Annual cycle of gross β activities in aerosol around Daya Bay area, China

Chemosphere ◽  
2009 ◽  
Vol 75 (7) ◽  
pp. 929-933 ◽  
Author(s):  
Yan-Jun Huang ◽  
Yun-Liang Tao ◽  
Jun Lin ◽  
Zhi-Hong Shang-Guan
Keyword(s):  
Daya Bay ◽  
Bay Area ◽  
Author(s):  
Susan Milbrath ◽  
Debra S. Walker

This chapter describes the remains of Late Postclassic to Contact period pottery censers from Cerro Maya, Belize. Trace element studies reveal that these vessels were made nearby at the Late Postclassic political capital of Santa Rita Corozal and deposited at the site during pilgrimage ritual. The Cerro Maya material is compared to the Chen Mul Modeled effigy censers from Mayapán in northern Yucatan and elsewhere. Various deities were depicted on these censers, and these are compared to documentary evidence, such as in the Madrid Codex and the Dresden Codex, for their use in calendared public events linked to specific celebrations in the annual cycle. Iconographic detail on the Cerro Maya materials documents a distinct set of deities not present at Mayapán, especially the bee deity and the god of deer hunting.


2002 ◽  
Vol 37 (C1) ◽  
pp. C1-527-C1-534
Author(s):  
Z. R. Shang ◽  
J. K.C. Leung
Keyword(s):  
Daya Bay ◽  

Author(s):  
Sheigla Murphy ◽  
Paloma Sales ◽  
Micheline Duterte ◽  
Camille Jacinto

2020 ◽  
Vol 20 (2) ◽  
pp. 45-54
Author(s):  
Samuel H. Yamashita

In the 1970s, Japanese cooks began to appear in the kitchens of nouvelle cuisine chefs in France for further training, with scores more arriving in the next decades. Paul Bocuse, Alain Chapel, Joël Robuchon, and other leading French chefs started visiting Japan to teach, cook, and sample Japanese cuisine, and ten of them eventually opened restaurants there. In the 1980s and 1990s, these chefs' frequent visits to Japan and the steady flow of Japanese stagiaires to French restaurants in Europe and the United States encouraged a series of changes that I am calling the “Japanese turn,” which found chefs at fine-dining establishments in Los Angeles, New York City, and later the San Francisco Bay Area using an ever-widening array of Japanese ingredients, employing Japanese culinary techniques, and adding Japanese dishes to their menus. By the second decade of the twenty-first century, the wide acceptance of not only Japanese ingredients and techniques but also concepts like umami (savory tastiness) and shun (seasonality) suggest that Japanese cuisine is now well known to many American chefs.


2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
José Ramón Lizárraga ◽  
Arturo Cortez

Researchers and practitioners have much to learn from drag queens, specifically Latinx queens, as they leverage everyday queerness and brownness in ways that contribute to pedagogy locally and globally, individually and collectively. Drawing on previous work examining the digital queer gestures of drag queen educators (Lizárraga & Cortez, 2019), this essay explores how non-dominant people that exist and fluctuate in the in-between of boundaries of gender, race, sexuality, the physical, and the virtual provide pedagogical overtures for imagining and organizing for new possible futures that are equitable and just. Further animated by Donna Haraway’s (2006) influential feminist post-humanist work, we interrogate how Latinx drag queens as cyborgs use digital technologies to enhance their craft and engage in powerful pedagogical moves. This essay draws from robust analyses of the digital presence of and interviews with two Latinx drag queens in the San Francisco Bay Area, as well as the online presence of a Xicanx doggie drag queen named RuPawl. Our participants actively drew on their liminality to provoke and mobilize communities around socio-political issues. In this regard, we see them engaging in transformative public cyborg jotería pedagogies that are made visible and historicized in the digital and physical world.


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