Shiprock Storm, Navajo Nation. Mitch Dobrowner.

Algunos de mis diccionarios

Te puedes preguntar--  o mejor, yo me pregunto, ¿qué hace esta lista de diccionarios en mi blog? Tienes que entender, para empezar todo lo que significaba un libro en mi familia.  Ir a las bibliotecas y liberías eran actividades familiares.  Sobre todo, las librerías cuando estuvimos viajando tanto entre México y Estados Unidos, el tiempo que pasamos en las liberías era un momento de alegría, de harmonía familiar, había algo para todos entre los estantes de libros con portadas llamativas, teñidas como dulces para atraer la atención.  Libros de antropología o novelas de detective unían a mis padres.  Para un niño este punto de unión era importante en una relación algo frágil y llena de conflictos callados.

Mi madre se esmeró mucho en enseñarme a escribir y a leer.  Me leía en voz alta.  Me ponía mucha atención cuando le leía mi poesía.  A ella le encantaba los sonidos de la voz y la expresividad.   Fue algo que aprendió de su padre que era actor y locutor de radio.  Una palabra guardaba entre sus costillas un mundo de significados y posibilidades expresivas.  Mi abuelo me dijo una vez, que para leer en voz alta, había que practicar con la guía telefónica.  Uno que lo lograba dar mil matices de significado aludido, pues ganaba su respeto.

El diccionario que más aprecio, el diccionario de María Moliner no aparece en esta lista, ya que el doble volumen, no lo encuentro.  Sé que anda rodando entre tantas cosas que voy empacando, cuando lo encuentro lo agregaré a la lista.

Español
Diccionario de Refranes..................................................... Luis Junceda
Contribución al diccionario hispánico etimológico.............. Vicente Garcia de Diego
Diccionario de sinónimos e ideas afines y de la rima........... Joaquim Horta Massanes
Diccionario de Antropología................................................. Ediciones Bellaterra
Diccionario de Negocios...................................................... Manuel Urrutia Raola
Diccionario de la Lengua Española (v. 1 & 2)........................ Real Academia Española
Dichos y Proverbios Populares............................................ José Luis González
Sinónimos y Antónimos e ideas afines.................................. Sopena
Diccionario de la Expresión Popular Guatemalteca................ Daniel Armas
501 Spanish Verbs.................................................................. Christopher Kendris

Bilingue

Diccionario Jurídico: Law Dictionary (v.1 & 2).................. Buillermo Cabanellas de las Cuevas, Eleanor C. Hoague
Diccionario Enciclopédico de Tériminos Técnicos ( v.1,2,3)..... Javier L. Collazo
Visual Dictionary.................................................................. Jean-Claude Corbeil, Ariane Archambault

Vocabulario de Medicina.......................................................  Francisco Ruiz Torres

Francés
501 French Verbs..................................................................... Christopher Kendris
Petit Larousse (1961)........................................................................... Larousse
Los verbos franceses................................................................ Yvonne Boucher (Vox)
Cassell's Compact French Dictionary....................................... J.H. Douglas, Denish Dirard, W. Thompson

Italiano
Italian Dictionary...........................................................Genvieve A. Martin, Maria Ciatti
501 Italian Verbs............................................................  John Colaneri and Vincent Luchiani

Latín

English
The New Horizon Ladder Dictionary................................ John Robert Shaw
The American Heritage Dictionary..................................... Houghton Mifflin
The Facts on File Visual Dictionary.....................................Jean-Claude Corbeil
Oxford Dictionary of Rhymes............................................. Oxford University Press
Webster Medical Dictionary.................................................. Merk, Sharp and Dohme
The Complete Rhyming Dictionary....................................... Editor: Clement Wood
A dictionary of literary terms.................................................. JA Cuddon
The Highly Selective Thesaurus for the Extraordinarily Literate.... Eugene Ehrlich

Partial list of mostly my mother's books on Feminist and World Mythologies

Mother's day just passed.  Yesterday I spent many hours sorting through books.  I found a few I donate to charity.  I found many more to list as I contemplated all the books I have from my mother on mythology, the goddess, anthropology, native american studies.  I miss sitting at the table with her, sharing a meal and listening to her brilliant holdings forth on these topics and on politics.  Her mind was glittering, lucid, energetic, incisive and broad ranging.  Morally, ethically and aesthetically engaged at all times.  Her conversations were sprinkled with not only politics, mythology, anthropological analysis, but also with observations and musings about the evolving knowledge coming from astrophysics and quantum physics and its relation to spirituality and our perception of reality.  And the Earth.  Yes, the Earth and all its creatures.  She had many stories about her many feathered bird friends, her porpoise and seal friends, and dog friends.  And then there was her anger about what was unjust, what what was ignorant, short-sighted, in the form of politicians and corporate greed, the impact of their policies and practices on the Earth pained her viscerally.  She was willing to take on big topics with aplumb.  And in the background, having been through her things soon after she passed away, I realize was a really strong education from Friends Central in Philadelphia.  The ethical framework and committment and social engagement was absolutely integral to her way of being in the world.  I miss our conversations and walks.  We were close, we traveled many thousands of miles together throughout my childhood.  At times she shared more than was fair for a child not needing to know what weighed on an woman's soul, but she did share so generously of her mind and of her delight.

Below is a partial listing of mostly her books on World and feminist Goddess mythologies.

The spiral dance (3)....................................... Starhawk
The myth of the goddess (2)......................... Anne Baring and Jules Cashford
The book of the goddess past and present.... Editor: Carl Olson
Whence the goddess...................................... Miriam Robbins Dexter
The book of Lilith......................................... Barbara Black Koltuv
The great mother........................................... Erich Neuman
When God was a woman.............................. Merlin Stone
The feminist companion to mythology......... Editor: Carolyn Larrington
The book of the Goddess.............................. Editor:  Ann Forfreedom and Julie Ann
Pure Lust...................................................... Mary Daly
The once and future goddess........................ Elinor W. Gadon
The women's encyclopedia of Myths and Secrets (2)...... Barbara G Walker
The reflowering of the Goddress.................. Gloria Feman Orenstein
Goddess of the Americas: Writings on the Virgen de Guadalupe......... Editor: Ana Castillo
Lost goddess of early Greece........................ Charlene Stretnak
The woman's dictionary of symbols and sacred objects........... Barbara G. Walker
The book of Goddesses and Heroines........... Patricia Monaghan
The song of Eve............................................. Manuela Dunn Mascetti
The goddess' Mirror....................................... David Kinsley
Oya: In Praise of the Goddess....................... Judith Gleason
Voices of the Goddess: A chorus of sibyls...... Editor:  Caitlín Matthews
Laughter of Afrodite........................................ Carol P. Christ
Sex and God.................................................... Linda Hurcombe
[]
The Great Cosmic Mother.............................. Monica Sjoo and Barbara Mor
The Goddess: Mythological Imges of the Feminine..... Christine Downing
Ancient mirrors of womanhood (v.1)................ Merlin Stone
Ancient mirrors of womanhood (v.2) ................ Merlin Stone
Ancient mirrors of womanhood: A treasury...... Merlin Stone
The Crone........................................................... Barbara G Walker
Voices from the Circle........................................ Editor: Prudence Jones and Caitlín Matthews
The Women's Spiritality Book........................... Diane Stein
Priestesses........................................................... Norma Lorre Goodrich
Longing for Darkness......................................... China Galland
[][]
Bulfinches mythology........................................... Thomas Bulfinch
Bulfinches Mythology (Greek & Roman Fables Illustrated).... Thomas Bulfinch (Intro by J. Campbell)
Women of Classical Mythology......................Robert E. Bell
Primitive Mythology....................................... Joseph Campbell
Oriental Mythology......................................... Joseph Campbell
Creative Mythology......................................... Joseph Campbell
The Power of Myth.......................................... Joseph Campbell
The Mythic Image............................................ Joseph Campbell
Dictionary of Gods and Goddesses, Devils and Demons........... Manfred Lurker
Hindu Goddesses............................................. David Kinsley
Afro-American Folklore.................................. Harold Courlander
African Folktales.............................................. Editor:  Paul Radin
Yemaya y Ochun............................................... Lydia Cabrera
A Recitation of Ifa, Oracle of the Yoruba......... Judith Gleason
The Flayed God: Mythology of Mesoamerica...............  Robert H. Markman and Peter T. Markman
The myths and legends of the Polynesians........ Johannes C. Anderson
The mythology of Mexico and Central America....... John Bierhorst
Larousse World Mythology............................................... Paul Hamlyn
New Larousse Encylopedia of Mythology....................... Intro by Robert Graves
Mythologies (v.2)............................................. Yves Bonnefoy
A Treasury of Mexican Folkways.................... Frances Toor
From Primitives to Zen.................................... Mircea Eliade
The drum and the Hoe: Life and Lore of the Haitian People..........  Harold Courlander
Divine Horsemen:  The living gods of Haiti.................... Maya Deren
Tales of ancient Egypt......................... Roger Lancelyn Green
Myths and Modern Man...................... Barbara Stanford
The sword and the flute: Kali and Krishna.................... David R. Kinsley 

New York Times : Maud Allan and Isadora too

Maud Allen (1873-1956)

According to Maud Allan in 1908: 

"The art of dancing, as understood by the great masses, is a series of regular rhythmical movements requiring a certain music; not so in my work. In that the movements of the plastic poser are inspired by the music.... What one usually only vaguely feels when listening to beautiful music I am trying, through movement and mimicry, to express clearly and deeply - the thought which seems to hover on the wings of the melody."  (Source: http://bytesdaily.blogspot.com/2013/03/maud-allan.html)

Born: 1873, Toronto, Ontario
Died: 1956, Los Angeles, California
Birth Name: Ulah Maud Allan Durrant
Stage Name: Maud Allan

Maud Allan was an early-twentieth-century dancer and choreographer who performed what she called "musically impressionistic mood settings". Born in Toronto and raised in San Francisco, Allan was studying piano in Germany when she abandoned the instrument to develop her very personal way of moving -- a form of art that she did not directly associate with dance. This abrupt change in her artistic pursuits immediately followed the hanging of her brother Theo Durrant for the murder of two young women. Allan never recovered from the trauma of this event and it affected her psychologically for the rest of her life. She made her dance debut in Vienna in 1903 dancing interpretations of Mendelssohn's Spring Song, Chopin's Funeral March and Rubinstein's Valse Caprice. She became a sensation with the performance of her controversial Vision of Salome (1906), which triggered a series of imitators and the "Salomania" phenomenon. Although she danced briefly with Loie Fuller's company in France, she primarily performed as a soloist and enjoyed tremendous success in London after her debut at the Palace Theatre in 1908. Subsequent tours included Russia, the United States, Canada (Montreal, Ottawa, Toronto), South Africa, India, the Far East and Australasia, Chile, Peru and Argentina. She gave her last performance in 1936 in Los Angeles. She eventually settled in the Los Angeles during World War II and worked as a draughtswoman at Macdonald Aircraft. Allan died in Los Angeles in 1956 penniless and forgotten. While she did operate her own dance school briefly in London in the 1940s, she did not mentor any dancers who could continue to perform her very personal choreographic aesthetic and thus her dance works are lost.
 

Works

Spring Song (1903), Felix MendelssohnAdagio (1903), Ludwig von BeethovenGavotte (1903), Johann Sebastian BachMusette (1903), BachReverie (1903), Robert SchumannFuneral March (1903), Fréderic ChopinWaltz in A Minor (1903), ChopinMazurka in G Sharp Minor (1903), ChopinMazurka in F Sharp Minor (1903), ChopinAve Maria (1903), Franz SchubertValse Caprice(1903), Anton RubinsteinThe Vision of Salome (1906), Marcel RemyWaltz in A Flat (1908), Johannes BrahmsPeer Gynt Suite (1909), Edvard GriegPasspied (1909), Léo DelibesDryad (1911), Jean SibeliusThe Birds (1911), GriegPoetic Tone Poem (1911), GriegWaltz of the Flowers (1911), Piotr Ilich TchaikovskyArabian Dance (1911), TchaikovskyReed Pipe Dance (1911), TchaikovskyDance of the Sugar Plum Fairy (1911), TchaikovskyDanse sacrée et profane (1911), Claude DebussyAm Meer (1913), SchubertMoment Musical (1913), SchubertRomance (1913), RubinsteinNair the Slave (1916), Pietro BelpassiLa Marseillaise (1917, Rouget de LisleValse Triste (1917), SibeliusBlue Danube Waltz (1917), SchubertGrand Valse (1923), Alexander GlazounovEgyptian Ballet Suite (1923), LuiginiPrelude in C Sharp Minor (c. 1923), Sergei Rachmaninoff
Bacarolle from Tales of Hoffman (c. 1923), Jacques OffenbachFête Bohème (1923), Jules MassenetMystery of the Desert (1925), Reginald PooleOriental Fantasy (1925), Joseph AchronPathéthique (1926), TchaikovskyPrelude in C Minor (1936), ChopinNocturne in E (1936), ChopinScherzo from the Funeral Sonata (1936), ChopinSuite in G Minor (1936), George Frideric Handel

(Source: http://www.dcd.ca/pih/maudallan.html) 

George Oppen (1908-1984))

George, Mary and Linda Oppen are the reason why my father became an archaeologist, and by extension why I spent my early childhood in there.  In the  late 50's, after getting his BA in Mathematics, my father visited them in Mexico where their family still lived in exile after the McCarthy years.  He fell in love with the pyramids that Linda showed him.  In about '81 or '82, my father and I visited George and Mary's  apartment in San Francisco.  George was bright and engaging.  He played fetch with his small black dog, ball tosses punctuating our conversation.  This picture, found on the web, is how I remember him.  Presence, intelligence, caring and playful.

Walt Whitman

Stieglitz

 


Page 1 from July 1922 letter to Ernest Bloch from Alfred Stieglitz, Copy from Suzanne Bloch

My Dear Mr. Bloch: Have you any idea how much it meant to me to have you feel about those photographs as you did. --- To have you see in them what you do. -- And to know that what you express I understand. -- And feel is true.

It was a memorable hour. A very rare one.

There is much -- very much -- that you are suffering -- physical & otherwise -- that has been my lot too. –

It’s all necessary for “foolish” people like ourselves I have to presume.  Sometimes one wonders...

...This is a greeting from the Silence -- from the Great Quiet. Once more to thank you for the hour you gave us.


Yours Gratefully,

Alfred Stieglitz

Mi Querido Señor Bloch:  Tienes idea de cuánto significó para mi que sientes como sientas como sientes acerca de estas fotografías. --- Que veas lo que ves en ellas. -- Y saber lo que tu expresas es lo que yo entiendo.  -- Y siento como la verdad. 

 Fue una hora memorable.  Una de las más preciadas.

Hay tanto -- mucho -- que estás sufriendo -- físicamente y aparte -- esto ha sido mi suerte también. -

Tengo que suponer que todo esto es necesario para gente "necia" como nosotros.  A veces uno se pregunta...

Este es un saludo desde el Silencio -- el Gran Silencio.  Una vez más le agradezco la hora que nos regalaste. 

Con agradecimiento,  

Alfred Stieglitz

Tina Modotti

Tina Modotti, 1921.  Foto por Edward Weston.

Pure your gentle name, pure your fragile life,
bees, shadows, fire, snow, silence and foam,
combined with steel and wire and
pollen to make up your firm
and delicate being.

—Pablo Neruda’s epitaph for Tina Modotti

Born in Italy in 1896, photographer Tina Modotti lived an extraordinary life. Migrating as a teenager with her father to the United States, she began her working life as a textile worker. Drawn to the cultural scene in Los Angeles, she became an actor in some early Hollywood silent movies. Moving to Mexico in the 1920s, she became a contemporary of Frida Kahlo, Diego Rivera, and Julio Antonio Mella. She is portrayed in several of Diego Rivera’s murals and, as Rivera’s photographer, she photographed many of his murals as he worked and after they were completed.

Deeply involved in the revolutionary movements of her time, she fought in Spain’s Civil War in the 1930s, where she met Pablo Neruda. She later lived in the Soviet Union but found the repressive atmosphere there stifling. This edition features text in English and Spanish.

As one of the most outstanding female photographers of the twentieth century, Tina Modotti was initially trained by the iconic US photographer Edward Weston. She later developed a unique documentary style of photography. Profoundly influenced by the post-revolutionary cultural and political fervor in Mexico, she became internationally recognized for her photographs of that country. She died there at the age of forty-six.  (Source: http://www.modotti.com/?p=386)


En su lápida en el panteón Dolores, Cuidad de México:

Tina Modotti, hermana, no duermes, no, no duermes.
Tal vez tu corazón oye crecer la última rosa
de ayer, la última rosa de ayer, la nueva rosa.
Descansa dulcemente, hermana.
Puro es tu dulce nombre, pura es tu frágil vida
de abeja, sombra, fuego, nieve, silencio, espuma,
de acero, línea, polen, se construyó tu férrea,
tu delgada estructura.

 ─El epitafio de Pablo Neruda para Tina Modotti.

Calla, 1925.  Tina Modotti.

Loie Fuller (1862-1928)

Loie Fuller

Fuller, Loie , 1862-1928, American dancer and theatrical innovator, b. Fullersburg, Ill., as Mary Louise Fuller. She began her career as a child, performing in burlesque, vaudeville, the circus, plays, and other popular entertainments. Self-taught as a dancer, Fuller explored the use of voluminous silken skirts, which, illuminated by the multicolored lighting she created, floated, flowed, and swirled in her famous "Serpentine Dance," first performed in New York in 1892. Later that year she traveled to Paris, where she and her dance productions became wildly successful. She was painted by Toulouse-Lautrec, sculpted by Rodin, exalted by Mallarmé and other writers, and dramatically portrayed in various art nouveau works. Remaining in Europe, Fuller became a successful artistic entrepeneur, forming her own school (1908) and founding a troupe that toured worldwide. She continued to experiment with lighting effects and other forms of stagecraft, and ultimately choreographed more than 100 dances.
 

See her autobiography, Fifteen Years of a Dancer's Life  (1908, tr. 1913); biographies by S. R. Sommer and M. Harris (1989) and R. N. and M. E. Current (1997).
 

The Columbia Electronic Encyclopedia Copyright © 2004.
Licensed from Columbia University Press

A Dream Within A Dream by Edgar Allan Poe (1809-1849)

Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow--
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand--
How few! yet how they creep
Through my fingers to the deep,
While I weep--while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

April by Helen Hunt Jackson (1831 - 1885)

No days such honored days as these! While yet
Fair Aphrodite reigned, men seeking wide
For some fair thing which should forever bide
On earth, her beauteous memory to set
In fitting frame that no age could forget,
Her name in lovely April's name did hide,
And leave it there, eternally allied
To all the fairest flowers Spring did beget.
And when fair Aphrodite passed from earth,
Her shrines forgotten and her feasts of mirth,
A holier symbol still in seal and sign,
Sweet April took, of kingdom most divine,
When Christ ascended, in the time of birth
Of spring anemones, in Palestine.

Julia Margaret Cameron (1815-1879)

   

Julia Margaret Cameron (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer. She became known for her portraits of celebrities of the time, and for photographs with Arthurian and other legendary themes.
Cameron's photographic career was short, spanning eleven years of her life (1864–1875). She took up photography at the relatively late age of 48, when she was given a camera as a present.^[1] Although her style was not widely appreciated in her own day, her work has had an impact on modern photographers, especially her closely cropped portraits.  [Source:  Wikipedia]

Imogen Cunningham - The wind (1910)

milagro de la rosa (ii)

1.

mira el mar de luz de mariposa
igual a los zapatos de charol
de los cinco años
o al escándalo rosado
de las heridas en la piel
que acompañan la niñez
y que después se truecan
por las heridas del corazón


2.

y como si no le importara
al girasol de mi pecho
siempre celebra la vida
siguiendo el arco del sol
canturreando
el canto complejo de la humanidad
de tener cuerpo que pide
carne que grita o se apacigua
que entiende o no entiende
ante la ceguera de las aguas
y del ciclo de los verdes y azules
tener cuerpo que se enmudece
ante la ausencia de la noche
más vertical que ancho
noche que retumba hacia el amanecer


3.

los primeros trazos transparentes
indican la senda por donde entra el día
se juntan para esculpir la forma perdida
que todos buscamos debajo del silencio
el manantial del río
allí donde su murmullo
emana colores


4.

ni tu ni yo somos víctimas del tiempo
somos sus cómplices


5.

escucho y agrego chorros
y corrientes y sombras
hasta llegar al fondo
alguien dijo que sería más efectivo restar
pero las flores nuncan funcionan así
sólo aparecen agregando color
a igual que el vacío
que se muestra agregando vida
y quitándola después
y así  revelando el contrafondo
que siempre estuvo alli desplegándose
detrás del limón, el zapato, la cuchara
detrás de cada suspiro y mirada
desplegándose en el vuelo de las aves


6.
con la cara naranja
tragas saliva a la puesta del sol
por que te enteras que no tienes que creer en nada
(nunca tuviste que creer en nada
ni tampoco no creer en nada)

el creer o no creer
es el mismo
                   milagro de la rosa

--Lorena Wolfman (c) 2013

When you called an end to it

when you called an end to it
saying you were afraid to feel
I called a moratorium
after debating who it would be
me or you who calling an end to it
it was you
then I called a moratorium
on lust
on desire
a promise
made just on the left hand side
of love
who now stands there on the right
shimmering after bathing
in the ice cold waters
of the north Pacific rim
she glistens
shivering at the ocean's edge


--Lorena Wolfman  © 2013

Con mi madre...

Festival Palabra en el Mundo 2013

Festival Palabra en el Mundo

Paz y Poesía / Poesía y Paz
Llamamos a los pueblos a Asamblea Poética! Sembremos Poesía para cosechar Paz.
Que sean los vecinos de uno y otro lugar a convocar en cada barrio, en cada ciudad, donde sea posible e imposible también.
Que los poetas tomen la palabra y en el rito, el buen pan vaya de mano en mano para iluminar las rondas.
Que esos fuegos rompan la noche del belicismo y la codicia, hagan un largo día en donde jueguen nuestros hijos.
Abran todas las ventanas al viento de canto colectivo que unirá a los pueblos en la urgente tarea de la fraternidad.
Nuestra respuesta a los mercaderes del odio es darnos las manos, reunirnos a cantar, congregarnos para abrir los ojos, afirmar el inmenso poder del Amor que en todas las lenguas se expresa en la hermandad.
Y que del Árbol de la Paz, los frutos de la poesía sean distribuidos en la fiesta del Futuro que la Humanidad anhela.
¡Qué la palabra en el mundo crezca, en cada uno y en todos, con todo aquello que el mundo necesita!


Peace and Poetry / Poetry and Peace
We call on the people to Poetics Assembly! Sow to reap Peace Poetry.
That are neighbors of both places to call in every neighborhood, in each city, where possible and impossible also.
That the poets to speak and in the rite, good bread go hand in hand to illuminate the rounds.
That these fires break night warmongering and greed, make a long day where our children play.
Open all windows to the wind singing group that towns join in the urgent task of brotherhood.
Our response to the merchants of hatred is hold hands, reunirnos singing, meeting together to open the eyes, affirm the immense power of love in all languages ​​is expressed in the brotherhood.
And Tree of Peace, the fruits of poetry to be distributed at the party's future that humanity yearns.
What word in the world grow, in each and all, with all that the world needs!

From Man Ray "Retour à la raison", 1923

Immogen Cunningham - Magnolia Blossom

Henri Cartier Bresson

Dali Costumes - Horst P. Horst

Frantisek Drtikol

Frantisek Drtikol, The Soul (1930)

Librado García Smarth - Jeude femme avec une coiffe de paon 1920

Nuevo

Chucho Reyes, 1922 (Fotográfo: Smarth)

                                                                                                        Librado García Smarth

Étude de nu masculin Guadalajara, vers 1922 Épreuve argentique sur papier mat, 134x152 mm From the archives of Jesus Reyes Ferreria (1882-1977). 

Chucho Reyes (1880-1997)

Diego Rivera

Sábado: Buscando albergue

Saturday Morning

Friday Night II

Friday night

Martes noche