Lee offers a more realistic portrait of the legendary Aztec ruler Nezahualcoyotl, derived from examination of original Nahuatl codices and poetry, as well as Spanish chronicles.

Nezahualcoyotl (1402-1472), the "poet-king" of Texcoco, has been described as one of the most important pre-Hispanic figures in Nahua history. Since the conquest, European chroniclers have continually portrayed him as a symbol of Aztec civilization and culture, a wise governor and lawmaker, poet and patron of the arts, and proto-monotheist. Their chronicles have served as sources for anthropologists, historians, and literary critics who focus on these contrived images and continually reproduce the colonial propaganda on Nezahualcoyotl. This, as Jongsoo Lee argues, subsequently leads to a misrepresentation of the history, religion, literature, and politics of pre-Hispanic Mexico that are altered to support such images of Nezahualcoyotl. Lee provides a new assessment of Nezahualcoyotl that critically examines original codices and poetry written in Nahuatl alongside Spanish chronicles in an effort to paint a more realistic portrait of the legendary Aztec figure. Urging scholars away from sources that reinforce a Judeo-Christian perspective of pre-Hispanic history, Lee offers a revision of the colonial images of Nahua history and culture that have continued over the last five hundred years.

Around 1542, descendants of the Aztec rulers of Mexico created accounts of the pre-Hispanic history of the city of Tetzcoco, Mexico, one of the imperial capitals of the Aztec Empire. Painted in iconic script ("picture writing"), the Codex Xolotl, the Quinatzin Map, and the Tlohtzin Map appear to retain and emphasize both pre-Hispanic content and also pre-Hispanic form, despite being produced almost a generation after the Aztecs surrendered to Hernán Cortés in 1521. Yet, as this pioneering study makes plain, the reality is far more complex. Eduardo de J. Douglas offers a detailed critical analysis and historical contextualization of the manuscripts to argue that colonial economic, political, and social concerns affected both the content of the three Tetzcocan pictorial histories and their archaizing pictorial form. As documents composed by indigenous people to assert their standing as legitimate heirs of the Aztec rulers as well as loyal subjects of the Spanish Crown and good Catholics, the Tetzcocan manuscripts qualify as subtle yet shrewd negotiations between indigenous and Spanish systems of signification and between indigenous and Spanish concepts of real property and political rights. By reading the Tetzcocan manuscripts as calculated responses to the changes and challenges posed by Spanish colonization and Christian evangelization, Douglas's study significantly contributes to and expands upon the scholarship on central Mexican manuscript painting and recent critical investigations of art and political ideology in colonial Latin America.

Kelli D. Zaytoun draws on Gloria Anzaldúa's thought to present a radically inclusive and expansive approach to selfhood, creativity, scholarship, healing, coalition-building, and activism. Zaytoun focuses on Anzaldúa's naguala/ shapeshifter, a concept of nagualismo. This groundbreaking theory of subjectivity details a dynamic relationship between “inner work” and "public acts" that strengthens individuals' roles in social and transformative justice work. Zaytoun's detailed emphasis on la naguala, and Nahua metaphysics specifically, brings much needed attention to Anzaldúa's long-overlooked contribution to the study of subjectivity. The result is a women and queer of color, feminist-focused work aimed at scholars in many disciplines and intended to overcome barriers separating the academy from everyday life and community. An original and moving analysis, Shapeshifting Subjects draws on unpublished archival material to apply Anzaldúa's ideas to new areas of thought and action.

From the migration of the Aztecs to the rise of the empire and its eventual demise, this book covers Aztec history in full, analyzing conceptions of time, religion, and more through codices to offer an inside look at daily life. This book focuses on two main areas: Aztec history and Aztec culture. Early chapters deal with Aztec history—the first providing a visual record of the story of the Aztec migration and search for their destined homeland of Tenochtitlan, and the second exploring how the Aztecs built their empire. Later chapters explain life in the Aztec world, focusing on Aztec conceptions of time and religion, the Aztec economy, the life cycle, and daily life. The book ends with an account of the fall of the empire, as illustrated by Aztec artists. With sections concerning a wide variety of topics—from the Aztec pantheon to war, agriculture, childhood, marriage, diet, justice, the arts, and sports, among many others—readers will gain an expansive understanding of life in the Aztec world.

The Serpent's Plumes analyzes contemporary Nahua cultural production, principally bilingual Nahuatl-Spanish xochitlajtoli, or "poetry," written from the 1980s to the present. Adam W. Coon draws on Nahua perspectives as a decolonizing theoretical framework to argue that Nahua writers deploy unique worldviews—namely, ixtlamatilistli ("knowledge with the face," which highlights the value of personal experiences); yoltlajlamikilistli ("knowledge with the heart," which underscores the importance of affective intelligence); and tlaixpan ("that which is in front," which presents the past as lying ahead of a subject rather than behind). The views of ixtlamatilistli, yoltlajlamikilistli, and tlaixpan are key in Nahua struggles and effectively challenge those who attempt to marginalize Native knowledge production.

In 1536, only fifteen years after the fall of the Aztec empire, Franciscan missionaries began teaching Latin, classical rhetoric, and Aristotelian philosophy to native youths in central Mexico. The remarkable linguistic and cultural exchanges that would result from that initiative are the subject of this book. Aztec Latin highlights the importance of Renaissance humanist education for early colonial indigenous history, showing how practices central to humanism ? the cultivation of eloquence, the training of leaders, scholarly translation, and antiquarian research ? were transformed in New Spain to serve Indian elites as well as the Spanish authorities and religious orders. While Franciscan friars, inspired by Erasmus' ideal of a common tongue, applied principles of Latin grammar to Amerindian languages, native scholars translated the Gospels, a range of devotional literature, and even Aesop's fables into the Mexican language of Nahuatl. They also produced significant new writings in Latin and Nahuatl, adorning accounts of their ancestral past with parallels from Greek and Roman history and importing themes from classical and Christian sources to interpret pre-Hispanic customs and beliefs. Aztec Latin reveals the full extent to which the first Mexican authors mastered and made use of European learning and provides a timely reassessment of what those indigenous authors really achieved.

Bringing to bear her extensive knowledge of the cultures of Renaissance Europe and sixteenth-century Mexico, Mónica Domínguez Torres here investigates the significance of military images and symbols in post-Conquest Mexico. She shows how the 'conquest' in fact involved dynamic exchanges between cultures; and that certain interconnections between martial, social and religious elements resonated with similar intensity among Mesoamericans and Europeans, creating indeed cultural bridges between these diverse communities. Multidisciplinary in approach, this study builds on scholarship in the fields of visual, literary and cultural studies to analyse the European and Mesoamerican content of the martial imagery fostered within the indigenous settlements of central Mexico, as well as the ways in which local communities and leaders appropriated, manipulated, modified and reinterpreted foreign visual codes. Military Ethos and Visual Culture in Post-Conquest Mexico draws on post-structuralist and post-colonial approaches to analyse the complex dynamics of identity formation in colonial communities.

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Winner of the 2020 Award for Excellence in the Study of Religion: Historical Studies In her groundbreaking investigation from the perspective of the aesthetics of religion, Isabel Laack explores the religion and art of writing of the pre-Hispanic Aztecs of Mexico. Inspired by postcolonial approaches, she reveals Eurocentric biases in academic representations of Aztec cosmovision, ontology, epistemology, ritual, aesthetics, and the writing system to provide a powerful interpretation of the Nahua sense of reality. Laack transcends the concept of “sacred scripture” traditionally employed in religions studies in order to reconstruct the Indigenous semiotic theory and to reveal how Aztec pictography can express complex aspects of embodied meaning. Her study offers an innovative approach to nonphonographic semiotic systems, as created in many world cultures, and expands our understanding of human recorded visual communication. This book will be essential reading for scholars and readers interested in the history of religions, Mesoamerican studies, and the ancient civilizations of the Americas. "This excellent book, written with intellectual courage and critical self-awareness, is a brilliant, multilayered thought experiment into the images and stories that made up the Nahua sense of reality as woven into their sensational ritual performances and colorful symbolic writing system." - Davíd Carrasco, Harvard University