Nancy Reagan describes her life from her happy childhood to her exciting stage and film career to her experiences as the wife of a famous actor, governor, and presidential candidate and expresses hopeful views on America's future.
In Tongues of Fire, Nancy Farriss investigates the role of language and translation in the creation of Mexican Christianity during the first centuries of colonial rule. Spanish missionaries collaborated with indigenous intellectuals to communicate the gospel in dozens of unfamiliar local languages that had previously lacked grammars, dictionaries, or alphabetic script. The major challenge to translators, more serious than the absence of written aids or the great diversity of languages and their phonetic and syntactical complexity, was the vast cultural difference between the two worlds. The lexical gaps that frustrated the search for equivalence in conveying fundamental Christian doctrines derived from cultural gaps that separated European experiences and concepts from those of the Indians. Farriss shows that the dialogue arising from these efforts produced a new, culturally hybrid form of Christianity that had become firmly established by the end of the 17th century. The study focuses on the Otomangue languages of Oaxaca in southern Mexico, especially Zapotec, and relates their role within the Dominican program of evangelization to the larger context of cultural contact in post-conquest Mesoamerica. Fine-grained analysis of translated texts reveals the rhetorical strategies of missionary discourse. Spotlighting the importance of the native elites in shaping what emerged as a new form of Christianity, Farriss shows how their participation as translators and parish administrators helped to make evangelization an indigenous enterprise, and the new Mexican church an indigenous one.
The author provides answers to the various letters she receives from her fans, offering information about her writing career and the characters in her novels, and supplying advice on friends, family, boyfriends, adolescence, and religion.
This book traces the history of the Maya Indians of Yucatan, Mexico, during a four-hundred-year period from late preconquest times through the end of Spanish rule in 1821. Nancy Farriss combines the tools of the historian and the anthropologist to reconstruct colonial Maya society and culture as a web of interlocking systems, from ecology and modes of subsistence through the corporate family and the community to the realm of the sacred. She shows how the Maya adapted to Spanish domination, changing in ways that embodied Maya principles as they applied their traditional collective strategies for survival to the new challenges; they fared better under colonial rule than the Aztecs or Incas, who lived in areas more economically attractive to the conquering Spaniards. The author draws on archives and private collections in Seville, Mexico City, and Yucatan; on linguistic evidence from native language documents; and on archaeological and ethnographic data from sources that include her own fieldwork. Her innovative book illuminates not only Maya history and culture but also the nature and functioning of premodern agrarian societies in general and their processes of sociocultural change, especially under colonial rule.
This book analyzes the lives and the continuing ritual traditions of the Mayas who live in the United States. Focusing on a predominantly Maya town in rural Florida, it shows how members of this ancient Central American civilization use their religious tradition to maintain their ethnic identity in an unfamiliar environment. Bringing together studies of Mesoamerican fiesta or cargo systems, religious ritual and migration studies, this interdisciplinary work describes the religious traditions of indigenous Guatemala, the crisis migration of the 1980s, and the Mayas' daily life in the United States, including Maya women's reflections on their new challenges. The book is unique in its focus on the transfer of the fiesta cycle to the diaspora and its analysis of the behind-the-scenes aspects of ritual. The rise of leadership, contested interpretations of ethnic identity, choices about symbolic representation, and maintenance of ties to villages of origin all take place in the context of organizing public ritual events. Through these strategies, the Maya people not only cope materially and spiritually with the chaotic experience of uprootedness, but find ways to strengthen their unique identity. Bibliography. Index.
In Ancient Households of the Americas archaeologists investigate the fundamental role of household production in ancient, colonial, and contemporary households. Several different cultures—Iroquois, Coosa, Anasazi, Hohokam, San Agustín, Wankarani, Formative Gulf Coast Mexico, and Formative, Classic, Colonial, and contemporary Maya—are analyzed through the lens of household archaeology in concrete, data-driven case studies. The text is divided into three sections: Section I examines the spatial and social organization and context of household production; Section II looks at the role and results of households as primary producers; and Section III investigates the role of, and interplay among, households in their greater political and socioeconomic communities. In the past few decades, household archaeology has made substantial contributions to our understanding and explanation of the past through the documentation of the household as a social unit—whether small or large, rural or urban, commoner or elite. These case studies from a broad swath of the Americas make Ancient Households of the Americas extremely valuable for continuing the comparative interdisciplinary study of households.
When Dad makes a plan to fix the walkway in front of their house with new cement, Nancy knows just how to make the walkway parfait—which is French for perfect! Disney Junior’s Fancy Nancy: Nancy Makes Her Mark is a Level One I Can Read, perfect for children learning to sound out words and sentences. Disney Junior’s Fancy Nancy is an animated family comedy starring six-year-old Nancy, a girl who is fancy in everything from her advanced vocabulary to her creative, elaborate attire. The show is based on the New York Times bestselling book series Fancy Nancy by Jane O’Connor and Robin Preiss Glasser.
Coming in 2018 to Disney Junior, Fancy Nancy will star in her own fabulous TV show! Nancy has a new playhouse, and it’s time for some ooh-la-la fancy fun! But when one friend wants to be the boss of who can come to play, Nancy has to decide what it means to be a good friend. Based on the new Disney Junior TV show and inspired by the classic picture book series by Jane O’Connor and Robin Preiss Glasser, this brand-new Level One I Can Read retells key moments from the show. Fancy Nancy: Chez Nancy is a Level One I Can Read, which means it’s perfect for children learning to sound out words and sentences.
Nancy discovers a new talent for repairing broken toys in the neighborhood. But can she keep her cool when her prized doll, Marabelle, needs help? Disney Junior Fancy Nancy: Operation Fix Marabelle is a Level One I Can Read, perfect for children learning to sound out words and sentences. Disney Junior’s Fancy Nancy is an animated preschool series starring six-year-old Nancy, a girl who is fancy in everything from her advanced vocabulary to her creative, elaborate attire. The show is based on the New York Times bestselling book series Fancy Nancy by Jane O’Connor and illustrated by Robin Preiss Glasser.
When Mom gets sniffles that are worse than awful, Nancy decides she can help Mom by tidying up and watching JoJo. After all, Nancy is practically an expert at being a big sister, so how hard could it be? Disney Junior’s Fancy Nancy: Mademoiselle Mom is a Level One I Can Read, perfect for children learning to sound out words and sentences. Disney Junior’s Fancy Nancy is an animated family comedy starring six-year-old Nancy, a girl who is fancy in everything from her advanced vocabulary to her creative, elaborate attire. The show is based on the New York Times bestselling book series Fancy Nancy by Jane O’Connor and Robin Preiss Glasser.
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