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Author:   Carolyn E. Tate
Publisher:   University of Texas Press
Imprint:   University of Texas Press
Dimensions:   Width: 21.60cm , Height: 2.80cm , Length: 27.90cm
Weight:   1.275kg
ISBN:  

9780292728523

ISBN 10:   0292728522
Pages:   359
Publication Date:   01 January 2012
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Preface Acknowledgments Chapter 1. Rediscovering Women and Gestation in Olmec Visual Culture A Cradle of Civilization Mesoamerica and Its Visual Culture Early Interpretations of the First Known Olmec Sculptures New Questions in Olmec Studies Is Gender or Gestation the Compelling Issue? How the Book Develops: Content and Methodologies Chapter 2. The Tale of the Were-Jaguar The Birth of the Were-Jaguar One Were-Jaguar or Many Deities? The First Attempt to Slay the Were-Jaguar The Were-Jaguar as a Shamanic Alter Ego Monstrous Congenital Anomalies Pantheons of Deities or Symbols of Vital Forces? Shamanism in an Ecological Context The Rebirth of the Maize Deity Signs of Life Chapter 3. The Sowing and Dawning of the Human-Maize Seed Images of the Unborn The Formative Mesoamerican Embryo and Its Matrix of Associations Ethnographic Analogies Hollow Babies A Contemporary Baby in a Boat: Ninopa Conclusions about Embryos, Fetuses, and Babies Chapter 4. Tracking Gender, Gestation, and Narrativity Through the Early Formative The Archaic Period, 10,000 to 2000 BC: The Beginning of Visual Symbols The Initial Formative, circa 1900 to 1400 BC Maize Technology I: Fermentation Maize Technology II: Nixtamalization The Early Formative, 1400-900 BC Fluctuations in Visual Culture During the Initial and Early Formative Periods Chapter 5. La Venta's Buried Offerings: Women and Other Revelations Topography and Sources of Stone Discovery, Excavation, and Chronology of La Venta Surveying La Venta's Visual Culture Through Time Women and the Unborn Return to Prominence Chapter 6. Female Water and Earth Supernaturals: The Massive Offerings, Mosaic Pavements, and Mixe Work of the Earth Why Construct Massive Offerings? Mixe Beliefs in Earth, Water, and Thunder Supernormal Entities La Venta's Mosaic Pavements Offerings Inseminating the Flowering Earth Massive Offerings: Contained Water Mixe Healers, Midwives, and Rituals, and Their Olmec Antecedents Female Shamans The Mosaic Pavements as Conventionalized Symbols Politics, Protection, and Healing Chapter 7. A Processional Visual Narrative at La Venta Previous Investigations of Olmec Creation Narratives Patterns for the Distribution of Monumental Sculptures A Processional Visual Narrative Chapter 8. La Venta's Creation and Origins Narrative An Approach to Visual Narratives from Preliterate Societies The Narrative Stations Station One: A Womb with Three Fetuses Station Two: A Quincunx of Thrones Station Three: The Dawning of Human-Maize Station Four: The Female Sources of Life: Earth and Water Station Five: The Bodiless Heads Station Six: The Phallic Column Inserting Politics into the Creation and Origins Narrative Alternative Reading Orders Conclusions and Questions Chapter 9. A Scattering of Seeds Assessing Arguments for Some Major Points Modes of Communication Where Did Olmec Ideas Go? Asking and Answering the Fundamental Questions Appendix 1. La Venta Monuments by Format Appendix 2. Comparison of Mesoamerican Creation and Origins Narratives Appendix 3. Shape-Shifters and Werewolves to Were-Jaguars: A Brief Chronology Notes Bibliography Index

Reviews

Tate demonstrates that the sustained investigation of ancient material and visual culture can indeed provide elusive glimpses of the complex, empirically based knowledge systems crafted by Mesoamericans. - CAA Reviews

Tate demonstrates that the sustained investigation of ancient material and visual culture can indeed provide elusive glimpses of the complex, empirically based knowledge systems crafted by Mesoamericans. -- CAA Reviews

Author Information

Carolyn E. Tate is Professor of Art History at Texas Tech University and former Associate Curator of Pre-Columbian Art at the Dallas Museum of Art. She co-curated the exhibitions The Olmec World: Ritual and Rulership at the Art Museum, Princeton University, and Olmec Art of Ancient Mexico at the National Gallery of Art.

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