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Journal articles on the topic 'Aztec mythology'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Lebeuf, Arnold. "Dating the Five Suns of Aztec Cosmology." Culture and Cosmos 08, no. 0102 (2004): 183–94. http://dx.doi.org/10.46472/cc.01208.0231.

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The present paper shows that the Mesoamerican astronomers were indeed able to calculate the positions and periods of the Nodes of Moon orbit and based their cosmology according to eclipse possibilities and impossibilities during their successive world eras. Here mythology and imperial ideology proves to be firmly constructed on scientific observations and conclusions. It is broadly accepted that the ‘Suns’, or eras of Aztec cosmology, began and ended on the days of their respective names in the years 2-Acatl, the years of the great New Fire Ceremonies returning every 52 years. It has also been

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2

Muñoz-Hunt, Toni. "Aztlán: From Mythos to Logos in the American Southwest." Borders in Globalization Review 1, no. 1 (2019): 54–65. http://dx.doi.org/10.18357/bigr11201919041.

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This article advances the idea of “Aztlán” as a hybrid border identity that developed over time from ancient myth into a complex mode of social and political ontology. The cultural symbol of Aztec mythology was once the homeland of the Aztec people and eventually served a role in Aztec philosophy, functioning as truth for peoples throughout time, as seen in both Latin American and American philosophy and literature. It also helped the mixed-race Chicano/a population resist complete Americanization into the contemporary period, through the reclamation of original myth into a geopolitical homela

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3

Taube, Karl A. "The Bilimek Pulque Vessel." Ancient Mesoamerica 4, no. 1 (1993): 1–15. http://dx.doi.org/10.1017/s0956536100000742.

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AbstractThe Bilimek Vessel is among the most remarkable pieces of portable Aztec sculpture, and it contains an unusually complex body of imagery concerning starlore and cosmic battle. The Bilimek Vessel and other Aztec sources reveal that the alcoholic beverage pulque was well integrated into Aztec concepts of warfare and mythology. To the Aztec, pulque was identified with the souls of dead warriors and the starry night sky. The many figures appearing on the Bilimek Vessel represent star beings attacking the sun. At least three and probably four of the depicted deities are identical to the sky

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4

Lergo Martín, Inmaculada. "The symbolic journey through Aztec mythology in Terra Nostra of Carlos Fuentes." Mitologías hoy 4 (November 3, 2011): 46. http://dx.doi.org/10.5565/rev/mitologias.27.

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5

Chinchilla Sánchez, Kattia. "Tezcatlipoca/Hades: Dos columnas míticas con un basamento común." Revista de Filología y Lingüística de la Universidad de Costa Rica 23, no. 1 (2015): 249. http://dx.doi.org/10.15517/rfl.v23i1.20400.

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En este artículo se muestra la naturaleza rnítica de dos dioses diferentes: Tezcatlipoca, del panteón azteca, y Hades, el dios del lugar de las almas oscuras. Ambas deidades tienen una base común: los atributos selénicos y solares. Más que una simple mitología comparativa, este estudio es un análisis serio de los patrones míticos y simbólicos de esas culturas disímiles. En los ritos, el horno religiosus demuestra horror hacia estos dioses ya que, según la regla coincidentia oppositorum, estos denotan el poder del mundo de la oscuridad. This article shows the mythic nature of two different gods

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6

Milbrath, Susan. "Decapitated Lunar Goddesses in Aztec Art, Myth, and Ritual." Ancient Mesoamerica 8, no. 2 (1997): 185–206. http://dx.doi.org/10.1017/s095653610000167x.

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AbstractAztec images of decapitated goddesses link the symbolism of astronomy with politics and the seasonal cycle. Rituals reenacting decapitation may refer to lunar events in the context of a solar calendar, providing evidence of a luni-solar calendar. Decapitation imagery also involves metaphors expressing the rivalry between the cults of the sun and the moon. Huitzilopochtli's decapitation of Coyolxauhqui can be interpreted as a symbol of political conquest linked to the triumph of the sun over the moon. Analysis of Coyolxauhqui's imagery and mythology indicates that she represents the ful

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7

Sharpe, Ashley E. "A REEXAMINATION OF THE BIRDS IN THE CENTRAL MEXICAN CODICES." Ancient Mesoamerica 25, no. 2 (2014): 317–36. http://dx.doi.org/10.1017/s0956536114000297.

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AbstractEduard Seler's 1909 analysis of the various birds and their associated symbolism in the Mexican codices is one of the most thorough undertakings of its kind; however, although numerous revelations have been made in the realm of codex research over the past century, no comprehensive attempt has been undergone to revise Seler's initial identifications. The present study reviews the major bird species from Seler's original essay. Seven codices from the Borgia and Aztec Groups are assessed, so as to compare species traits and symbolic representations between both regions. The study incorpo

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8

López, César. "Mexican American Parrhesia at Troy." California History 98, no. 1 (2021): 28–55. http://dx.doi.org/10.1525/ch.2021.98.1.28.

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In the late 1960s, Mexican American and Chicana/o students and faculty began to create new cultural and academic spaces at the University of Southern California (USC). As outspoken advocates, they promoted a collective social identity as they questioned USC’s commitment to fulfilling the moral and humanistic responsibilities of its educational mission. These students and faculty members took part in the formation of ethnic studies and Chicana/o studies on their campus and in higher education generally. Their activist contributions, however, have been ignored by USC and by most of the scholarly

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9

Pelayo, Marisol Pérez. "Building communitas through symbolic performances: Mexican metal and the case of Cemican." Metal Music Studies 7, no. 1 (2021): 139–48. http://dx.doi.org/10.1386/mms_00038_1.

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The Latin American metal collective represents a big portion of the metal artists and fandom in the American continent. México has a powerful metal scene and an equally strong devotee population. There is one particular band that represents a collective voice capable of depicting the nation in the present moment. Cemican is a band that fits into the genre called Aztec folk metal. Their albums have shown an affinity for Aztec and Mayan mythology, and their sound is a flux between the sordid loudness of thrash and death metal riffs and the vibrations of pre-Hispanic instruments. Their performanc

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10

Saylan, Özlem. "Luis Valdez’in Seçilmiş Oyunlarında Chicano Kültürü Yansımaları." Göç Dergisi 7, no. 1 (2020): 55–76. http://dx.doi.org/10.33182/gd.v7i1.670.

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Luis Valdez, tarım işçilerinden oluşturduğu tiyatrosunun temellerini Chicano kültürünü referans alan üç sacayağı üzerine kurmuştur: daha çok politik içerik taşıyan doğaçlama kısa oyun anlamına gelen actos, Maya ve Aztek mitoloji ve efsanelerini yansıtan mitos ve de oyuna müzik, şarkı ve dans yorumu getiren corridos. Bir Chicano kimliği yaratıp, Chicanoların öz kültürleri ile bugünkü yaşamlarını içselleştirebilmeleri Valdez’in oyunlarında yer alan temaların en çok öne çıkanlarından birisidir. Bu makalede, Valdez’in, Zoot Suit, Bandido! ve I Don’t Have to Show You No Stinking Badges! isimli seçi

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11

Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.

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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the cont

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12

Berdan, Frances, John Bierhorst, Gordon Brotherston, Roberta H. Markman, and Peter T. Markman. "History and Mythology of the Aztecs: The Codex Chimalpopoca." Ethnohistory 43, no. 1 (1996): 201. http://dx.doi.org/10.2307/483363.

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13

Schwaller, John F., and John Bierhorst. "History and Mythology of the Aztecs: The Codex Chimalpopoca." Hispanic American Historical Review 74, no. 1 (1994): 130. http://dx.doi.org/10.2307/2517444.

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14

Schwaller, John F. "History and Mythology of the Aztecs: The Codex ChimalpopocaCodex Chimalpopoca: The Text in Nahuatl with a Glossary and Grammatical Notes." Hispanic American Historical Review 74, no. 1 (1994): 130–31. http://dx.doi.org/10.1215/00182168-74.1.130.

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15

BROTHERSTON, G. "History and mythology of the Aztecs: the Codex Chimalpopoca Bierhorst, John (1992), University of Arizona Press (Tucson), viii + 239 pp. $dollar;35.00 hbk." Bulletin of Latin American Research 16, no. 2 (1997): 252–53. http://dx.doi.org/10.1016/0261-3050(97)90000-0.

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16

Nurkama, Q. N. "The underworld and its creatures of life in Turkic-Kazakh mythology: harmony with the mythology of the world and its differences, similarities in the characters' network." Keruen 70, no. 1 (2021). http://dx.doi.org/10.53871/2078-8134.2021.1-08.

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Based on the Turkic-Kazakh and a number of mythological materials presented in the article, the underworld and the underground creatures of the division of mythical heroes, the division of spirits are analyzed and compared with world examples. Their interconnections and features, historical stages, similarity and correlation of plots in the network of heroes are taken for scientific comparative, historical and comparative research. The lower spirits, the underworld and its life, ancient mythological concepts related to life after life are characteristic of all the nations of the world, but the

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