Relevant bibliographies by topics / Tlalocan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Tlalocan'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Tlalocan"

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Barlow, R. H., and George T. Smisor. "Introducing Tlalocan." Tlalocan 1, no. 1 (November 3, 2020): 1–2. http://dx.doi.org/10.19130/iifl.tlalocan.1943.514.

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Barlow, R. H., and George T. Smisor. "Re-Introducing TLALOCAN." Tlalocan 4, no. 1 (September 27, 2016): 1–2. http://dx.doi.org/10.19130/iifl.tlalocan.1962.302.

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Tlalocan appears again, thanks to the cooperation of the Instituto Nacional de Antropología e Historia, México. The present editors think it fitting to begin Volume IV with the words of the founders of this publication.
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Smissor, George T., and Ignacio Bernal. "R. H. Barlow and 'Tlalocan'." Tlalocan 3, no. 2 (September 28, 2016): 97–102. http://dx.doi.org/10.19130/iifl.tlalocan.1952.359.

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Barlow, R. H. "La Fundación de Cuacuauzentlalpan." Tlalocan 4, no. 1 (September 27, 2016): 64–73. http://dx.doi.org/10.19130/iifl.tlalocan.1962.309.

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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part I)." Ethnologia Actualis 16, no. 1 (June 1, 2016): 8–29. http://dx.doi.org/10.1515/eas-2016-0001.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. The scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as Assumption of Virgin Mary up to celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that the ornaments of the church evoke Tlalocan, paradise of ancient deity of rain known as Tlaloc. Following this interpretation this study explore a relation between Virgin Mary and ancient Nahua deity of Earth and fertility called Tonatzin in order to show profound syncretic bonds which exist between Cristian and Mesoamerican traditions.
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Sandstrom, A. R. "Eating Landscape: Aztec and European Occupation of Tlalocan." Ethnohistory 51, no. 1 (January 1, 2004): 198–200. http://dx.doi.org/10.1215/00141801-51-1-198.

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Uriarte, María Teresa. "THE TEOTIHUACAN BALLGAME AND THE BEGINNING OF TIME." Ancient Mesoamerica 17, no. 1 (January 2006): 17–38. http://dx.doi.org/10.1017/s0956536106060032.

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This paper proposes a reinterpretation of the Tepantitla murals long known as the Tlalocan. Taking into account the numerous representations of different kinds of ballgames on these walls, along with the instances of the Maya glyph forpu,puorpu[h], or “Place of the Reeds” (i.e. Tollan), this paper argues that this mural represents Teotihuacan as prototypical civilized city associated with the beginning of time and the calendar. Further evidence is provided by the images of “Scattering Priests” in the adjacent room, all of whom wear crocodilian headdresses associated with Cipactli, the first day of the central Mexican calendar. In both rooms, images of Tlaloc with hallucinogenic water-lily buds in his mouth reflect associations with the sun, the calendar, and the underworld. The murals of Tepantitla can be interpreted as a coherent program representing the central role of the ballgame in establishing Teotihuacan as Tollan, the place where time began.
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Glockner, Julio. "The Barroque Paradise of Santa María Tonantzintla (Part II)." Ethnologia Actualis 16, no. 2 (December 1, 2016): 14–32. http://dx.doi.org/10.1515/eas-2017-0002.

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Abstract The baroque church of Santa María Tonantzintla is located in the Valley of Cholula in the Central Mexican Plateau and it was built during 16th-19th century. Its interior decoration shows an interesting symbolic fusion of Christian elements with Mesoamerican religious aspects of Nahua origin. Scholars of Mexican colonial art interpreted the Catholic iconography of Santa María Tonantzintla church as the Assumption of the Virgin Mary up to the celestial kingdom and her coronation by the holy Trinity. One of those scholars, Francisco de la Maza, proposed the idea that apart from that, the ornaments of the church evoke Tlalocan, paradise of the ancient deity of rain known as Tlaloc. Following this interpretation this study explores the relation between the Virgin Mary and the ancient Nahua deity of Earth and fertility called Tonatzin in order to show the profound syncretic bonds which exist between Christian and Mesoamerican traditions.
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Villalpando Quiñonez, Jesús, Zarina Estrada Fernández, and María Luisa Bustillos Gardea. "El nixtamal preparado con ceniza: Una receta en el rarámuri de Norogachi." Tlalocan 26 (February 19, 2021): 89–111. http://dx.doi.org/10.19130/iifl.tlalocan.2021.26.42984.

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Documented oral texts in Uto-Aztecan languages of northern Mexico are scarce in comparison with oral texts in languages from central and southern Mexico. This unavailability of oral texts indicates that documenting these languages is a high priority. This is the case for the Tarahumara/Rarámuri language. The oral text presented here is not the first text in Tarahumara or Rarámuri published in Tlalocan. However, it does represent the first instance in a series of oral texts collected recently, and more importantly, documented by using current methodologies implemented in a documentation project. This contribution to Tlalocan serves as a different written register from narratives in Rarámuri. The text ‘Échi napíwili napisó kítila newáami’ is a sample of a procedural discourse as shown when telling a recipe. This procedure tells us about a cultural practice that used to be more common among Rarámuri people: how to prepare hominy (nixtamal) by using pine ashes. Rarámuri people consider this practice as common among the ki’yawáli ‘the ancestors’ and the ochélame ‘the elders’.
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Robles, Ángel. "Proclama del Gobierno Chiapaneco." Tlalocan 4, no. 1 (September 27, 2016): 49–52. http://dx.doi.org/10.19130/iifl.tlalocan.1962.305.

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Este texto tzotzil se publica por cortesía del Sr. Angel Robles, de San Cristóbal de las Casas, Chis., quien nos lo facilitó para Tlalocan. Parece haber sido originalmente un cartelón o "papelón" para ser pe-gado en las calles. Es uno de los pocos documentos en lengua indígena que aún existen de la lucha intestina chiapaneca a mediados del siglo pasado. Nos parece de suficiente interés como para volver a editarlo.
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Dissertations / Theses on the topic "Tlalocan"

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Segota, Durdica. "Tlaloc, nature et culture." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37601145v.

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Groff, Amanda Toyie. "THE EMERGENCE OF THE MAYA TLALOC: A LATE CLASSIC RELIGIOUS ICON." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3735.

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Iconography has the capability to memorialize and guarantee one's place in history; iconography can also provide powerful insight into human culture, and explore social and cultural values in a visual manner. Iconography can incorporate information about group identities, allegiances, religious affiliations, propaganda, and acceptance within both modern and ancient societies. By studying a specific iconographic figure, the Central Mexican god Tlaloc, as a visual representation of a belief or identity, we can glean a greater understanding of the cultural transmission of iconographic symbols. The substantial use of this icon, in both Central Mexico and the Maya region, reveals iconography as capable of being catalogued and traced over space and time to interpret meaning. With these goals in mind, this research project focuses on the iconographic representations of the Central Mexican god Tlaloc in the Maya region. It was during the Early Classic Period (A.D. 250-550) that Tlaloc transcended the boundaries of Central Mexico and was adopted into Maya ideology. During the Late Classic Period (A.D.550-900), a 'Maya Tlaloc' was established and used to express ideologies depicting warfare and ritual activity. The adoption of Tlaloc imagery among the ancient Maya ultimately holds significant value to understanding Maya ideology and religion as well as facilitates an understanding of wide-scale interactions with Central Mexico.
M.A.
Department of Anthropology
Sciences
Anthropology MA
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Contel, José. "Tlalloc : l'"incarnation de la terre", naissance et métamorphoses." Toulouse 2, 1999. http://www.theses.fr/1999TOU20082.

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Tlalloc, le dieu de la pluie, dieu capricieux aux multiples pouvoirs bénéfiques mais aussi maléfiques, hantait plus que tout autre l'esprit des anciens Mexicains. En utilisant des sources très diverses - chroniques, manuscrits figuratifs et matériel archéologique- il est tracé un portrait de la divinité du postclassique. Dans le but de connaître la nature du dieu, sont proposées de nouvelles hypothèses sur le signifié du nom Tlalloc, prenant en compte ses fonctions principales. Le nom Tlalloc, qui signifie « l'incarnation de la terre », est lié à ses origines mythiques. Son image reflète aussi sa nature complexe, sa naissance et ses métamorphoses. Plus qu'un dieu, Tlalloc est un concept qui englobe son espace-temps, Tlallocan. Il joue un rôle prépondérant dans la cosmogonie mais aussi dans le temps divinatoire, son domaine d'influence sur le destin des hommes. Le royaume de Tlalloc, Tlallocan, est un lieu d'abondance et de fertilité, mais aussi un lieu de mort ou se rendaient les victimes de Tlalloc qu'elles fussent prédestinées ou non. Les origines de Tlalloc sont ancrées dans la très haute antiquité mésoaméricaine mais il faut attendre l'époque classique pour voir apparaître la première représentation du dieu. La place de Tlalloc dans les mythes , et en particulier ceux retracant la fin de Tollan et la fondation de Mexico-Tenochtitlan, montre l'importance de l'influence qu'exerce le dieu sur le devenir des hommes et des dieux. Les fêtes qui rythmaient l'année solaire étaient l'expression des dettes qu'avaient à payer les hommes à leurs dieux. Celles en l'honneur de Tlalloc exigaient la présence de tous des Macehualtin au ipiltin. Le Tlalloc Icuic est un des chants sacrés que les anciens Mexicains se remémoraient à cette occasion. Bien qu'appartenant à la mémoire collective, son contenu ésoterique n'était réellement compris que par les prêtres.
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Winfield, Shannen M. "Containers of power| The Tlaloc vessels of the Templo Mayor as embodiments of the Aztec rain god." Thesis, Tulane University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1566580.

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Vauzelle, Loïc. "Tlaloc et Huitzilopochtli : éléments naturels et attributs dans les parures de deux divinités aztèques aux XVe et XVIe siècles." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP006.

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Les divinités vénérées par les Aztèques dans le Mexique central étaient nombreuses et complexes. Afin de mieux comprendre ces entités, les chercheurs ont adopté différentes approches dans leurs études au cours des dernières décennies, mais la matérialité des parures divines est restée un sujet peu exploré. Malgré l’importance que l’on reconnaît aux attributs, aucune étude ne s’est intéressée de manière globale et systématique aux matériaux qui constituaient les dieux et à leurs significations. Pourtant, ces derniers étaient au fondement des divinités qui incarnaient notamment des manifestations naturelles et se matérialisaient dans le monde des hommes au moyen de formes physiques constituées de matériaux prélevés dans la nature. Elles pouvaient alors être représentées ou bien personnifiées par des statues ou des hommes revêtant les parures de ces entités. L’objectif de cette thèse est de proposer une méthode d’analyse des divinités d’un point de vue emic, fondée sur le déchiffrement de leurs parures et donc sur l’étude systématique des éléments naturels utilisés ou symbolisés dans celles-ci. En décomposant les parures de Tlaloc et de Huitzilopochtli, ce travail met en évidence les significations des matériaux en rapport avec les formes qu’ils prenaient (c’est-à-dire les attributs portés) et les supports corporels des dieux, ceci afin de restituer ce que représentaient ces deux entités pour les Aztèques et comprendre les variations qui affectaient leurs parures d’un contexte à un autre. Apparaît une conception de ces dieux parfois différente de celle que l’on pouvait en avoir, héritée des religieux et des conquérants espagnols
The deities honored by the Aztecs of Central Mexico were numerous and complex. In order to better understand these entities, Mesoamericanists have addressed this topic from different approaches over the past decades, but the materiality of the gods’ costumes has remained a little-explored subject. Despite the fact that the importance of the attributes is acknowledged by scholars, no study to this date has ever proposed a global and systematic analysis of the materials that composed the deities and of their meanings. However, they were a central part of the deities, given that most of them embodied natural phenomena and showed themselves in the world of men by means of physical forms made of materials taken from nature. In that case, they could be represented or personified by men who wore the costumes of these entities. The contribution of my dissertation is based on the development of a methodology to study the deities from an emic perspective and decipher the meaning of their costumes, which implies a systematic analysis of the natural elements they used or symbolized. By decomposing the costumes of Tlaloc and Huitzilopochtli, this work emphasizes the meanings of the natural elements in relation to the forms they took (i.e. the attributes worn) and the gods’ bodies, in order to understand what these two entities represented for the Aztecs and why their costumes could vary depending on the context. What comes to light is a conception of Tlaloc and Huitzilopochtli that can be different from the one we had, inherited from the Spanish missionaries and conquerors
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Ossant, Héliette. "Les images de Tlaloc et de Chac dans le monde maya "classique" (250-900 ap. J. -C. ) : Antécédents et postérité." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0242.

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A travers l’étude des représentations de Tlaloc et de Chac, entités aztèque et maya, au Classique, c’est-à-dire pendant la période III, cette thèse met en évidence la continuité de leurs représentations depuis l’époque I – où nous constatons l’existence d’un proto-Tlaloc et d’un proto-Chac – jusqu’à l’époque V, soit depuis 1200 avant J. -C. Jusqu’à la Conquête en 1519. En fait, nous avons affaire à une double continuité : de représentation et de sens mettant ainsi l’accent sur le rôle structurant des Nahua dans l’ensemble de la Mésoamérique. En effet, le champ sémantique de Tlaloc et de Chac est celui de la demande de pluie, donc de la fertilité ; mais aussi du sacrifice, à travers la dyade « l’eau-le feu », atl-tlachinolli, concept nahua de la guerre sacrificielle
By studying representations of Tlaloc and Chac ; Aztec and Maya entities, during Classic period, period III, this thesis emphasizes continuity of their representation from period I – where we note existence of a proto-Tlaloc and a proto-Chac – to period V. So, from 1200 BC to the Conquest in 1519. We note a double continuity: of representation and of meaning. This continuity shows the structuring role of Nahua in the whole Mesoamerica. The semantic field of Tlaloc and Chac is the request for rain, therefore for fertility; but also for sacrifice: through the union “water-fire”, atl-tlachinolli, Nahua concept of sacrifice’s war
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Billard, Claire. "Le Vieux Dieu : vies et morts d'une divinité ignée sur les Hauts Plateaux mexicains : étude diachronique de l'iconographie et de la symbolique d'une entité pré-hispanique par une approche comparée des sources, ethnohistoriques et ethnographiques." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010614/document.

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Le Vieux Dieu serait une divinité du feu qui apparaît dès le IXe siècle avant notre ère et qui serait encore présente dans le panthéon des anciens Mexicains à l'arrivée des Espagnols, où elle adopterait alors les noms de Xiuhtecuhtli ou Huehueteotl. L'intérêt de cette thèse est d'entreprendre une étude diachronique, à travers l'ensemble des Hauts Plateaux mexicains, de ce ou de ces dieux et d'en comprendre les évolutions et les interactions afin de répondre à une question principale : sommes-nous en présence d'une seule et même divinité du feu depuis le Préclassique Moyen (-1200 – 500 av. J.-C.) jusqu'à l'arrivée des Espagnols en 1521 ? L'aspect diachronique et pluridisciplinaire de ce travail oriente notre approche et notre méthodologie puisque les données de la période Postclassique Récent seront analysées à la lumière des informations ethnohistoriques et ethnographiques. Le corpus des époques précédentes sera traité de façon systématique par une approche structurelle, technique, iconographique et, finalement, symbolique
The Old God would probably be an igneous divinity, appeared since 9th century BC and which would have been already present in the Pantheon of the former Mexicans upon the arrival of the Spaniards. There, it would have adopted the names of Xiuhtecuhtli or Huehueteotl. The interest of this thesis is to undertake a diachronic study, through all the mexican Highlands, about this or these gods, to understand the evolutions and the interactions and finally to answer a main question : is there only one and the same divinity of fire since Middle Formative until the arrival of the Spaniards in 1521 ? The diachronic and multidisciplinary aspect of this work directs our approach and our methodology as the data of Late Postclassic will be analysed thanks to ethnohistorical and ethnographic information. The corpus of former times will be handled in a systematic way by a structural, technical, iconographical and finally symbolic approach
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Horníková, Lucie. "Malby portika 2, Tepantitla, Teotihuacan." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358149.

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The aim of this thesis is an explanation of the murals of Portico 2 in Tepantitla palace in Teotihuacan on the basis of the scientific literature and the knowledge, that I have gained by studying. Here will be introduced opinions, ideas and theories of diferent scholars about what is depict on the murals, It will be made a try about a critical evaluation and revision, and I will do my best for make out a beneficial conclusion. There is no uniform view of what is depicted on the paintings of the portico 2 of the Tepantitla palace. Alfonso Caso expained the murals like Tlalocan, the paradise dominated by the God of Rain and Storm Tlaloc, Esther Pasztory and Peter T. Furst expained them as an image of the cosmic tree - the axis of the world - that connects the heavens, the earth and the underworld. Annabeth Headrick and María T. Uriart agree that murals represent a ceremony. For Headrick, the top register is the focal point, which is supposed to be the scene of raising of the sacred cosmic tree (the lower register is then a record of the celebrations taking place during the ceremony). For Uriarte, the concept of ball game and the significance of the toponym Teotihuacan, what both is connected with begining of time. Patrizia Granzier interprets the scene as a garden - a place where sacred and profane...
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Reynoso-Rábago, Alfonso. "La vision du monde dans la mythologie maseuale (nahua) de la Sierra Norte de Puebla (Mexique)." Thèse, 2003. http://hdl.handle.net/1866/14234.

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"Containers Of Power: The Tlaloc Vessels Of The Templo Mayour As Embodiments Of The Aztec Rain God." Tulane University, 2014.

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Books on the topic "Tlalocan"

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Tamoanchan y Tlalocan. México: Fondo de Cultura Económica, 1994.

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Tamoanchan, Tlalocan: Places of mist. [Niwot, Colo.]: University Press of Colorado, 1997.

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László, Passuth. Tlaloc weeps for Mexico. San Francisco, Calif: Pacific Pub. House, 1987.

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Reck, Gregory G. In the shadow of Tlaloc: Life in a Mexican village. Prospect Heights, Ill: Waveland Press, 1986.

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Blair, P. L. Stormcaller. Sheridan, Wy: Studio See, 2008.

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Šégota, Dúrdica. Valores plásticos del arte Mexica. México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 1995.

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Gajá, Andrea Candia. Teotihuacán: El sacrificio de los dioses. México, D.F: Cacciani, S.A. de C.V., 2015.

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Austin, Alfredo Lopez. Tamoanchan y Tlalocan (Seccion de Obras de Antropologia). Fondo de Cultura Economica USA, 1998.

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Eating Landscape: Aztec and European Occupation of Tlalocan. Univ Pr of Colorado, 1999.

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Arnold, Philip P. Eating Landscape: Aztec and European Occupation of Tlalocan (Mesoamerican Worlds). University Press of Colorado, 2001.

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Book chapters on the topic "Tlalocan"

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"Tlaloc." In Encyclopedic Dictionary of Archaeology, 1395. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_200483.

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"Interpreting Tlaloc." In Mesoamerican Religions and Archaeology, 55. Archaeopress Publishing Ltd, 2017. http://dx.doi.org/10.2307/j.ctv1pzk1t8.18.

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Bassie-Sweet, Karen. "Women in the Tlaloc Cult." In Maya Gods of War, 223–43. University Press of Colorado, 2021. http://dx.doi.org/10.5876/9781646421329.c006.

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Bassie-Sweet, Karen. "The Offices and Regalia of the Tlaloc Cult." In Maya Gods of War, 191–222. University Press of Colorado, 2021. http://dx.doi.org/10.5876/9781646421329.c005.

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"The Renewal of Nature at the Temple of Tlaloc." In The Ancient Americas: Art from Sacred Landscapes. Art Institute of Chicago, 1998. http://dx.doi.org/10.37862/aaeportal.00118.018.

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Bassie-Sweet, Karen. "Classic Maya Tlaloc Deities and Their Obsidian Meteor Weapons." In Maya Gods of War, 112–61. University Press of Colorado, 2021. http://dx.doi.org/10.5876/9781646421329.c003.

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Turner, Andrew D. "Unmasking Tlaloc: The Iconography, Symbolism, and Ideological Development of the Teotihuacan Rain God." In Anthropomorphic Imagery in the Mesoamerican Highlands: Gods, Ancestors, and Human Beings, 205–37. University Press of Colorado, 2020. http://dx.doi.org/10.5876/9781607329954.c006.

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Macías, J. L., J. L. Arce, F. García-Tenorio, P. W. Layer, H. Rueda, G. Reyes-Agustin, F. López-Pizaña, and D. Avellán. "Geology and geochronology of Tlaloc, Telapón, Iztaccíhuatl, and Popocatépetl volcanoes, Sierra Nevada, central Mexico." In The Southern Cordillera and Beyond, 163–93. Geological Society of America, 2012. http://dx.doi.org/10.1130/2012.0025(08).

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Conference papers on the topic "Tlalocan"

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Ramón, Andrés Mejia. "Playing in Tlaloc's fields: Trends in archaeometric prospection in the central Mexican Highlands." In SEG Technical Program Expanded Abstracts 2017. Society of Exploration Geophysicists, 2017. http://dx.doi.org/10.1190/segam2017-17559571.1.

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