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Correctly identified imagery in the art and iconography of Teotihuacan shows graphemic functions. From a comparative study of Teotihuacan imagery with coeval Maya imagery and writing, an empirically verifiable basis for the interpretation of Teotihuacan art and iconography is established. The method of analysis used in this study reveals that the Teotihuacan culture had a writing system very similar to that of the coeval Maya culture of southern Mesoamerica. And, finally, the analysis of graphemic functions in the art and iconography of the Teotihuacan culture leads to the conclusion that the people of Teotihuacan spoke a language closely related to modern Tzeltalan and Yucatecan Maya tongues. From the analysis of art, iconography, language, and writing, this study concludes that Teotihuacan was both linguistically and ethnically Maya.

Correctly identified imagery in the art and iconography of Teotihuacan shows graphemic functions. From a comparative study of Teotihuacan imagery with coeval Maya imagery and writing, an empirically verifiable basis for the interpretation of Teotihuacan art and iconography is established. The method of analysis used in this study reveals that the Teotihuacan culture had a writing system very similar to that of the coeval Maya culture of southern Mesoamerica. And, finally, the analysis of graphemic functions in the art and iconography of the Teotihuacan culture leads to the conclusion that the people of Teotihuacan spoke a language closely related to modern Tzeltalan and Yucatecan Maya tongues. From the analysis of art, iconography, language, and writing, this study concludes that Teotihuacan was both linguistically and ethnically Maya.

The purpose of this study is to describe and classify a type of Navajo weaving usually termed the pictorial which has never been treated in all aspects by any single author. The term "pictorial" is used in this study to indicate any blanket or rug in which naturalistic motifs or intelligible lettering are used for their decorative or expressive qualities rather than for their ritual connotations or the sole purpose of permanently recording ritual designs such as sandpainting rugs. After reviewing anthropological literature relating to Navajo weaving and culture, extensive study was conducted on pictorials owned by various Southwestern museums. Finally, traders and curio shop operators in Albuquerque, Santa Fe, Gallup, and on the eastern Navajo reservation were interviewed, and all pictorials in their inventories at the time of the visits were included in the study. These 191 rugs were categorized on the basis of design motifs and then organized chronologically within each category. Finally, they were classified by area and chronology. Early pieces seem stylistically related to Navajo rock art and sandpaintings, while later designs show white influence. Most examples which are of a known provenience are from around Lukachukai and Shiprock, but pictorials may be done on any area of the reservation. Design motifs range from native items to exotic objects introduced through white contacts. Certain designs have become standardized, while others are unique and show great originality. The rugs range in date from before 186J to 1969. Pictorial weaving is a creative response by the weaver to stimulation from outside as well as within and is as "Navajo" as the Ganado rug.

The purpose of this paper is to describe some of the relationships which exist between Olmec and Maya art by comparing style and iconography of the Olmec altars and the Maya zoomorphs of Quiriguá and Copán. A stylistic analysis of these Olmec and Maya monuments indicates that Olmec sculpture included both three-dimensional and two-dimensional compositions; Maya sculpture suggests development from the two-dimensional into a more complex and dynamic three-dimensional arrangement of forms. The great importance of the more or less stylized features of the jaguar, of the serpent, and of grotesque creatures combining both reptilian and feline aspects emerges from descriptions of the Olmec and Maya monuments. It is possible that both the Olmecs and the Maya worshipped the sun and fire, water and rain, and that they saw symbolic representations of the natural elements in the jaguar and snake, among other animals. The complexity of the agricultural pantheon of the sun most likely manifested itself in calendrical rites, rich in offerings, which may also have included human sacrifice. After Tatiana Proskouriakoff‘s study, which arrived at a dynastic theory for the placement of the stelae at the Maya site of Piedras Negras, David Kelley analyzed the placement of monuments at Quiriguá, and he concluded that Zoomorphs B, G, and P at Quiriguá commemorated the ascension of Quiriguá rulers. What may have been the central feature of the Olmec altars--that is, their association with the fertility rites--became a ritual background for the dynastic ceremonies in the classic Maya period. Monuments at Tres Zapotes, Izapa, and various other sites in Guatemala, Mexico and Honduras suggest links in a visual line of descent that connects the Olmec and Maya motif.

Both native-born and foreign-born Americans throughout the twen­tieth century have written about the European immigrants who came to American shores between 1870 and 1925. Many of the social science accounts and fiction works about these newcomers centered on one im­plicit question: How could these immigrants become Americans? Two views of assimilation into American society are presented in this study: Henry Pratt Fairchild's static definition of the goal of Ameri­canization and Jane Addams' dynamic definition of American cultural growth. Rejecting Fairchild's view that immigrants must lose all traces of their foreign origin in order to become real Americans, this study adopts Addams' belief that the majority of immigrants could only be­come Americans if one sees both the native- and foreign-born growing toward each other into one culture. This collation of the portraits of the various ethnic groups of immigrants as they appear in fiction, social science writings, and auto­biographies attempts to determine whether the immigrants' personal and cultural characteristics, motivations for immigration, and interactions with American communities are presented as similar in each genre. The major areas of discussion are: how immigrants have been perceived, how they have viewed the American people and institutions, how they have adjusted to and been assimilated into American life, how Americans reacted to the European immigrants, and how the immigrants have contributed to American life. The viewpoint of the longer established Americans is examined in terms of ethnic stereotypes and predictions of American cultural change. The immigrants' viewpoint concentrates on their hopes, experi­ences, and achievements in their adopted country. Purposely eclectic in materials and with juxtaposed views and sources, this research, in the areas examined, tries to expose immigrant stereotypes, define the spectrum of American favor and disfavor toward immigrants, examine the

The purpose of this paper is to describe some of the relationships which exist between Olmec and Maya art by comparing style and iconography of the Olmec altars and the Maya zoomorphs of Quiriguá and Copán. A stylistic analysis of these Olmec and Maya monuments indicates that Olmec sculpture included both three-dimensional and two-dimensional compositions; Maya sculpture suggests development from the two-dimensional into a more complex and dynamic three-dimensional arrangement of forms. The great importance of the more or less stylized features of the jaguar, of the serpent, and of grotesque creatures combining both reptilian and feline aspects emerges from descriptions of the Olmec and Maya monuments. It is possible that both the Olmecs and the Maya worshipped the sun and fire, water and rain, and that they saw symbolic representations of the natural elements in the jaguar and snake, among other animals. The complexity of the agricultural pantheon of the sun most likely manifested itself in calendrical rites, rich in offerings, which may also have included human sacrifice. After Tatiana Proskouriakoff‘s study, which arrived at a dynastic theory for the placement of the stelae at the Maya site of Piedras Negras, David Kelley analyzed the placement of monuments at Quiriguá, and he concluded that Zoomorphs B, G, and P at Quiriguá commemorated the ascension of Quiriguá rulers. What may have been the central feature of the Olmec altars--that is, their association with the fertility rites--became a ritual background for the dynastic ceremonies in the classic Maya period. Monuments at Tres Zapotes, Izapa, and various other sites in Guatemala, Mexico and Honduras suggest links in a visual line of descent that connects the Olmec and Maya motif.

The purpose of this study is to describe and classify a type of Navajo weaving usually termed the pictorial which has never been treated in all aspects by any single author. The term "pictorial" is used in this study to indicate any blanket or rug in which naturalistic motifs or intelligible lettering are used for their decorative or expressive qualities rather than for their ritual connotations or the sole purpose of permanently recording ritual designs such as sandpainting rugs. After reviewing anthropological literature relating to Navajo weaving and culture, extensive study was conducted on pictorials owned by various Southwestern museums. Finally, traders and curio shop operators in Albuquerque, Santa Fe, Gallup, and on the eastern Navajo reservation were interviewed, and all pictorials in their inventories at the time of the visits were included in the study. These 191 rugs were categorized on the basis of design motifs and then organized chronologically within each category. Finally, they were classified by area and chronology. Early pieces seem stylistically related to Navajo rock art and sandpaintings, while later designs show white influence. Most examples which are of a known provenience are from around Lukachukai and Shiprock, but pictorials may be done on any area of the reservation. Design motifs range from native items to exotic objects introduced through white contacts. Certain designs have become standardized, while others are unique and show great originality. The rugs range in date from before 186J to 1969. Pictorial weaving is a creative response by the weaver to stimulation from outside as well as within and is as "Navajo" as the Ganado rug.