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All of human adventure flows from our bodies that believe, show emotion, and look at what such studies suggest. yet, is it attainable for us, embodied as we're in a selected time and position, to grasp how humans of some time past thought of the physique and its studies? during this groundbreaking booklet, 3 major specialists at the vintage Maya (ca. advert 250 to 850) marshal an unlimited array of facts from Maya iconography and hieroglyphic writing, in addition to archaeological findings, to argue that the vintage Maya built a coherent method of the human physique that we will recuperate and comprehend this day. The authors open with a cartography of the Maya physique, its components and their meanings, as depicted in imagery and texts. They pass directly to discover such matters as how the physique used to be replicated in portraiture; the way it skilled the area via ingestion, the senses, and the feelings; how the physique skilled conflict and sacrifice and the soreness and sexuality that have been in detail sure up in those domain names; how phrases, frequently heaven-sent, should be embodied; and the way our bodies may be blurred via spirit ownership. From those investigations, the authors convincingly reveal that the Maya conceptualized the physique in various roles, as a metaphor of time, as a gendered, sexualized being, in exact levels of existence, as an software of honour and dishonour, as a automobile for communique and intake, as an exemplification of attractiveness and ugliness, and as a dancer and song-maker. Their findings open a brand new road for empathetically realizing the traditional Maya as residing humans who skilled the realm as we do, during the physique.
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Additional resources for The Memory of Bones: Body, Being, and Experience among the Classic Maya (Joe R. and Teresa Lozana Long Series in Latin American and Latino Art and Culture)
Other extremities are the feet and legs. Here, as elsewhere, the Common Ch’olan word for “muscle” was *a’ (Kaufman and Norman 1984:115). ). Alternatively, these terms were patya or uutya, referring to “back of muscle” or “face of muscle”—the Ch’olti’ source by Francisco Morán is notoriously difficult to interpret in some of its spellings. ). ). ). The Ch’orti’ Maya distinguished between the properties of the thumb and big toe, and all other fingers and toes. A few of these terms or images of them make an appearance in the Classic period.
THE CLASSIC MAYA BODY 1997:315–316; Kelley 1976:55–57)? Were some colors, such as blue, valued more highly than others, as was the case in later European tradition and as seems likely among the Maya (Pastoureau 2001:49)? Did those values and the use of colors change through time (Baines 1985)? What role did cross-sensory stimulation, or synesthesia (Chapter 4), perform in triggering senses beyond the reception of color (J. Gage 1999:262–265)? In all likelihood, “blue” or “green” was associated in Maya thought with something fluid, and yet, in the case of jades, these two colors indicate hard-stone luster and preciousness (Saunders 2001:210–212).
There appear to have been two layers, especially when elaborate dance costumes were placed on the body. First came “underclothing,” worn at all times; second was an array of straps, jewelry, shells, capes, and belts that took the meaning of clothing to a different level. Most ponderous of all would have been the carved and feathered headdresses that must have presented great difficulties. A graffito from Caracol, Belize, shows a person balancing a headdress consisting of stacked masks; an assistant stands behind to provide a helpful hand (Fig.