Eveningstar Macaw lives in a glorious Mayan city in the ninth century. When the king falls ill and dies, the city begins to crumble. An evil high priest, Great Skull Zero, orders the sacrifice of those who might become king, including Eveningstar's beloved brother. Suspicious of the High Priest's motives, Eveningstar attempts to save her brother, thus becoming an acknowledged enemy of the High Priest. Condemned to be thrown into the Well of Sacrifice, Eveningstar must find a way not only to save her own life but to rescue her family and her city from the tyrannical grasp of Great Skull Zero. Set against the vivid background of everyday life at the height of the Mayan golden age and illustrated with striking black-and-white paintings, Eveningstar's candid, gripping, and not-for-the-faint-of-heart account of the last days of a great city will have readers at the edge of their seats. Afterword.
Chichén Itzá ("mouth of the well of the Itza") was one of the great centers of civilization in prehistoric America, serving between the eighth and twelfth centuries A.D. as a religious, economic, social, and political capital on the Yucatán Peninsula. Within the ancient city there were many natural wells or cenotes. One, within the ceremonial heart of the city, is an impressive natural feature with vertical limestone walls enclosing a deep pool of jade green water some eighty feet below ground level. This cenote, which gave the city its name, became a sacred shrine of Maya pilgrimage, described by one post-Conquest observer as similar to Jerusalem and Rome. Here, during the city's ascendancy and for centuries after its decline, the peoples of Yucatán consulted their gods and made ritual offerings of precious objects and living victims who were thought to receive prophecies. Although the well was described by Bishop Diego de Landa in the late sixteenth century, its contents were not known until the early 1900s when revealed by the work of Edward H. Thompson. Conducting excavations for the Peabody Museum of Harvard University, Thompson recovered almost thirty thousand artifacts, most ceremonially broken and many beautifully preserved by burial in the deep silt at the bottom of the well. The materials were sent to the Peabody Museum, where they remained, unexhibited, for over seventy years. In 1984, for the first time, nearly three hundred objects of gold, jade, copper, pottery, wood, copal, textile, and other materials from the collection were gathered into a traveling interpretive exhibition. No other archaeological exhibition had previously given this glimpse into Maya ritual life because no other collection had objects such as those found in the Sacred Cenote. Moreover, the objects from the Cenote come from throughout Mesoamerica and lower Central America, representing many artistic traditions. The exhibit and this, its accompanying catalog, marked the first time all of the different kinds of offerings have ever been displayed together, and the first time many have been published. Essays by Gordon R. Willey and Linnea H. Wren place the Cenote of Sacrifice and the great Maya city of Chichén Itzá within the larger context of Maya archaeology and history. The catalog entries, written by Clemency Chase Coggins, describe the objects displayed in the traveling exhibition. Some entries are brief descriptive statements; others develop short scholarly themes bearing on the function and interpretation of specific objects. Coggins' introductory essay describes how the objects were collected by Thompson and how the exhibition collection has been studied to reveal the periods of Cenote ritual and the changing practices of offering to the Sacred Cenote.
'It is my attempt to fit the lives of citizens here, into the context of The Great War as a world-historical event. I think it's important to remember that we all make history, and are all made by history.'- Dean Ulland
A trenchant analysis of sacrifice as the foundation of the modern, as well as the ancient, social order The modern conception of sacrifice is at once cast as a victory of self-discipline over desire and condescended to as destructive and archaic abnegation. But even in the Old Testament, the dual natures of sacrifice, embodying both ritual slaughter and moral rectitude, were at odds. In this analysis, Terry Eagleton makes a compelling argument that the idea of sacrifice has long been misunderstood. Pursuing the complex lineage of sacrifice in a lyrical discourse, Eagleton focuses on the Old and New Testaments, offering a virtuosic analysis of the crucifixion, while drawing together a host of philosophers, theologians, and texts--from Hegel, Nietzsche, and Derrida to the Aeneid and The Wings of the Dove. Brilliant meditations on death and eros, Shakespeare and St. Paul, irony and hybridity explore the meaning of sacrifice in modernity, casting off misperceptions of barbarity to reconnect the radical idea to politics and revolution.
This book examines Maya sacrifice and related posthumous body manipulation. The editors bring together an international group of contributors from the area studied: archaeologists as well as anthropologists, forensic anthropologists, art historians and bioarchaeologists. This interdisciplinary approach provides a comprehensive perspective on these sites as well as the material culture and biological evidence found there
The Strange World of Human Sacrifice is the first modern collection of studies on one of the most gruesome and intriguing aspects of religion. The volume starts with a brief introduction, which is followed by studies of Aztec human sacrifice and the literary motif of human sacrifice in medieval Irish literature. Turning to ancient Greece, three cases of human sacrifice are analysed: a ritual example, a mythical case, and one in which myth and ritual are interrelated. The early Christians were the victims of accusations of human sacrifice, but in turn imputed the crime to heterodox Christians, just as the Jews imputed the crime to their neighbours. The ancient Egyptians rarely seem to have practised human sacrifice, but buried the pharaoh's servants with him in order to serve him in the afterlife, albeit only for a brief period at the very beginning of pharaonic civilization. In ancient India we can follow the traditions of human sacrifice from the earliest texts up to modern times, where especially in eastern India goddesses, such as Kali, were long worshipped with human victims. In Japanese tales human sacrifice often takes the form of self-sacrifice, and there may well be a line from these early sacrifices to modern kamikaze. The last study throws a surprising light on human sacrifice in China. The volume is concluded with a detailed index
When Cortes and his battle-weary Spanish soldiers first gazed on the Aztec capital Tenochtitlan in 1519, they viewed the amazing culmination of 3,000 years of continuous cultural development. Aztec and Maya cities, temples, and palaces were in some ways like those found in Mesopotamia and Egypt: civilizations that had developed in isolation, free of outside influences. Here are the legends and stories of these two unique, ancient cultures.
There would be many more human sacrifices-of that Char was sure. It never occurs to him that he or Quel might become one of those victims who meet their fate at the hands of the cruel warrior-priests! The Maya youth spots something unusual in the Sacred Well of Sacrifice and must satisfy his curiosity. After he goads his friend into helping him commit a forbidden and foolish act-secretly entering the Well-a series of calamities is unleashed on Chichen Itza. He's been in trouble with the priests before. If they find out, the gods (or is it the priests?) will only be satisfied with the removal of his beating heart atop the Pyramid of Kukulcan. Skullman, the high priest, has worries of his own-drought, war, unrest among the people, Screaming Jaguar and Sharp Claw scheming to overthrow him. Perhaps the offering of an innocent youth would appease the gods and bring peace and harmony to the city. The boys' only desire is for calm and prosperity to return to their land. Their actions may determine not only their own fate, but also that of the entire community.
Haunting and poignant, this collection of portraits from renowned Melbourne artist, George Petrou portrays a spirit like no other -- the Anzac spirit. Australians from all walks of life have served our great nation with gallantry and sacrifice -- ordinary people who displayed mateship, resilience and devotion to duty. The Art of Sacrifice captures the spirit of service in a fitting tribute to all Anzacs of every generation. Using images of the past and the stories of today, the artist travels Australia and overseas to connect the past and the present in a unique, powerful and evocative collection of outstanding portraits. The Art of Sacrifice is a stunning contribution to the understanding and commemoration of all those who have served our great country.
