Io sono la grondaia by Gustavo A. Rol, Catterina Ferrari

By Gustavo A. Rol, Catterina Ferrari

Questo libro è il primo e l'unico basato interamente sugli scritti di Gustavo Adolfo Rol: "l'uomo più sconcertante che io abbia mai conosciuto", come lo definiva Federico Fellini. Il quantity raccoglie infatti gran parte dei suoi diari, delle sue lettere, pensieri e poesie, illustrati da fotografie di famiglia e riproduzioni delle sue pagine manoscritte; un corpus di testi fino advert oggi inediti, che sono stati trascritti e curati da Catterina Ferrari. "Egli amava definirsi 'la grondaia' che convoglia l'acqua che cade sul tetto, cioè una forza di cui riteneva di essere soltanto il canale. los angeles gamma multiforme di "possibilità" di cui period dotato, gli ha permesso di spaziare in ogni campo, di poter fare esperimenti di ogni genere, compresi viaggi nel passato e nel futuro, sempre in keeping with il bene del prossimo e in line with uno scopo altamente morale".

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And several prominent sculptures at the Great Aztec Temple are direct imitations of sculptures made in Tula, seventy miles to the north of Tenochtitlan, and associated with Quetzalcoatl, the Feathered Serpent ruler-god remembered as the originator of the calendar, ritual practices, and wisdom. These sculptures found in the heart of the Aztec city reflect Toltec era art styles that had spread far and wide to various regional capitals in Mesoamerica. The depth of this historical concern is reflected in one tantalizing discovery in a burial cache at the Great Aztec Temple of a mint-condition Olmec mask dated from around 1000 bce.

The Aztecs in their relationship with the Tepanec empire and its royal family. Chimalpopoca was the favored grandson of Tezozomoc, whose affection for the young Mexica ruler translated into reduced tribute payments from Tenochtitlan to the Tepanec capital. Housing conditions improved, and supplies from the nearby market town of Tlatelolco provided better and more diverse foodstuffs and craft goods. Although modest conquests were carried out during his reign, the political world took a darker turn when Tezozomoc’s death in 1426 resulted in a vicious power struggle between his sons, Maxtla and Tayueh.

It is clear that the composers of the Codex Mendoza were signaling to the viewer, especially through the blooming cactus in the central space, that plants and cultivation were crucial to their existence, mythology, and economic life. The Aztecs Rulers: the tlatoani Around the arresting central image of the Codex Mendoza frontispiece and distributed throughout the four quadrants of the city sit ten males, nine identically dressed and one more prominently attired, who represent Mexica leaders. In this distribution and difference we are introduced to one of the signal features of Mexica society: intensive social stratification and the powers of the ruler.

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