, Mixtec, Maya, and Nahua peoples. The Totonacs have always maintained that they were the ones who built it. The Aztecs repeated that story, but it has not been corroborated by archaeological findings. In 2001,

title: Teotihuacan

text: this pronunciation and are used, and both spellings appear in this article. The original name of the city is unknown, but it appears in hieroglyphic texts from the Maya region as "puh", or "Place of Reeds". This suggests that, in the Maya civilization of the Classic period, Teotihuacan was understood as a Place of Reeds similar to other Postclassic Central Mexican settlements that took the name of "Tollan", such as "Tula-Hidalgo" and "Cholula". This naming convention led to much confusion in the early 20th century, as scholars debated whether Teotihuacan or Tula-Hidalgo was the Tollan described by 16th-century chronicles. It

title: Teotihuacan

text: in the same general region of Mesoamerica, means their calendar was used for agricultural purposes. The E-Group’s significance of the four main dates of their calendric year was for the purpose of agriculture. These dates signified the cycle of maize farming: February was for preparations, May brought rain which meant it was time to plant the maize, August was when the maize would begin to grow, and November was the time to harvest. This 260-day calendar was made by the Aztecs and was called the tonalpohualli. <ref> Teotihuacan Teotihuacan , (in Spanish: Teotihuacán) (, ), is an ancient Mesoamerican city

title: Teotihuacan

text: of rulers of the ancient city might have been deposited. In August 2010 Gómez Chávez, now director of "Tlalocan Project: Underground Road", announced that INAH's investigation of the tunnel - closed nearly 1,800 years ago by Teotihuacan dwellers - will proceed. The INAH team, consisted of about 30 persons supported with national and international advisors at the highest scientific levels, intended to enter the tunnel in September–October 2010. This excavation, the deepest made at the Pre-Hispanic site, was part of the commemorations of the 100th anniversary of archaeological excavations at Teotihuacan and its opening to the public. It was mentioned

title: Teotihuacan

text: horizon. Teotihuacan belongs to the E-Group, meaning that the alignment of their structures are in order to organize a calendar from the sunrises and sunsets of solstices, proving that the placement of the structures did not rely heavily on topographic criteria, but rather on astronomical alignments. An example of the rejection of the natural lay of the land is the placement of the San Juan River, as its placement was modified to bend around the structures as it goes through the centre of town eventually to return to its natural course outside of Teotihuacan. Given that the E-Group were all

title: Teotihuacan

text: sacred and represented mythical powers and military were also buried alive, imprisoned in cages: cougars, a wolf, eagles, a falcon, an owl, and even venomous snakes. Numerous stone masks have been found at Teotihuacan, and have been generally believed to have been used during a funerary context, although some scholars call this into question, noting that masks "do not seem to have come from burials". Teotihuacan was a mix of residential and work areas. Upper-class homes were usually compounds that housed many such families, and one compound was found that was capable of housing between sixty and eighty families. Such

title: Teotihuacan

text: from where the style spread into the Maya region. During the zenith main structures of the site, including the pyramids, were painted in dark-red (maroon to Burgundy) colors (only small spots remain now) and were a very impressionable view. The city was a center of industry, home to many potters, jewelers, and craftsmen. Teotihuacan is known for producing a great number of obsidian artifacts. No ancient Teotihuacano non-ideographic texts are known to exist (or known to have existed). Inscriptions from Maya cities show that Teotihuacan nobility traveled to, and perhaps conquered, local rulers as far away as Honduras. Maya inscriptions

title: Teotihuacan

text: Tikal, Kaminaljuyu, Copan, Becan, and Oxkintok, and particularly in the Petén Basin and the central Guatemalan highlands. The "talud-tablero" style pre-dates its earliest appearance at Teotihuacan in the Early Classic period; it appears to have originated in the Tlaxcala-Puebla region during the Preclassic. Analyses have traced the development into local variants of the "talud-tablero" style at sites such as Tikal, where its use precedes the 5th-century appearance of iconographic motifs shared with Teotihuacan. The "talud-tablero" style disseminated through Mesoamerica generally from the end of the Preclassic period, and not specifically, or solely, via Teotihuacano influence. It is unclear how or

title: Mirrors in Mesoamerican culture

text: Teotihuacan depicts a spider-woman deity standing in a mirror-bowl. Mirrors were so closely associated with shields at Teotihuacan that it is difficult to distinguish the two in Teotihuacan art. Both shields and mirrors were circular with a raised rim decorated with feathers. Teotihuacan shields frequently had central tassels that resembled the central spool found on some Teotihuacan mirrors. Mirrors worn on the back and the chest could have served a dual protective function, deflecting physical blows as well as supernatural attacks. The mirror itself may have symbolised war in Teotihuacan; the combination of its association with fire and water may

title: Mirrors in Mesoamerican culture

text: way as to also resemble a face. Both flowers and butterflies were associated with fire at Teotihuacan, with butterflies symbolising flames. At the same time, the face of the mirror symbolised fire. One mirror in the Teotihuacan style has a representation of a goddess on the back that is flanked by pairs of burning torches; fire signs cover her body. A Teotihuacan-style mirror excavated in Costa Rica was decorated with iconography that, at Teotihuacan, symbolically represented bodies of water. The association of mirrors with water in central Mexican art persisted right up to Aztec times. In Teotihuacan art mirrors were

title: Mirrors in Mesoamerican culture

text: Karl Taube has identified these elements as representations of mirrors in Teotihuacan art. Teotihuacan had a strong influence in the Maya area, and Teotihaucan mirror imagery appears particularly on Early Classic Maya art that uses the Teotihuacan style. A number of stone beads from the Balsas River Valley in Guerrero were modelled after Teotihuacan mirrors and included small inlaid pieces of iron pyrite to represent the face of the mirror. Mirrors had a great many symbolic associations at Teotihuacan; they could represent human eyes, faces, caves, passageways, spider webs, flowers, shields, the sun, a fiery hearth or the world as

title: Huapalcalco

text: years ago, men reached Huapalcalco in the Hidalgo, State, where vestiges have been located that date back to that period. However, Huapalcalco is a mesoamerican classical period (100 to 650 CE), formed part of the State Teotihuacan, however, both its architecture and pottery is not equal to Teotihuacan, i.e. there is Teotihuacan influence, but are not Teotihuacan. It is not known what culture built these monuments; it can only be said that it is closely related to the Teotihuacan culture and had influence of the cultures of the Gulf Coast. During the Lithic period (10,000 - 3500 BCE) the first

title: Great Goddess of Teotihuacan

text: suggesting her relationship with warfare. The Great Goddess is often shown in paradisial settings, giving gifts. For example, the mural from Tepantitla shows water dripping from her hands while in the tableau under her portrait mortals swim, play ball, and dance (see photo to right). This seeming gentleness is in contrast to later similar Aztec deities such as Cihuacoatl, who frequently has a warlike aspect. This contrast, according to Esther Pasztory, an archaeologist who has long studied Teotihuacan, extends beyond the goddesses in question to the core of the Teotihuacan and Aztec cultures themselves: This is not to say, however,

title: Classic Veracruz culture

text: sacrifice. A defining characteristic of the Classic Veracruz culture is the presence of stone ballgame gear: yokes, "hachas", and "palmas". Yokes are U-shaped stones worn about the waist of a ballplayer, while the "hachas" and "palmas" sit upon the yoke. Archaeologists generally suppose that the stone yokes are ritual versions of leather, cotton, and/or wood yokes, although no such perishable artifacts have yet been unearthed. While the yokes and "hachas" have been found from Teotihuacan to Guatemala, the "palmas" seem peculiar to what is today northern Veracruz. The art of Classic Veracruz is rendered with extensive and convoluted banded scrolls

title: Great Goddess of Teotihuacan

text: Taube termed this goddess the "Teotihuacan Spider Woman". The more neutral description of this deity as the "Great Goddess" has since gained currency. The Great Goddess has since been identified at Teotihuacan locations other than Tepantitla – including the Tetitla compound (see photo below), the Palace of the Jaguars, and the Temple of Agriculture – as well as on portable art including vessels and even on the back of a pyrite mirror. The 3-metre-high blocky statue (see photo below) which formerly sat near the base of the Pyramid of Moon is thought to represent the Great Goddess, despite the absence

title: Mirrors in Mesoamerican culture

text: Kaminaljuyu, although their purpose was not recognised by the excavators due to the complete oxidation of the reflective surface. A number of the mirror backs were decorated with scenes in a pure Teotihuacan style. In Teotihuacan art back mirrors are often represented with prominent flares similar to earspools, and a mirror found at Kaminaljuyu had two such jade earspools closely associated with it, although their original position was difficult to determine due to the deterioration of the pyrite mirror face, it is likely they were attached to it in the same way as represented in Teotihuacan art. On some mirrors,

title: Teotihuacan

text: Young Museum in San Francisco, which opened in late September 2017. As of January 23, 2018 the name "Teotihuacan" has come under scrutiny by experts, who now feel that the site's name may have been changed by Spanish colonizers in the 16th century. Archaeologist Veronica Ortega of the National Institute of Anthropology and History states that the city appears to have actually been named "Teohuacan", meaning "City of the Sun" rather than "City of the Gods", as the current name suggests. The city's broad central avenue, called "Avenue of the Dead" (a translation from its Nahuatl name "Miccoatli"), is flanked

title: Teotihuacan

text: Aztecs centuries after the fall of the city around 550 CE. The term has been glossed as "birthplace of the gods", or "place where gods were born", reflecting Nahua creation myths that were said to occur in Teotihuacan. Nahuatl scholar Thelma D. Sullivan interprets the name as "place of those who have the road of the gods." This is because the Aztecs believed that the gods created the universe at that site. The name is pronounced in Nahuatl, with the accent on the syllable "wa". By normal Nahuatl orthographic conventions, a written accent would not appear in that position. Both

title: Teotihuacan

text: was restored to celebrate the centennial of the Mexican War of Independence in 1910. The site of Teotihuacan was the first to be expropriated for the national patrimony under the Law of Monuments (1897), giving jurisdiction under legislation for the Mexican state to take control. Some 250 plots were farmed on the site. Peasants who had been farming portions were ordered to leave and the Mexican government eventually paid some compensation to those individuals. A feeder train line was built to the site in 1908, which allowed the efficient hauling of material from the excavations and later to bring tourists

title: Teotihuacan

text: through much of the Mesoamerican region. At its peak, the city covered over 30 km² (over square miles), and perhaps housed a population of 150,000 people, with one estimate reaching as high as 250,000. Various districts in the city housed people from across the Teotihuacano region of influence, which spread south as far as Guatemala. Notably absent from the city are fortifications and military structures. The nature of political and cultural interactions between Teotihuacan and the centers of the Maya region (as well as elsewhere in Mesoamerica) has been a long-standing and significant area for debate. Substantial exchange and interaction

title: Teotihuacan

text: center of Mesoamerica before the Aztecs, almost 1000 years prior to their epoch. The city was already in ruins by the time of the Aztecs. For many years, archaeologists believed it was built by the Toltec. This belief was based on colonial period texts, such as the Florentine Codex, which attributed the site to the Toltecs. However, the Nahuatl word "Toltec" generally means "craftsman of the highest level" and may not always refer to the Toltec civilization centered at Tula, Hidalgo. Since Toltec civilization flourished centuries after Teotihuacan, the people could not have been the city's founders. In the Late

title: Teotihuacan

text: original positions, leaning back and appearing to contemplate up at the axis where the three planes of the universe meet - likely the founding shamans of Teotihuacan, guiding pilgrims to the sanctuary, and carrying bundles of sacred objects used to perform rituals, including pendants and pyrite mirrors, which were perceived as portals to other realms. After each new segment was cleared, the 3D scanner documented the progress. By 2015 nearly 75,000 fragments of artifacts have been discovered, studied, cataloged, analyzed and, when possible, restored. The significance of these new discoveries is publicly explored in a major exhibition at the De

title: Teotihuacan

text: rituals to invoke the gods including rituals with human sacrifice. Teotihuacanos practiced human sacrifice: human bodies and animal sacrifices have been found during excavations of the pyramids at Teotihuacan. Scholars believe that the people offered human sacrifices as part of a dedication when buildings were expanded or constructed. The victims were probably enemy warriors captured in battle and brought to the city for ritual sacrifice to ensure the city could prosper. Some men were decapitated, some had their hearts removed, others were killed by being hit several times over the head, and some were buried alive. Animals that were considered

title: Teotihuacan

text: the whole city was burned. Instead, it is now known that the destruction was centered on major civic structures along the Avenue of the Dead. The sculptures inside palatial structures, such as Xalla, were shattered. No traces of foreign invasion are visible at the site. Evidence for population decline beginning around the 6th century lends some support to the internal unrest hypothesis. The decline of Teotihuacan has been correlated to lengthy droughts related to the climate changes of 535–536. This theory of ecological decline is supported by archaeological remains that show a rise in the percentage of juvenile skeletons with

title: Teotihuacan

text: The urban layout of Teotihuacan exhibits two slightly different orientations, which resulted from astronomical criteria, rather than topographic. The central part of the city, including the Avenue of the Dead, conforms to the orientation of the Sun Pyramid, while the southern part reproduces the orientation of the Ciudadela. The two constructions recorded sunrises and sunsets on particular dates, allowing the use of an observational calendar. During the time of 100 A.D., “the sunrises on February 11 and October 29 and sunsets on April 30 and August 13. The interval from February 11 and October 29, as well as from August

text: associated with water symbols. These and other designs and architectural elements are more than merely decorative, suggesting "strong ideological significance", although there is no consensus just what that significance is. Some interpret the pyramid's iconography as cosmological in scope – a myth of the origin of time or of creation – or as calendrical in nature. Others find symbols of rulership, or war and the military. Today the pyramid is largely hidden by the Adosada platform hinting at a political restructuring of Teotihuacan during the fourth century CE, perhaps a "rejection of autocratic rule" in favour of a collective leadership.

title: Lived religion

text: Lived religion Lived religion is the ethnographic and holistic framework for understanding the beliefs, practices, and everyday experiences of religious and spiritual persons in religious studies. The name lived religion comes from the French tradition of sociology of religion "la religion vécue." The concept of lived religion was popularized in the late 20th century by religious study scholars like Robert A. Orsi and David D. Hall. The study of lived religion has come to include a wide range of subject areas as a means of exploring and emphasizing what a religious person does and what they believe. Today, the field

title: Lived religion

text: by saying that popular religion is concerned with hierarchy and opposition in religious beliefs and practices. Hall writes, “popular religion has therefore come to signify the space that emerged between official or learned Christianity and the profane (or ‘pagan’) culture.” Hall critiques popular religion as imposing normative perspectives on practices. Lived religion Lived religion is the ethnographic and holistic framework for understanding the beliefs, practices, and everyday experiences of religious and spiritual persons in religious studies. The name lived religion comes from the French tradition of sociology of religion "la religion vécue." The concept of lived religion was popularized in

title: Classic Veracruz culture

text: chiaroscuro". While Classic Veracruz culture shows influences from Teotihuacan and the Maya, neither of these cultures are its direct antecedents. Instead, the seeds of this culture seems to have come at least in part from the Epi-Olmec culture centers, such as Cerro de las Mesas and La Mojarra. Until the early 1950s, the Classic Veracruz ceramics were few, little understood, and generally without provenance. Since then, the recovery of thousands of figurines and pottery pieces from sites such as Remojadas, Los Cerros, Dicha Tuerta, and Tenenexpan, some initially by looters, has expanded our understanding and filled many museum shelves. Artist

title: Cotocollao culture

text: in some rare cases, an iridescent coating. Cotocollao culture The Cotocollao culture were an indigenous Pre-Columbian culture the valley that is now Quito, in Ecuador. The Cotocollao Indians were the first inhabitants of the mountains of what is now Ecuador. They lived approximately 1,500 to 500 years BCE. The Cotocollao had a culture based on art and they made very fine pieces of ceramic for the time in which they lived. Probably the most distinguishing feature of the Cotocollao Indians was their ability to create ceramic artwork. They made ceramics that were more for decoration than for their usefulness. It

title: Cotocollao culture

text: Cotocollao culture The Cotocollao culture were an indigenous Pre-Columbian culture the valley that is now Quito, in Ecuador. The Cotocollao Indians were the first inhabitants of the mountains of what is now Ecuador. They lived approximately 1,500 to 500 years BCE. The Cotocollao had a culture based on art and they made very fine pieces of ceramic for the time in which they lived. Probably the most distinguishing feature of the Cotocollao Indians was their ability to create ceramic artwork. They made ceramics that were more for decoration than for their usefulness. It is not known whether or not they

title: Teotihuacan Ocelot

text: would have held the temple offering - some have conjectured that this may have included human hearts removed for ritual sacrifices. The feline figure was found by a labourer at the foot of the Pyramid of the Sun in Teotihuacan in 1889. It was initially offered to the Museo Nacional, but as they would not buy it, it was sold to an English traveller. The sculpture was eventually bought by the British Museum in 1926, with support from the Christy Fund. Only one other similar calcite statuette of a jaguar has been unearthed at the site, which is now in

title: Mirrors in Mesoamerican culture

text: demonstrating the mirror's importance as a portal between worlds. The rabbit spirit is talking to the lord, with its speech scroll passing directly over the mirror. These scenes appear to represent what the Maya believed was happening on the other side of the surface of their mirrors. Although mirrors are represented on ceramics, mirrors rarely appear on publicly visible art, such as Maya stelae or openly visible Maya architecture. Tikal Stela 31 includes mirror imagery in the Teotihuacan warrior garb of king Yax Nuun Ayiin depicted on its sides. Here the king wears a back mirror; the left hand side

title: Mirrors in Mesoamerican culture

text: in art from Classic period Teotihuacan and Guatemala's Pacific coastal region depict the mirror face using a glyph in the form of a reptile's eye, the meaning of which is not clear. The ringed eyes of the central Mexican rain god Tlaloc may have represented mirrors from representations at Teotihuacan in the Classic period right through to the Aztecs at the time of Spanish contact. In the "Historia General de las Cosas de Nueva España", the Nahuatl word "tezcactl" is used to refer to both the eye and mirrors. This association also existed among the Maya, the Tzotzil Maya phrase

title: Mirrors in Mesoamerican culture

text: placed in bowls to symbolically represent bowls of water; examples are known from Teotihuacan and throughout the Maya area. Water-filled bowls have been used as mirrors for divinatory purposes right up to modern times in Mesoamerica and the American southwest. An incense burner from Early Classic Escuintla on the Guatemalan Pacific slope combines butterfly and water imagery. The mirror has flanking ears representing the wings of the butterfly that is rising from a water-filled bowl. A painted mural from Teotihuacan, now in the De Young Museum in San Francisco, has a representation of a mirror containing a glyph representing a

title: Mirrors in Mesoamerican culture

text: an Early Classic Maya site in Yucatán that also displays the influence of Teotihuacan. Five stucco figures at the site wear back mirrors in the Teotihuacan style. The Classic period Maya god K'awiil was closely associated with mirrors. This deity was represented with one leg in the form of a serpent and a mirror on the forehead that was penetrated by an axe or celt and emitted either flames or smoke. K'awiil was a deity who was associated with Maya divine kingship and the royal lineage and bears attributes that were later inherited by the Aztec Tezcatlipoca, or "Smoking Mirror".

title: Mirrors in Mesoamerican culture

text: relatively frequently shown standing upright in bowls, symbolising bowls of shining water. The composite surface of circular pyrite mosaic mirrors led to their association with spider webs. A scene depicted at Teotihuacan shows a mirror covered with a net and flanked by a waterlily and a cotton plant, symbolising water and weaving respectively. The spider webs on mirrors can sometimes be realistically represented in Teotihuacan art, sometimes including a spider in the design. This also fed back into imagery of spider webs themselves, which could be represented by the depiction of a mirror. A mural at the Tetitla compound of

title: Mirrors in Mesoamerican culture

text: back. A number of mirrors were excavated from the Temple of the Feathered Serpent at Teotihuacan. Fifteen individuals were interred with back mirrors placed at the small of the back in Burial 190 alone. Mirrors were additionally worn upon the chest and the representation of chest mirrors upon ceramic figurines is very common. Additionally, circular mirrors were frequently worn as part of a headdress, usually occupying a central position. Teotihuacan had strong contacts with the distant Maya city of Kaminaljuyu, which covered an area now enveloped by modern Guatemala City. A large quantity of circular pyrite mirrors were excavated from

title: Mirrors in Mesoamerican culture

text: pyrite together on a thin disc that was usually crafted from slate. The mirror backing slate was often perforated with two drilled holes and sometimes its reverse was intricately decorated. On the whole the recovery of mirrors from Teotihuacan has been poorly documented so their archaeological context is unclear. At Teotihuacan the largest mirrors were worn on the back, mirrors were also frequently worn on belts. Mirrors worn as a part of costume frequently had cloth or feather tassels attached. These costume mirrors were forerunners of the Aztec "tezcacuitlapilli", which was a mirror worn on the lower part of the

title: Lived religion

text: people were to me as from what they were telling me, as much as what was going on around the stories as from the stories themselves.” Rather than a narrow archival study, Orsi’s focus on non-traditional forms of research demands that scholars give attention to institutions "and" persons, texts "and" rituals, practices "and" theology, things and ideas. In order to study lived religion, Orsi advocates for a complex academic lens where almost anything can hold meaning and serve as a source or text for study. In "The Madonna Of 115th Street", Orsi studies the lived religion of Catholic Italian immigrants

title: Hakka culture

text: Hakka culture Hakka culture () refers to the culture created by Hakka people, a Han Chinese subgroup, across Asia. It encompasses the shared language, various art forms, food culture, folklore, and traditional customs. Hakka culture stemmed from the culture of Ancient Han Chinese, who migrated from China's central plain to what is modern day's Southern China during the 6th to 13th century, and intermixed with local non-Han ethnic groups such as the Miao people. It has also been influenced by the cultures of surrounding Han Chinese groups, such as the Cantonese and the Hoklo. Having historically lived in the mountains

title: Picts in literature and popular culture

text: father—" </poem> Modern archaeological studies demonstrate that the Picts were not significantly different in height to present-day occupants of Scotland. Picts in literature and popular culture The Picts, the people of eastern Scotland in the medieval Scotland, have frequently been represented in literature and popular culture. David MacRitchie was an outspoken proponent of the euhemeristic origin of fairies being the folk memory of Picts. He argued they were rooted in a real diminutive or pygmy-statured indigenous population that lived during the late Stone Age across the British Isles, especially Scotland: MacRitchie developed what became known as the "Pygmy-Pict theory" in

title: Picts in literature and popular culture

text: Picts in literature and popular culture The Picts, the people of eastern Scotland in the medieval Scotland, have frequently been represented in literature and popular culture. David MacRitchie was an outspoken proponent of the euhemeristic origin of fairies being the folk memory of Picts. He argued they were rooted in a real diminutive or pygmy-statured indigenous population that lived during the late Stone Age across the British Isles, especially Scotland: MacRitchie developed what became known as the "Pygmy-Pict theory" in his "The Testimony of Tradition" (1890) and "Fians, Fairies and Picts" (1893) regarding fairies to have been folk memories of

title: Adena culture

text: Adena culture The Adena culture was a Pre-Columbian Native American culture that existed from 1000 to 200 BC, in a time known as the Early Woodland period. The Adena culture refers to what were probably a number of related Native American societies sharing a burial complex and ceremonial system. The Adena lived in an area including parts of present-day Ohio, Indiana, Wisconsin, West Virginia, Kentucky, New York, Pennsylvania, and Maryland. The Adena Culture was named for the large mound on Thomas Worthington's early 19th-century estate located near Chillicothe, Ohio, which he named "Adena", Adena sites are concentrated in a relatively

title: Plum Bayou culture

text: Plum Bayou culture Plum Bayou culture is a Pre-Columbian Native American culture that lived in what is now east-central Arkansas from 650—1050 CE, a time known as the Late Woodland Period. Archaeologists defined the culture based on the Toltec Mounds site and named it for a local waterway. The Baytown culture (300 to 650 CE) preceded the Plum Bayou culture, and was then followed by early Mississippian cultures, which flourished from 900—1600 CE, until diseases brought by Europeans decimated their populations. The Plum Bayou culture had contact with the Coles Creek culture, located along the Mississippi River, and early Caddoan

title: Fremont culture

text: Fremont culture The Fremont culture or Fremont people is a pre-Columbian archaeological culture which received its name from the Fremont River in the U.S. state of Utah, where the culture's sites were discovered by local indigenous peoples like the Navajo and Ute. In Navajo culture, the pictographs are credited to people who lived before the flood. The Fremont River itself is named for John Charles Frémont, an American explorer. It inhabited sites in what is now Utah and parts of Nevada, Idaho and Colorado from AD 1 to 1301 (2,000-700 years ago). It was adjacent to, roughly contemporaneous with, but

title: Adena culture

text: Spoons, beads and other implements were made from the marine conch. A few copper axes have been found, but otherwise the metal was hammered into ornamental forms, such as bracelets, rings, beads, and reel-shaped pendants. Adena culture The Adena culture was a Pre-Columbian Native American culture that existed from 1000 to 200 BC, in a time known as the Early Woodland period. The Adena culture refers to what were probably a number of related Native American societies sharing a burial complex and ceremonial system. The Adena lived in an area including parts of present-day Ohio, Indiana, Wisconsin, West Virginia, Kentucky,

title: Great Goddess of Teotihuacan

text: a factor in deciphering the deity as feminine. Mandell asserts that there is no conclusive evidence to support these ornaments as feminine, and rather this particular ear ornament has been seen on male and female gods. The short skirt seen worn by figures in the Tepantitla mural has been considered another attribute of femininity, yet in Teotihuacan it was more common for males to be depicted in short kilts. The profile figures in the Tepantitla mural carry small bags, which men are known to carry, as seen in depictions of priests in Maya art. Mandell asserts that the ambiguity and

title: Great Goddess of Teotihuacan

text: the Great Goddess of Teotihuacan, archaeologist Janet Catherine Berlo has suggested that at least the Goddess' warlike aspect was assumed by the Aztec's protector god – and war god – Huitzilopochtli. The wresting of this aspect from the Great Goddess was memorialized in the myth Huitzilopochtli, who slew his sister Coyolxauhqui shortly after his birth. Berlo also sees echoes of the Great Goddess in the veneration of the Virgin of Guadalupe. Defining characteristics of the Great Goddess are a bird headress and a nose pendant with descending fangs. In the Tepantitla and Tetitla murals, for example, the Great Goddess wears

title: Great Goddess of Teotihuacan

text: central figures as a Teotihuacan equivalent of Tlaloc, the Mesoamerican god of rain and warfare. This was the consensus view for some 30 years. In 1974, Peter Furst suggested that the murals instead showed a "feminine" deity, an interpretation echoed by researcher Esther Pasztory. Their analysis of the murals was based on a number of factors including the gender of accompanying figures, the green bird in the headdress, and the spiders seen above the figure. Pasztory concluded that the figures represented a vegetation and fertility goddess that was a predecessor of the much later Aztec goddess Xochiquetzal. In 1983, Karl

title: Great Goddess of Teotihuacan

text: to informing gender and “whether sex as a biological concept exists outside Western society”. There is a history of mixed-gender identity within Mesoamerican people, and considering that the Goddess is from Teotihuacan, Western models of gender binary should not be imposed upon non-Western figures. Additionally, there are no explicit sexual characteristics shown on the Great Goddess so their sex cannot be deduced. There is a history of masculine and feminine attributes being shown within the same figure in Mesoamerican art. The Mayan Maize Deity can be seen as an example of this, as posited by Bassie-Sweet. Considering the importance of

title: Great Goddess of Teotihuacan

text: talud-tablero, is a scene showing dozens of small human figures, usually wearing only a loincloth and often showing a speech scroll (see photo below). Several of these figures are swimming in the criss-crossed rivers flowing from a mountain at the bottom of the scene. Caso interpreted this scene as the afterlife realm of Tlaloc although this interpretation has also been challenged, most recently by María Teresa Uriarte, who provides a more commonplace interpretation: that "this mural represents Teotihuacan as [the] prototypical civilized city associated with the beginning of time and the calendar". The Great Goddess is thought to have been

title: Great Goddess of Teotihuacan

text: a frame headdress that includes the face of a green bird, generally identified as an owl or quetzal, and a rectangular nosepiece adorned with three circles below which hang three or five fangs. The outer fangs curl away from the center, while the middle fang points down. She also always seen with jewelry such as beaded necklaces and earrings which was also commonly wormed by Teotihuacan women. Her face is always shown frontally either masked or partially covered, and her hands in murals are always depicted stretched out giving water,seeds,and jade treasures. Other defining characteristics include the colors red and

title: Spearthrower Owl

text: Maya area which was sparked by the findings of Teotihuacan-related objects in the early Maya site of Kaminaljuyú in the 1930s. The controversy has two sides. The "internalist" side argues for limited direct contact between Teotihuacan and the Maya area. This side has been represented by epigraphers such as Linda Schele and David Freidel who have argued that the Maya merely had friendly diplomatic relations with Teotihuacan which caused the Maya elite to emulate Teotihuacano culture and ideology. The "externalist" side argues that Teotihuacan was an important factor in the development of Maya culture and politics in the Classic period.

title: Great Goddess of Teotihuacan

text: that the Great Goddess does not have her more violent aspect: one mural fragment, likely from Techinantitla, shows her as a large mouth with teeth, framed by clawed hands. Elisa C. Mandell's 2015 article "A New Analysis of the Gender Attribution of the 'Great Goddess' of Teotihuacan" published by Cambridge challenges the interpretation of the Great Goddess as being not only female but also male, a mixed-gender figure. Sex is understood as the biological and anatomical difference between men and women, while gender is a socially and culturally constructed identity. There are disagreements among historians over the role of biology

title: Lived body

text: among other subjects, and one experiences oneself as existing objectively "for" these Others; one experiences oneself as the noema of Others' noeses, or as a subject in another's empathic experience. As such, one experiences oneself as objectively existing subjectivity. Intersubjectivity is also a part in the constitution of one's lifeworld, especially as "homeworld." Lived body In phenomenology, the lived body is your own body as experienced by yourself, "as" yourself. Your own body manifests itself to you mainly as your possibilities of acting in the world. It is what lets you reach out and grab something, for instance, but it

title: Lived body

text: Lived body In phenomenology, the lived body is your own body as experienced by yourself, "as" yourself. Your own body manifests itself to you mainly as your possibilities of acting in the world. It is what lets you reach out and grab something, for instance, but it also, and more importantly, allows for the possibility of changing your point of view. This helps you differentiate one thing from another by the experience of moving around it, seeing new aspects of it (often referred to as making the absent present and the present absent), and still retaining the notion that this

title: Plum Bayou culture

text: was also used to decorate some ceramic vessels. While neighboring cultures adopted maize cultivation and increasingly complex religions and political organization, the Plum Bayou people did not. People continued to occupy the region, but they abandoned their ceremonial sites. The exact descendants of the Plum Bayou culture are not known; however, Quapaw people today are responsible for Plum Bayou human remains and artifacts through the Native American Graves Protection and Repatriation Act. Plum Bayou culture Plum Bayou culture is a Pre-Columbian Native American culture that lived in what is now east-central Arkansas from 650—1050 CE, a time known as the

title: Calf Creek culture

text: Calf Creek culture Calf Creek Culture was a nomadic hunter-gatherer people who lived in the southcentral region of North America, especially in the area of what is today Oklahoma and surrounding states, artifacts having been found in such places as Beard's Bluff, Arkansas and Sand Springs, Oklahoma. The Calf Creek culture was active during the early to middle Archaic period in the Americas, approximately 7,500 to 4,000 years ago. The Calf Creek people were noted for their use of large, heat-treated flint spearheads. The Calf Creek point was first named and described in an Arkansas amateur archaeological journal by Don

title: Chiribaya culture

text: rivers in the territory of the Chiribaya culture and their tributaries rise about inland in the wetter Andes at elevations of up to . The cold Humboldt Current offshore creates one of the world's richest marine ecosystems and supports large numbers of fish, marine mammals, and birds. Evidence of man's presence in what would become the Chiribaya cultural area dates back to before 7,000 BCE with the Chinchorro culture, the people of which practiced mummification thousands of years before Egypt did. These early inhabitants lived on the coast and 89 percent of their subsistence came from the sea, only 6

title: Maglemosian culture

text: in forest and wetland environments, using fishing and hunting tools made from wood, bone, and flint microliths. It appears that they had domesticated the dog. Some may have lived settled lives, but most were nomadic. Huts made of bark have been preserved, and the tools were made of flint, bone, and horn. A characteristic of the culture are the sharply edged microliths of flintstone, used for spear and arrow heads. Another notable feature is the leister, a characteristic type of fishing spear, used for gigging. When the Maglemosian culture flourished, sea levels were much lower than now and what is

title: Greek mythology in popular culture

text: Rita Boumi-Pappa; rarely use mythological references, which Christopher Robinson attributes to the "problem of gender roles, both inside and outside the myths." Martin Winter says that the idea that many commentaries about the widespread use of Greek myths throughout Western culture does not take into account the vast difference between what a modern viewer takes from the story and what it would have meant to an ancient Greek. Greek mythology in popular culture Elements of Greek mythology have appeared many times in culture and pop culture. The Greek myths had originally been adopted into the culture of ancient Rome, and

title: Kelteminar culture

text: people practised a mobile hunting, gathering and fishing subsistence system. Over time, they adopted stockbreeding. With the Late Glacial warming, up to the Atlantic Phase of the Post-Glacial Optimum, Mesolithic groups moved north into this area from the Hissar (6000–4000 BCE). These groups brought with them the bow and arrow and the dog, elements of what Kent Flannery has called the "broad-spectrum revolution". Scientists hold that Kelteminar culture is related to the Pit–Comb Ware culture and belongs to the Finno-Ugric peoples. The Kelteminar people lived in huge houses (size 24m x 17m and height 10m), which housed the whole tribal

title: Global warming in popular culture

text: or intended to be accurate. Global warming in popular culture The issue of global warming, its possible effects, and related human-environment interaction have entered popular culture since the late 20th century. Science historian Naomi Oreskes has noted, "There's a huge disconnect between what professional scientists have studied and learned in the last 30 years, and what is out there in the popular culture." An academic study contrasts the relatively rapid acceptance of ozone depletion as reflected in popular culture with the much slower acceptance of the scientific consensus on global warming. This refers to the classification non-fiction, without regard to

title: Global warming in popular culture

text: Global warming in popular culture The issue of global warming, its possible effects, and related human-environment interaction have entered popular culture since the late 20th century. Science historian Naomi Oreskes has noted, "There's a huge disconnect between what professional scientists have studied and learned in the last 30 years, and what is out there in the popular culture." An academic study contrasts the relatively rapid acceptance of ozone depletion as reflected in popular culture with the much slower acceptance of the scientific consensus on global warming. This refers to the classification non-fiction, without regard to whether the books are accurate

title: In What Language?

text: is being able to watch TV and play video games at the same time, so be it. We can only hope it inspires real discourse and real thought." Lyn Horton of All About Jazz noted "A concrete lesson seems to emanate from "In What Language?" and it is this: that no matter what language distinguishes the nature of the present global geo-political culture, the language spoken has a clear and consistent meaning borne in its content. The language transcends any dialect. And if we are determined enough, within our commonly shared humanity, we can speak the same language. In our

title: Geography of Mesoamerica

text: the Mexica.But they also lived in the Chiapas area. Geography of Mesoamerica The geography of Mesoamerica describes the geographic features of Mesoamerica, a culture area in the Americas inhabited by complex indigenous pre-Columbian cultures exhibiting a suite of shared and common cultural characteristics. Several well-known Mesoamerican cultures include the Olmec, Teotihuacan, the Maya, the Aztec and the Purépecha. Mesoamerica is often subdivided in a number of ways. One common method, albeit a broad and general classification, is to distinguish between the highlands and lowlands. Another way is to subdivide the region into sub-areas that generally correlate to either culture areas

text: Tlaloc. Nevertheless, Mary Ellen Miller and Karl Taube claim that these heads may represent a "war serpent", while Michael D. Coe claims, somewhat similarly, that they probably represent the "fire serpent" wearing a headdress with the Teotihuacan symbol for war. In the eyes of these figures there is a spot for obsidian glass to be put in, so when the light hits, its eyes would glimmer. In antiquity the entire pyramid was painted – the background here was blue with carved sea shells providing decoration. Under each row of heads are bas-reliefs of the full feathered serpent, in profile, also