Aztec Mythology
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Lolita PETRULION TRANSLATION of CULTURE-SPECIFIC ITEMS
VYTAUTAS MAGNUS UNIVERSITY INSTITUTE OF THE LITHUANIAN LANGUAGE Lolita PETRULION TRANSLATION OF CULTURE-SPECIFIC ITEMS FROM ENGLISH INTO LITHUANIAN AND RUSSIAN: THE CASE OF JOANNE HARRIS’ GOURMET NOVELS Doctoral Dissertation Humanities, Philology (04 H) Kaunas, 2015 UDK 81'25 Pe-254 This doctoral dissertation was written at Vytautas Magnus University in 2010-2014 Research supervisor: Prof. Dr. Ingrida Egl Žindžiuvien (Vytautas Magnus University, Humanities, Philology 04 H) ISBN 978-609-467-124-1 2 VYTAUTO DIDŽIOJO UNIVERSITETAS LIETUVI KALBOS INSTITUTAS Lolita PETRULION KULTROS ELEMENT VERTIMAS IŠ ANGL LIETUVI IR RUS KALBAS PAGAL JOANNE HARRIS GURMANIŠKUOSIUS ROMANUS Daktaro disertacija, Humanitariniai mokslai, filologija (04 H) Kaunas, 2015 3 Disertacija rengta 2010-2014 metais Vytauto Didžiojo universitete Mokslin vadov: prof. dr. Ingrida Egl Žindžiuvien (Vytauto Didžiojo universitetas, humanitariniai mokslai, filologija 04 H) 4 Acknowledgements First and foremost, I would like to express my deepest gratitude to my research supervisor Prof. Dr. Ingrida Egl Žindžiuvien for her excellent guidance and invaluable advices. I would like to thank her for being patient, tolerant and encouraging. It has been an honour and privilege to be her first PhD student. I would also like to thank the whole staff of Vytautas Magnus University, particularly the Department of English Philology, for both their professionalism and flexibility in providing high-quality PhD studies and managing the relevant procedures. Additional thanks go to the reviewers at the Department, Assoc. Prof. Dr. Irena Ragaišien and Prof. Dr. Habil. Milda Julija Danyt, for their valuable comments which enabled me to recognize the weaknesses in my thesis and make the necessary improvements. I would like to extend my sincere thanks to my home institution, Šiauliai University, especially to the Department of Foreign Languages Studies, who believed in my academic and scholarly qualities and motivated me in so many ways. -
Universal Mythology: Stories
Universal Mythology: Stories That Circle The World Lydia L. This installation is about mythology and the commonalities that occur between cultures across the world. According to folklorist Alan Dundes, myths are sacred narratives that explain the evolution of the world and humanity. He defines the sacred narratives as “a story that serves to define the fundamental worldview of a culture by explaining aspects of the natural world, and delineating the psychological and social practices and ideals of a society.” Stories explain how and why the world works and I want to understand the connections in these distant mythologies by exploring their existence and theories that surround them. This painting illustrates the connection between separate cultures through their polytheistic mythologies. It features twelve deities, each from a different mythology/religion. By including these gods, I have allowed for a diversified group of cultures while highlighting characters whose traits consistently appear in many mythologies. It has the Celtic supreme god, Dagda; the Norse trickster god, Loki; the Japanese moon god, Tsukuyomi; the Aztec sun god, Huitzilopochtli; the Incan nature goddess, Pachamama; the Egyptian water goddess, Tefnut; the Polynesian fire goddess, Mahuika; the Inuit hunting goddess, Arnakuagsak; the Greek fate goddesses, the Moirai: Clotho, Lachesis, and Atropos; the Yoruba love goddess, Oshun; the Chinese war god, Chiyou; and the Hindu death god, Yama. The painting was made with acrylic paint on mirror. Connection is an important element in my art, and I incorporate this by using the mirror to bring the audience into the piece, allowing them to see their reflection within the parting of the clouds, whilst viewing the piece. -
Aztec Mythology
Aztec Mythology One of the main things that must be appreciated about Aztec mythology is that it has both similarities and differences to European polytheistic religions. The idea of what a god was, and how they acted, was not the same between the two cultures. Along with all other native American religions, the Aztec faith developed from the Shamanism brought by the first migrants over the Bering Strait, and developed independently of influences from across the Atlantic (and Pacific). The concept of dualism is one that students of Chinese religions should be aware of; the idea of balance was primary in this belief system. Gods were not entirely good or entirely bad, being complex characters with many different aspects and their own desires and motivations. This is highlighted by the relation between Quetzalcoatl and Tezcatlipoca. When the Spanish arrived with their European sensibilities, they were quick to name one good and one evil, identifying Quetzalcoatl with Christ and Tezcatlipoca with Satan during their attempts to integrate the Nahua peoples into Christianity. But to the Aztecs neither god would have been “better” than the other; they are just different and opposing sides of the same duality. Indeed, their identities are rather nebulous, with Quetzalcoatl often being referred to as “White Tezcatlipoca” and Tezcatlipoca as “Black Quetzalcoatl”. The Mexica, as is explained in the history section, came from North of Mexico in a location they named “Aztlan” (from which Europeans developed the term Aztec). During their migration south they were exposed to and assimilated elements of several native religions, including those of the Toltecs, Mayans, and Zapotecs. -
Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices
1 Multilingual Discourses Vol. 1.2 Spring 2014 Tanya Ball The Power of Death: Hierarchy in the Representation of Death in Pre- and Post-Conquest Aztec Codices hrough an examination of Aztec death iconography in pre- and post-Conquest codices of the central valley of Mexico T (Borgia, Mendoza, Florentine, and Telleriano-Remensis), this paper will explore how attitudes towards the Aztec afterlife were linked to questions of hierarchical structure, ritual performance and the preservation of Aztec cosmovision. Particular attention will be paid to the representation of mummy bundles, sacrificial debt- payment and god-impersonator (ixiptla) sacrificial rituals. The scholarship of Alfredo López-Austin on Aztec world preservation through sacrifice will serve as a framework in this analysis of Aztec iconography on death. The transformation of pre-Hispanic traditions of representing death will be traced from these pre- to post-Conquest Mexican codices, in light of processes of guided syncretism as defined by Hugo G. Nutini and Diana Taylor’s work on the performative role that codices play in re-activating the past. These practices will help to reflect on the creation of the modern-day Mexican holiday of Día de los Muertos. Introduction An exploration of the representation of death in Mexica (popularly known as Aztec) pre- and post-Conquest Central Mexican codices is fascinating because it may reveal to us the persistence and transformation of Aztec attitudes towards death and the after-life, which in some cases still persist today in the Mexican holiday Día de Tanya Ball 2 los Muertos, or Day of the Dead. This tradition, which hails back to pre-Columbian times, occurs every November 1st and 2nd to coincide with All Saints’ Day and All Souls’ day in the Christian calendar, and honours the spirits of the deceased. -
God of the Month: Tlaloc
God of the Month: Tlaloc Tlaloc, lord of celestial waters, lightning flashes and hail, patron of land workers, was one of the oldest and most important deities in the Aztec pantheon. Archaeological evidence indicates that he was worshipped in Mesoamerica before the Aztecs even settled in Mexico's central highlands in the 13th century AD. Ceramics depicting a water deity accompanied by serpentine lightning bolts date back to the 1st Tlaloc shown with a jaguar helm. Codex Vaticanus B. century BC in Veracruz, Eastern Mexico. Tlaloc's antiquity as a god is only rivalled by Xiuhtecuhtli the fire lord (also Huehueteotl, old god) whose appearance in history is marked around the last few centuries BC. Tlaloc's main purpose was to send rain to nourish the growing corn and crops. He was able to delay rains or send forth harmful hail, therefore it was very important for the Aztecs to pray to him, and secure his favour for the following agricultural cycle. Read on and discover how crying children, lepers, drowned people, moun- taintops and caves were all important parts of the symbolism surrounding this powerful ancient god... Starting at the very beginning: Tlaloc in Watery Deaths Tamoanchan. Right at the beginning of the world, before the gods were sent down to live on Earth as mortal beings, they Aztecs who died from one of a list of the fol- lived in Tamoanchan, a paradise created by the divine lowing illnesses or incidents were thought to Tlaloc vase. being Ometeotl for his deity children. be sent to the 'earthly paradise' of Tlalocan. -
Death and the Afterlife Among the Classic Period Royal Tombs of Copán, Honduras
To Be Born an Ancestor: Death and the Afterlife among the Classic Period Royal Tombs of Copán, Honduras The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters. Fierer-Donaldson, Molly. 2012. To Be Born an Ancestor: Death Citation and the Afterlife among the Classic Period Royal Tombs of Copán, Honduras. Doctoral dissertation, Harvard University. Accessed April 17, 2018 3:28:47 PM EDT Citable Link http://nrs.harvard.edu/urn-3:HUL.InstRepos:9548615 This article was downloaded from Harvard University's DASH Terms of Use repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http://nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA (Article begins on next page) © 2012 – Molly Fierer-Donaldson All rights reserved William L. Fash Molly Fierer-Donaldson To Be Born an Ancestor: Death and the Afterlife Among the Classic Period Royal Tombs of Copán, Honduras Abstract This goal of this dissertation is to participate in the study of funerary ritual for the Classic Maya. My approach evaluates comparatively the seven royal mortuary contexts from the city of Copán, Honduras during the Classic period from the early 5th century to early 9th century CE, in order to draw out the ideas that infused the ritual behavior. It is concerned with analyzing the tomb as a ritual context that is a materialization of a community's ideas about death and the afterlife. The heart is the data gathered from my participation in the excavation of the Classic period royal tomb called the Oropéndola Tomb. -
Dia De Los Muertos
Día de (los) Muertos A Tradition Through the Ages Overview . Welcome and Introductions . The celebration's origins . Catholic influence after the conquest . How it is celebrated today . Efforts to keep it alive . Questions and experiences of Día de los Muertos How familiar are you with Día de los Muertos? Día de (los) Muertos . Celebrated on Nov. 1 and 2 . Nov. 2nd is a National Holiday in Mexico when deceased family members, friends, co-workers and even celebrities are honored. A great staple of this holiday is the elaborate altars (los altares de muerto) that are displayed during the celebration. The Origins . The celebration has its roots in prehispanic traditions thousands of years old . Prehispanic cultures, such as the Aztecs, had very different beliefs regarding death . Instead of going to a heaven or hell depending on how you lived your life, it was believed that the final resting place depended on how you died. Tlaloc’s (God of Rain) paradise If a death was somehow related to water, or lightning, or disease, the deceased would go to Tlaloc’s paradise. A place of peace and abundance. Omeyocan ( Sun’s Paradise) If you died during battle, as a captive of war, or, for women, during childbirth, you would go Omeyocan. Ruled by Huitzilopochtli, the God of War. A place of constant celebration, dances and sun worshiping. Mictlan It was believed that this is where most people when after dying. This dark place was ruled by Mictecacihuatl, or the “Lady of the Dead,” and her husband Miclantecuhtli, the ruler of the underworld. A Torturous Road to Mictlan . -
Encounter with the Plumed Serpent
Maarten Jansen and Gabina Aurora Pérez Jiménez ENCOUNTENCOUNTEERR withwith thethe Drama and Power in the Heart of Mesoamerica Preface Encounter WITH THE plumed serpent i Mesoamerican Worlds From the Olmecs to the Danzantes GENERAL EDITORS: DAVÍD CARRASCO AND EDUARDO MATOS MOCTEZUMA The Apotheosis of Janaab’ Pakal: Science, History, and Religion at Classic Maya Palenque, GERARDO ALDANA Commoner Ritual and Ideology in Ancient Mesoamerica, NANCY GONLIN AND JON C. LOHSE, EDITORS Eating Landscape: Aztec and European Occupation of Tlalocan, PHILIP P. ARNOLD Empires of Time: Calendars, Clocks, and Cultures, Revised Edition, ANTHONY AVENI Encounter with the Plumed Serpent: Drama and Power in the Heart of Mesoamerica, MAARTEN JANSEN AND GABINA AURORA PÉREZ JIMÉNEZ In the Realm of Nachan Kan: Postclassic Maya Archaeology at Laguna de On, Belize, MARILYN A. MASSON Life and Death in the Templo Mayor, EDUARDO MATOS MOCTEZUMA The Madrid Codex: New Approaches to Understanding an Ancient Maya Manuscript, GABRIELLE VAIL AND ANTHONY AVENI, EDITORS Mesoamerican Ritual Economy: Archaeological and Ethnological Perspectives, E. CHRISTIAN WELLS AND KARLA L. DAVIS-SALAZAR, EDITORS Mesoamerica’s Classic Heritage: Teotihuacan to the Aztecs, DAVÍD CARRASCO, LINDSAY JONES, AND SCOTT SESSIONS Mockeries and Metamorphoses of an Aztec God: Tezcatlipoca, “Lord of the Smoking Mirror,” GUILHEM OLIVIER, TRANSLATED BY MICHEL BESSON Rabinal Achi: A Fifteenth-Century Maya Dynastic Drama, ALAIN BRETON, EDITOR; TRANSLATED BY TERESA LAVENDER FAGAN AND ROBERT SCHNEIDER Representing Aztec Ritual: Performance, Text, and Image in the Work of Sahagún, ELOISE QUIÑONES KEBER, EDITOR The Social Experience of Childhood in Mesoamerica, TRACI ARDREN AND SCOTT R. HUTSON, EDITORS Stone Houses and Earth Lords: Maya Religion in the Cave Context, KEITH M. -
Cannibalism and Aztec Human Sacrifice Stephanie Zink May, 2008 a Senior Project Submitted in Partial Fulfillment of the Require
CANNIBALISM AND AZTEC HUMAN SACRIFICE STEPHANIE ZINK MAY, 2008 A SENIOR PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR OF SCIENCE IN ARCHAEOLOGICAL STUDIES UNIVERSITY OF WISCONSIN- LA CROSSE Abstract As the nature of Aztec cannibalism is poorly known, this paper examines the extent to which it was practiced and the motives behind it. Using the methodology of documentary research I have determined that the Aztecs did in fact engage in cannibalism, specifically ritual and gustatory cannibalism, however, the extent of it is indefinite. The analysis that I have conducted suggests that, while several hypotheses exist, there is only one that is backed by the evidence: Aztec cannibalism was practiced for religious reasons. In order to better understand this issue, other hypotheses must be examined. 2 Introduction Cannibalism is mostly considered a taboo in western culture, with the exception of sacraments in Christianity, which involve the symbolic eating of the body of Christ and the drinking of Christ’s blood. The general public, in western societies, is disgusted by the thought of humans eating each other, and yet it still seems to fascinate them. Accounts of cannibalism can be found throughout the history of the world from the United States and the Amazon Basin to New Zealand and Indonesia. A few fairly well documented instances of cannibalism include the Aztecs; the Donner Party, a group of pioneers who were trapped while trying to cross the Sierra Nevada Mountains in the winter of 1846-1847; the Uruguayan soccer team that crashed in Chile in 1972 in the Andes Mountains (Hefner, http://www.themystica.com/mystica/articles/c/cannibalism.html). -
Every Creation Story
Every Creation Story Creation from chaos Chaos (cosmogony) Enûma Eliš (Babylonian creation myth) Genesis creation myth (Judaism, Christianity and Islam) Greek cosmogonical myth Jamshid Korean creation narratives Kumulipo Leviathan (Book of Job 38–41 creation myth) Mandé creation myth Pangu Raven in Creation Serer creation myth Sumerian creation myth Tungusic creation myth Unkulunkulu Väinämöinen Viracocha Earth diver Earth-diver Ainu creation myth Cherokee creation myth Iroquois creation myth Väinämöinen Yoruba creation myth Ob-Ugric creation myth Emergence Emergence Hopi creation myth Maya creation of the world myth Diné Bahaneʼ (Navajo) Zuni creation myth ( creation of self ) Ex nihilo Debate between sheep and grain Barton cylinder Ancient Egyptian creation myths Kabezya-Mpungu Māori myths Mbombo Ngai Popol Vuh World parent World parent Coatlicue Enûma Eliš Greek cosmogonical myth Greek cosmogonical myth Heliopolis creation myth Hiranyagarbha creation myth Kumulipo Rangi and Papa Völuspá Divine twins Divine twins Proto-Indo-European creation myths Regional Africa Ancient Egyptian creation myths Fon creation myth Kaang creation story (Bushmen) Kintu myth (Bugandan) Mandé creation myth Mbombo (Kuba, Bakuba or Bushongo/Boshongo) Ngai (Kamba, Kikuyu and Maasai ) Serer creation myth (cosmogony of the Serer people of Senegal, the Gambia and Mauritania) Unkulunkulu (Zulu) Yoruba creation Americas Mesoamerica Coatlicue (Aztec) Maya creation of the world myth Popol Vuh (Quiché Mayan) Mid North America Anishinaabeg creation stories Cherokee creation -
Aztec Deities
A ztec Z T E C Deities E I T I E S Aztec Z T E C Deities E I T I Figurte 1 “Roland's Friend: 2002” E S Other Works ™ ramblin/rose publications My Father's Room The Four Season's of the Master Myth If Only…A collaboration with Bill Pearlman Mexican Vibrations, Vibraciones Méxicanas Mexican Secrets, Estrangement and Once Again…Alone; with poems by Bill Pearlman Twenty A Magical Number with Tonalphalli: The Count of Fate & Convergence: 2002 CD/DVD: Gods, Land & People of Mexico Con tu permiso: Dioes, Tierra y Gente de México CD/DVD: Work in Progress: The Four Seasons of the Master Myth Books can be downloaded free: www.salazargallery.com www.E-artbooks.com Aztec Z T E C Deities E I T I Figurte 1 “Roland's Friend: 2002” E S Roland Salazar Rose ™ PUBLISHED BY RAMBLIN/ROSE PUBLICATIONS Images Copyright Roland Salazar Rose 2000-2008 All content, identified in this book “Aztec Deities” published 2008, marked by this notice: “1, 2, 3, 4, 5, 6, 7, 8, 9, 10 & 11” are “from Wikipedia®, the free encyclopedia and are considered “copyleft”; therefore the following copyright notice applies to each and every page of written text so identified by “1,2,3,4,5,6,7,8,9,10&11”. “Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, with no Front-Cover Texts, and with no Back-Cover Texts. -
Oral Tradition 25.2
Oral Tradition, 25/2 (2010): 325-363 “Secret Language” in Oral and Graphic Form: Religious-Magic Discourse in Aztec Speeches and Manuscripts Katarzyna Mikulska Dąbrowska Introduction On the eve of the conquest, oral communication dominated Mesoamerican society, with systems similar to those defined by Walter Ong (1992 [1982]), Paul Zumthor (1983), and Albert Lord (1960 [2000]), although a written form did exist. Its limitations were partly due to the fact that it was used only by a limited group of people (Craveri 2004:29), and because the Mixtec and Nahua systems do not totally conform to a linear writing system.1 These forms of graphic communication are presented in pictographic manuscripts, commonly known as codices. The analysis of these sources represents an almost independent discipline, as they increasingly become an ever more important source for Mesoamerican history, religion, and anthropology. The methodology used to study them largely depends on how the scholar defines “writing.” Some apply the most rigid definition of a system based on the spoken language and reflecting its forms and/or structures (e.g., Coulmas 1996:xxvi), while others accept a broader definition of semasiographic systems that can transmit ideas independent of actual spoken language (yet function at the same logical level) and thus also constitute writing (e.g., Sampson 1985:26-31). The aim of this study is to analyze the linguistic “magical-religious” register of the Nahua people, designated as such because it was used for communication with the sacred realm. In this respect, it represents one of the “sacred languages,” as classified by Zumthor (1983:53).