Nahua Moral Philosophy
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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. -
ARLT 100G “Cultural Encounters in the Age of Exploration” Professor Daniela Bleichmar Fall 2007 E-Mail: [email protected] M
ARLT 100g “Cultural Encounters in the Age of Exploration” Professor Daniela Bleichmar Fall 2007 E-mail: [email protected] M/W 12-1.30pm Office Hours: Wednesdays 10am-noon, or by appointment THH 108 Office: VKC 368 Course Description This course will examine selected episodes in the history of cultural encounters in the Americas, focusing on the first long century of contact between Europeans and Americans. In this first age of truly global interactions, peoples and cultures encountered one another in multiple contexts: exploration, trade, war, colonial occupation, religion, art. These encounters forced those who participated in them to examine some of their most basic ideas and beliefs: what a human being is, how a culture functions, what is acceptable and unacceptable in a society, and—perhaps most important— how to respond to similarity and difference, notions of self and otherness. We will examine the ways in which a wide range of texts, images, and objects produced during the period participated in and reflected upon experiences of encounter, exchange, interpretation, and representation among different and often distant cultures. We will also examine the ways in which a selection of contemporary films has represented early modern encounters. Course Objectives In terms of subject matter, students will gain familiarity with the history of early modern cultural encounters by working with both primary and secondary sources. In terms of skills useful in college and beyond, the main objective of this course is to develop students’ critical, analytical, and interpretive skills as readers, writers, and thinkers. Students will work on their capacity to identify key issues and ask probing questions; to argue persuasively and eloquently in both written and oral contexts; and to write thoughtful, focused analysis that is convincing and thought-provoking. -
Nahua Newsletter News
NAHUA NEWSLETTER NEWS Welcome to the Nahua Newsletter, your biannual publication devoted to scholarship and research into the culture, language, and history of Nahua peoples and other indigenous groups in Mesoamerica. With issue number 44 we complete 22 years of publication in service to our readers. The purpose of the NN is to increase communication among researchers and others interested in Nahua affairs, and to provide a point of focus and source of information for readers. Last year we combined issues 42 and 43 because we were conducing ethnographic field research in a Nahua community in northern Veracruz, Mexico. Now we are back and will resume the normal biannual November and February publication cycle. As most readers are aware, past issues of the NN are freely accessible online (minus the illustrations in the printed copy that serve to draw attention to new publications). It is our pleasure to announce that the NN now has a new domain name and redesigned Web presence — The Nahua Newsletter has moved to http://www.nahuanewsletter.org. The creative design work was done by Santiago Montalvo, a full-time student and member of the Web development team at Indiana University-Purdue University Fort Wayne. Many thanks, Santiago! The NN now includes a photo gallery of photographs taken in the traditional Nahua community of our field research, in the municipio of Ixhuatlán de Madero, Veracruz. We hope that readers will enjoy this new feature. We have had to make a very difficult decision regarding our readers who are incarcerated. Several years ago, someone brought a copy of the NN into the California state prison system and we received an immediate and enthusiastic response from inmates. -
Getty Celebrates Mexico Centennial/Bicentennial
DATE: February 12, 2010 FOR IMMEDIATE RELEASE EXPLORING THE AZTEC EMPIRE THROUGH A CLASSICAL LENS The Aztec Pantheon and the Art of Empire First Exhibition of Ancient Art from Outside the Classical World at the Getty Villa J. Paul Getty Museum at the Getty Villa March 24 - July 5, 2010 Xochipilli. Aztec, 1450–1521; found in Tlalmanalco. Basalt. Museo Nacional de Antropología, Mexico City, Mexico, 10-222116 0/2. CONACULTA-INAH-MEX © foto zabé. Reproduction authorized by the National Institute of Anthropology and History. LOS ANGELES—Celebrating the bicentennial of Mexican independence, The Aztec Pantheon and the Art of Empire reveals a defining moment of cultural encounter. In the sixteenth century, European exploration and colonization in the Americas coincided with the Renaissance rediscovery of classical antiquity, and parallels were routinely drawn between two great empires—the Aztec and the Roman. The Aztec Pantheon and the Art of Empire, on view at the Getty Villa from March 24 through July 5, 2010, represents the J. Paul Getty Museum’s first display of antiquities from outside the ancient Mediterranean as well as the first exhibition on the Aztec empire to be organized in Los Angeles. Masterworks of Aztec sculpture, largely from the collections of the Museo Nacional de Antropología and the Museo del Templo Mayor in Mexico City, are the point of departure for this exploration of the monumental art of empire. - more - Page 2 Among the most spectacular objects in the exhibition is a green porphyry sculpture from the Museo Nacional de Antropología depicting the decapitated head of the warrior goddess Coyolxauhqui, whose death at the hands of her brother, Huitzilopochtli, represents the origin myth of the Aztec people. -
From Sahagún to the Mainstream: Flawed Representations of Latin American Culture in Image and Text
FROM SAHAGÚN TO THE MAINSTREAM: FLAWED REPRESENTATIONS OF LATIN AMERICAN CULTURE IN IMAGE AND TEXT By OLIVIA HUFFSTETTER Bachelor of Arts in Art History and History Southwestern University Georgetown, Texas 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2018 FROM SAHAGÚN TO THE MAINSTREAM: FLAWED REPRESENTATIONS OF LATIN AMERICAN CULTURE IN IMAGE AND TEXT Thesis Approved: Dr. Cristina Cruz González Thesis Adviser Dr. Rebecca Brienen Dr. Laura Arata ii ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge my advisor, Dr. Cristina Cruz González, and offer my thanks and appreciation of her guidance and patience throughout this research and writing process. Without her support and encouragement to pursue this topic, my thesis would not have evolved into the final product that it has. Second, I would like to thank Dr. Rebecca Brienen for her many insightful comments and suggestions that helped to strengthen and perfect my writing. Third, I offer a special thank-you to Dr. Laura Arata for her willingness to step forward and join my thesis committee with limited notice when unforeseen events occurred in the final months of completing this project. Finally, I am forever grateful for my friends and family who have supported me in my academic career. Thank you for allowing me to choose my own path and work towards the things I am most passionate about. Without you, I would not be where I am today. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. -
An Exploration of the Aztec Fetishized Female Body William L
Partitioning the Parturient: An Exploration of the Aztec Fetishized Female Body William L. Barnes Sixteenth-century Spanish missionary Bernardino de “celestial women. .those who are always, forever glad, con- Sahagún spent many years collecting ethnographic information tent, joyous, happy by [and] near our mother, our father, the among the Aztecs of Central Mexico. Perhaps the most com- sun, whom they gladden, to whom they cry out.”3 However, as prehensive of his works is the Florentine Codex, a twelve vol- a group these goddesses caused widespread fear and trepida- ume manuscript originally entitled General History of the Things tion in Aztec society, for they would return to earth and tor- of New Spain. Among a myriad of other topics covered in this ment the living. monumental work, Father Sahagún discusses a curious phe- The cihuateteo are usually depicted in Aztec pre-conquest nomenon which I call the Fetishized Female Body.1 As described art as partially skeletonized figures with upraised claws (Fig- by Sahagún, the body of a woman who had died in childbirth ure 1). These women are seated in the proper Aztec female became a holy relic to the Aztecs, its individual components fashion, with their legs tucked up under their bodies.4 Imagery imbued with portentous magical power. At various times the differs slightly from sculpture to sculpture, from bare breasted woman’s severed fingers, hair, hands and arms, became skeletal women, bare breasts being typical of the non-noble fetishized objects, affording supernatural power and protection Aztec woman’s costume, to more elaborate examples with or- for the bearers who were invariably male. -
Indigenous Culture and Religion Before and Since the Conquest
Review: Indigenous Culture and Religion before and since the Conquest Reviewed Work(s): Legends of the Plumed Serpent: Biography of a Mexican God by Neil Baldwin; The Myth of Quetzalcoatl by Enrique Florescano and Lysa Hochroth; Time and Sacrifice in the Aztec Cosmos by Kay Almere Read; Inka Bodies and the Body of Christ: Corpus Christi in Colonial Cuzco, Peru by Carolyn Dean; Indigenous South Americans of the Past and Present: An Ecological Perspective by David J. Wilson; Native Traditions in the Postconquest World by Elizabeth Hill Boone and Tom Cummins; Indian Slavery, Labor, Evangelization, and Captivity in the Americas: An Annotated Bibliography by Russell M. Magnaghi Review by: Anna L. Peterson Source: Latin American Research Review, Vol. 36, No. 2 (2001), pp. 237-254 Published by: The Latin American Studies Association Stable URL: http://www.jstor.org/stable/2692098 Accessed: 16-08-2017 17:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The Latin American Studies Association is collaborating with JSTOR to digitize, preserve and extend access to Latin American Research Review This content downloaded from 128.227.229.73 on Wed, 16 Aug 2017 17:50:15 UTC All use subject to http://about.jstor.org/terms INDIGENOUS CULTURE AND RELIGION BEFORE AND SINCE THE CONQUEST Anna L. -
Eclipses in the Aztec Codices Event Was Actually Perceived
IN ORIGINAL FORM PUBLISHED IN: arXiv: 0000.00000 [physics.hist-ph] Habilitation at the University of Heidelberg Date: 20th August 2020 Eclipses in the Aztec Codices Emil Khalisi D–69126 Heidelberg, Germany e-mail: ekhalisi[at]khalisi[dot]com Abstract. This paper centers on the collection of accounts on solar eclipses from the era of the Aztecs in Mesoamerica, about 1300 to 1550 AD. We present a list of all eclipse events complying with the topological visibility from the capital Tenochtitlan. Forty records of 23 eclipses entered the various Aztec manuscripts (codices), usually those of large magnitude. Each event is discussed with regard to its historical context, as we try to comprehend the importance the Aztecs gave to the phenomenon. It seems that this culture paid noticeably less attention to eclipses than the civilisations in the “Old World”. People did not understand the cause of it and did not care as much about astronomy as in Babylonia and ancient China. Furthermore, we discuss the legend on the comet of Moctezuma II. It turns out that the post-conquest writers misconceived what the sighting was meant to be. Keywords: Solar eclipse, Aztec, Mesoamerica, Astronomical dating, Moctezuma’s Comet. 1 Introduction necessity, because the belief was interlocked with some re- peating phenomena, for instance, the end of the calendrical The Mesoamerican peoples developed their culture inde- cycle, rebirth of the sun, or re-appearances of the planet pendent from the civilisations in the Euro-Asian domain. Venus. Among the tribes on both American continents only the Most reliable information about natural phenomena Maya achieved an advanced level of worldwide recognition. -
ASE Program Draft
American Society for Ethnohistory Annual Meeting Sessions Schedule THURSDAY, 8:00 – 8:40 a.m. Ponencia Magistral / Keynote Address Thursday, 8:00 – 8:40 a.m., Hotel Victoria Auditorium * "Oaxaca and the X of Mexico," Alejandro de Ávila B., Jardín Etnobotánico de Oaxaca THURSDAY, 9:00 – 10:40 a.m. 1. Slavery and Servitude in the Cherokee Nation, New France, New England, and the U.S. Great Lakes Region Thursday, 9:00 – 10:40 a.m., Room: Chair: Rebecca Kugel, University of California, Riverside • "War, Slavery and Baptism: The Rise of French-Indigenous Networks at Detroit," Karen Marrero, Wayne State University • "Undergrounds before the Age of Rail: Helping Slaves Escape in 18th-Century New England," Margaret Ellen Newell, Ohio State University • "Unfree Children in the U.S. Midwest, 1800-1860," Lucy Eldersveld Murphy, Ohio State University • "Slavery in the Family: The Hildebrands in the Cherokee Nation, 1806-1866," Rose Stremlau, Davidson College Commentator: Audience 2. Indigenous Resistance in Post-Colonial Oaxaca Thursday, 9:00 – 10:40 a.m., Room: Chair: • "The Rise of APPO and Ethnic Politics in Oaxaca: Mobilizing for a Plurinational Mexico," Arturo Zepeda, California State University, Northridge • "Climate Smart Agriculture in Indigenous Communities of Oaxaca, México: Readiness and Resistance for REDD+ Projects," Neftali Hernández, University of British Columbia, Vancouver • "Entre reivindicación y resistencia: los pueblos indígenas de Oaxaca y la introducción del sistema educativo público en el siglo XIX," Daniela Traffano, CIESAS Pacífico Sur Commentator: 1 3. Alimentación en una sociedad en transformación: tres casos de estudio en la Nueva España Thursday, 9:00 – 10:40 a.m., Room: Chair: Angélica Afanador-Pujol, Arizona State University • "Alimentación y sistemas productivos en Michoacán, siglo XVI," Carlos S. -
Emily Floyd Fray Bernardino De Sahagún and the Construction Of
Emily Floyd Fray Bernardino de Sahagún and the construction of the Aztec Pantheon Fray Bernardino de Sahagún is often hailed as the first great ethnographer. This characterization of Sahagún pays tribute to his exhaustive curiosity and deep interest in the cultures he recorded. At the same time, it obscures his motivations in compiling his vast compendium of culture, religion, and history. In overemphasizing Sahagún's supposed impartiality and objectivity, this approach discourages critical readings of his work. Sahagún's work should not be read as an unbiased source for knowledge about the Aztecs, ignoring the context in which it was compiled. In Book 1 of the Florentine Codex, The Gods, Sahagún provides a visual and written list of the Aztec deities. In this paper, I will argue that while the representation of the Aztec deities in The Gods draws upon both Aztec and Christian visual conventions, close association with either religious tradition was potentially dangerous. By giving the Aztec gods a Greco-Roman gloss, Sahagún distanced the deities from pre-Catholic religious practice and placed them into the ambiguous language of Renaissance approaches to the Greco-Roman deities. This portrayal has the effect of distancing the deities from religious practice and placing them into the equal parts glorifying and secularizing context of the Renaissance Greco-Roman pantheon. The visual language employed by Sahagún's artists in The God's list of Aztec deities owes little to Aztec visual conventions. Sahagún's artists were students of the friars at the Colegio de Santa Cruz de Tlateloco, trained in European theories of proportion and draftsmanship. -
Lolita Latina an Examination of Gothic and Lolita Style in the Mexican Environment
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Lolita Latina An Examination of Gothic and Lolita Style in the Mexican Environment A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Visual and Material Culture College of Creative Arts Massey University Wellington, New Zealand Kathryn Adèle Hardy Bernal 2019 Abstract This thesis, completed for the award of Doctor of Philosophy in Visual and Material Culture, Ph.D., examines the development of the fashion-based Mexican Gothic and Lolita movement, and its evolution from its subcultural Japanese roots. It asks, “What are the cultural conditions that encourage this movement to flourish in the Mexican environment?” In turn, “What does Mexican culture contribute to Mexican Gothic and Lolita style?” And, “What does Mexican Gothic and Lolita style say about Mexican culture, society, and beliefs?” The Gothic and Lolita movement is currently thriving in Mexico as an authentic, independent, creative, handmade fashion industry, yet to be co-opted into mainstream culture. With the do-it-yourself aspect of the movement comes its own, unique, cultural flavour. As such, it transforms and rearranges meanings of the original subcultural style in order to make new statements, which subvert the meanings, and understandings, of the Japanese Lolita identity. Analyses of Mexican Gothic and Lolita styles, in context with the Mexican environment, culture, and belief systems, as well as the operation of the Mexican Gothic and Lolita industry, are major focal points of this study. -
El Gran Teatro Del Mundo Traducido Por Don Bartolomé De Alva Ixtlilxóchitl
CRITICÓN, 87-88-89, 2003, pp. 925-934. Inspiración italiana y contexto americano: El gran teatro del mundo traducido por don Bartolomé de Alva Ixtlilxóchitl Elizabeth R. Wright University of Georgia Louise M. Burkhart State University of New York at Albany Barry D. Sell Glendale, California Entre las sorpresas que nos ha deparado la historia literaria, podríamos señalar el hecho de que la primera versión conocida de El gran teatro del mundo de Calderón sea una traducción al náhuatl, el idioma del imperio azteca. Esto se debe a que en la cuarta década del siglo xvn, don Bartolomé de Alva Ixtlilxóchitl, un cura beneficiado que descendía de la realeza mexicana por parte de madre y de colonizadores españoles por ambos lados, tradujo el auto sacramental al náhuatl. Alva dedicó la pieza teatral al padre Jacome Basilio, un jesuíta oriundo de Bari, quien, tras llegar a México en 1642, logró pronto reconocimiento por su dominio de la "lengua mexicana" En estas páginas, evaluaremos este primer Gran teatro dentro del contexto intelectual y pedagógico que unió al traductor mexicano con el entorno del jesuíta italiano. Sirva nuestro estudio de esta extraordinaria colaboración novohispana como homenaje a Stefano Arata, un gran maestro que —en sendas cartas enviadas desde Roma a otro rincón más norteño del 926 WRIGHT, BURKHART, SELL Criticón, 87-88-89,2003 continente americano— nos transmitió una pasión y un compromiso intelectual hacia el teatro español que tanto se echan de menos1. La convergencia entre el traductor mestizo y el jesuíta italiano no fue una mera casualidad, sino fruto del cosmopolitismo novohispano que, según señala Serge Gruzinski, es la base de una «primera globalización occidental» que tuvo lugar bajo el imperio hispano2.