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The myths of the Aztec and Maya derive from a shared Mesoamerican cultural tradition. This is very much a living tradition, and many of the motifs and gods mentioned in early sources are still evoked in the lore of contemporary Mexico and Guatemala. Professor Taube discusses the different sources for Aztec and Maya myths. The Aztec empire began less than 200 years before the Spanish conquest, and our knowledge of their mythology derives primarily from native colonial documents and manuscripts commissioned by the Spanish. The Maya mythology is far older, and our knowledge of it comes mainly from native manuscripts of the Classic period, over 600 years before the Spanish conquest. Drawing on these sources as well as nineteenth- and twentieth-century excavations and research, including the interpretation of the codices and the decipherment of Maya hieroglyphic writing, the author discusses, among other things, the Popol Vuh myths of the Maya, the flood myth of Northern Yucatan, and the Aztec creation myths.

Jon Manchip White (born 1924) is the Welsh American author of more than thirty books of non-fiction and fiction, including Mask of Dust, Nightclimber, Death By Dreaming, Solo Goya, and his latest novel, Rawlins White: Patriot to Heaven, published in 2011. White is also the author of a number of plays, teleplays, screenplays and volumes of short stories including The Bird with Silver Wings, a collection of musical stories to be published in the summer of 2012. This book is the story of the Spanish conquest of the Aztec Empire and most specifically, Cortes' influence on its conduct and consequences. The Spanish conquest of the Aztec Empire was one of the most significant events in the Spanish colonization of the Americas. The invasion began in February, 1519, and was declared victorious on August 13, 1521, when a coalition army of Spanish conquistadors and Tlaxcalan warriors led by Hernán Cortés and Xicotencatl the Younger captured Tenochtitlan, the capital of the Aztec Empire. During the Spanish campaign, Cortés allied with a number of the tributaries and rivals of the Aztecs, including the Totonacs, and the Tlaxcaltecas. After eight months of battles and intrigue, which overcame the diplomatic resistance of the Aztec Emperor Montezuma to his visit, Cortés arrived in Tenochtitlan on November 8, 1519, where he took up residence. After an Aztec attack on Nauhtlan, a city on the coast, that left several Spaniards dead, Cortés took Montezuma captive in his own palace and ruled through him for months. After the massacre at the Main Temple of Tenochtitlan and a rebellion by the population of the city, Cortés and his men had to fight their way out of the capital city in June, 1520. However, the Spanish and Tlaxcalans would return with reinforcements and a siege plan that led to the fall of Tenochtitlan a year later. The collapse of the Aztec Empire was a major milestone in the formation of New Spain, which would not be formalized by the Spanish Crown until 1535.

Sardinian artisan Professor Agostino Dessi has been a mask maker in Florence for over three decades. For the first time, a remarkable collection of his masks can be seen in print, each one lavishly photographed, showing every fine detail on every face. The collection is accompanied by the story of The Man Behind the Mask' , an account of masks throughout history, and instructions on making papier mache masks. Prof. Agostino Dessi invites you to explore the magical, spellbinding world of the mask.

8 full-color masks based on authentic North American Indian designs: Hopi corn man, Kwakiutl human/bear mask, Iroquois false face mask, bird and raven masks of Makah Indians (British Columbia), Aztec fire god mask, 2 others. Complete assembly instructions.

Sardinian artisan Professor Agostino Dessi has been a mask maker in Florence for over three decades. For the first time, a remarkable collection of his masks can be seen in print, each one lavishly photographed, showing every fine detail on every face. The collection is accompanied by the story of The Man Behind the Mask' , an account of masks throughout history, and instructions on making papier mache masks. Prof. Agostino Dessi invites you to explore the magical, spellbinding world of the mask.

This volume of photographs and commentary brings together one of the most outstanding private collections of Pre-Columbian art treasures. Some highlights of the collection include Zapotec ceramics, Aztec onyx figures, Peruvian textiles, Olmec masks, Maya jade and pre-Colombian goldwork, all of extraordinary quality and beauty. Masters of the Americas will accompany a major exhibition at the Mus,es d'Art et d'Histoire in Geneva, Switzerland (October 2005 - April 2006) and at the Mus,e d'Art et d'Histoire du Cinquantenaire in Brussels, Belgium (opening September 2006).

The First Word came with Cain, who killed the first child of man. The Third Word was Pharaoh’s instruction to the midwives. The Fifth Word was carried from Herod to Bethlehem. One of the Lost Words dwelt among the Aztecs and hungered after their children. Evil hides behind starched white masks. The ancient Aztec demon now conducts his affairs in the sterile environment of corporate medical facilities. An insatiable hunger draws the demon to a sleepy Louisiana hamlet. There, it contracts the services of a young attorney, Jim David, whose unborn child is the ultimate object of the demon’s designs. Monsignor, a mysterious priest of unknown age and origin, labors unseen to save the soul of a small town hidden deep within Louisiana’s plantation country, nearly forgotten in a bend of the Mississippi River. You'll be gripped from start to heart-stopping finish in this page-turning thriller from new author S.L. Smith. With roots in Bram Stoker's Dracula, this horror novel reads like Stephen King's classic stories of towns being slowly devoured by an unseen evil and the people who unite against it. The book is set in southern Louisiana, an area the author brings to life with compelling detail based on his local knowledge.

Step-by-step photographs and easy-to-follow instructions show how to create an exciting selection of items - from a Grecian coaster, an African mask and an Egyptian eagle necklace to a celestial pot, an Aztec book cover and a seaside pebble frame. This inspiring book contains ten original projects and plenty of tips on how to create original mosaic designs.

From the Aztec Empire to World War II and beyond, this book is a fascinating study of Mary's role in politics, religion, science and the end times. Professor Bartholomew delves deep into the hard facts to bring readers an understanding of the profound impact and implications of Mary's messages on the world throughout history, today, and especially in the future. 120 color photographs.

A fact-filled treasure trove of how to become an explorer provides easy-to-follow instructions for making a compass, a survival kit, and a sea chest, and suggests such activities as baking spice cookies and creating an Aztec mask.

Tells the stories of a festival held every six years, a stolen mask, a haunted convent, and the discovery of two Aztec statues.

This volume of photographs and commentary brings together one of the most outstanding private collections of Pre-Columbian art treasures. Some highlights of the collection include Zapotec ceramics, Aztec onyx figures, Peruvian textiles, Olmec masks, Maya jade and pre-Colombian goldwork, all of extraordinary quality and beauty. Masters of the Americas will accompany a major exhibition at the Mus,es d'Art et d'Histoire in Geneva, Switzerland (October 2005 - April 2006) and at the Mus,e d'Art et d'Histoire du Cinquantenaire in Brussels, Belgium (opening September 2006).

After initial successes at the beginning of the 20th century held in episode three years of internment during World War skeletons, demons, masks, warning voice, black room, brittle outlines and harsh colors collection in its imagery. Karl Hofer in 1919 professor at the Academy of Fine Arts in Berlin, whose reconstruction he has been involved since 1945 as director. The years in between are marked by the stigma of degeneracy and of inner emigration. End of the 1940s Hofer gets more and more violent in the mills of a publicly discharged fundamental dispute between figurative and abstract painting. The photo of artistic loner hover between image gewordenem humanism and striking disillusionment. Volume 1: The main works. Volume 2: catalog raisonné. Volume 3: catalog of works, detailed bibliography, list of exhibitions and checklists

In the most devastating critique of American higher education ever produced, author George Roche explains how and why the smoke screen of success in America's institutions of higher education mask huge deficits, overpaid administrators and professors, and dismal standards of education. American colleges and universities are the envy of the world. They are prided for offering the finest education available. But do they live up to their reputation? The Fall of the Ivory Tower proves they do not, largely for one reason - government funding. For decades, money from the government has encouraged schools to overspend, overstaff, and overbuild. It has subsidized skyrocketing tuition, fiscal mismanagement, and institutional corruption. Ultimately, it has forced many colleges and universities to change their top priority from educating undergraduates to attracting government funds. In spite of the massive infusion of money - including federal aid, which has doubled over the last few years - Dr. Roche reports that "tens of thousands of students don't know when Columbus sailed to the New World, who wrote the Declaration of Independence, or when the Civil War was fought. Businesses complain that they have to re-educate college graduates in the basics of math and English, and parents protest that tuition costs are far beyond their ability to pay." Government subsidy has created an academic welfare state that will have to suffer radical change if America's educational institutions are to survive. The Fall of the Ivory Tower explains how and why the nationwide financial crisis that threatens to put many institutions out of business may become good news by offering an opportunity to restore authorityand accountability to their most valuable asset - the student.

Flirtations * Round Dance * The Green Cockatoo * The Last Masks * Countess Mizzi * The Vast Domain * Professor Bernhardi The playwright Arthur Schnitzler is best known as the chronicler of fin de siècle Viennese decadence. Round Dance, written in the late 1890s, exposes sexual life in Vienna with such witty frankness that it could not be staged until after the First World War, when it provoked a riot in the theatre and a prosecution for indecency. The other plays in this collection explore love, sexuality, and death in various guises, always with a sharp, non-judgemental awareness of the complexity and mystery of the psyche. Acquainted with Freud and his circle, Schnitzler probes beneath the surface of his characters to uncover emotions they barely understand. And in the tragicomedyProfessor Bernhardi, Schnitzler addresses the growing anti-Semitism of the period. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Twenty-odd years ago, Richard Mitchell, a professor at New Jersey’s Glassboro State College, set out on a quixotic pursuit: the rescue of the English language and the minds of those attached to the world by it. Donning cape and mask as “The Underground Grammarian,” Mitchell sallied forth upon his newsletter against the nonsense being spoken, written, and, indeed, encouraged by the educational establishment. (“One thing led to another,” as he tells it, “a front page piece in The Wall Street Journal, a proÞle in Time, and other such. Before it was over, The Underground Grammarian came to be, in the world of desktop printing, the Þrst publication to have subscribers on every continent except Antarctica.”) What began as a vivid catalog of ignorance and inanity in the written work of professional educators and their hapless students soon became an enterprise of most noble moment: an investigation, via mordant wit and Þerce intelligence, of “what we might usefully decide to mean by ‘education.’” The results of Mitchell’s inquiries are as stimulating today as they were when Þrst articulated. His project remains a telling explication of how, through writing, we discover thought and make knowledge. It is certainly the most drolly entertaining.

Twenty-odd years ago, Richard Mitchell, a professor at New Jersey’s Glassboro State College, set out on a quixotic pursuit: the rescue of the English language and the minds of those attached to the world by it. Donning cape and mask as “The Underground Grammarian,” Mitchell sallied forth upon his newsletter against the nonsense being spoken, written, and, indeed, encouraged by the educational establishment. (“One thing led to another,” as he tells it, “a front page piece in The Wall Street Journal, a proÞle in Time, and other such. Before it was over, The Underground Grammarian came to be, in the world of desktop printing, the Þrst publication to have subscribers on every continent except Antarctica.”) What began as a vivid catalog of ignorance and inanity in the written work of professional educators and their hapless students soon became an enterprise of most noble moment: an investigation, via mordant wit and Þerce intelligence, of “what we might usefully decide to mean by ‘education.’” The results of Mitchell’s inquiries are as stimulating today as they were when Þrst articulated. His project remains a telling explication of how, through writing, we discover thought and make knowledge. It is certainly the most drolly entertaining.

Twenty-odd years ago, Richard Mitchell, a professor at New Jersey’s Glassboro State College, set out on a quixotic pursuit: the rescue of the English language and the minds of those attached to the world by it. Donning cape and mask as “The Underground Grammarian,” Mitchell sallied forth upon his newsletter against the nonsense being spoken, written, and, indeed, encouraged by the educational establishment. (“One thing led to another,” as he tells it, “a front page piece in The Wall Street Journal, a proÞle in Time, and other such. Before it was over, The Underground Grammarian came to be, in the world of desktop printing, the Þrst publication to have subscribers on every continent except Antarctica.”) What began as a vivid catalog of ignorance and inanity in the written work of professional educators and their hapless students soon became an enterprise of most noble moment: an investigation, via mordant wit and Þerce intelligence, of “what we might usefully decide to mean by ‘education.’” The results of Mitchell’s inquiries are as stimulating today as they were when Þrst articulated. His project remains a telling explication of how, through writing, we discover thought and make knowledge. It is certainly the most drolly entertaining.