Describes daily life in the Aztec world, including coverage of geography, foods, trades, arts, games, wars, political systems, class structure, religious practices, trading networks, writings, architecture and science.

Townsend offers an interpretation of Mexica monumental art by identifying three interrelated themes: the conception of the universe as sacred structure, the correspondence of the social order and the territory of the nation with the cosmic structure, and the representation of Tenochtitlan as historically legitimate successor to past civilization.

European religious drama adapted for an Aztec audience

The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of Indigeneity in the national culture. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Emory University and the Andrew W. Mellon Foundation. Learn more at the TOME website, available at: https://www.openmonographs.org/. It can also be found in the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/7153

Ambitious, bold, proud, and undefeated on the battlefield, the charismatic and dynamic warlord, Ahuitzotl, stops at nothing in order to attain his vainglorious ends. He is involved in a plot to depose the present monarch after being assured by the leader of the inter-clan council that he would be appointed to succeed him in power. As ruler, he embarks on a series of conquests that make him the undisputed master of his world. At the dedication ceremony of the Great Temple in his capital, he orders, as a climactic exposition of his pride, the largest mass sacrifice ever known, an orgy of excess seen by the priests as outraging the gods, and for which he will suffer their vengeance. He leads his people to their greatest heights only to then bring calamity upon them, giving credence to their belief that he is being punished for having offended the gods. He alienates his allied lords as he seeks to place their kingdoms under his domination. He manipulates the lives of his two most beloved women to serve his own selfish purposes, resulting in tragic consequences for one of them. When matched in skill and prowess by the enemy lord of a rival power, he becomes obsessed with destroying his opponent, unable to tolerate this blow to his ego, and sets into motion forces that culminate in a cruel retribution against him. The world of the Aztec ruling elites, with its intrigues, politics, and bloody rituals comes to life for the reader in this epic work.

Presents the history of the Aztec empire by examining archaeological excavations of historical sites and the artifacts found at those sites.

In exploring the pattern and methods of Aztec expansion, Ross Hassig focuses on political and economic factors. Because they lacked numerical superiority, faced logistical problems presented by the terrain, and competed with agriculture for manpower, the Aztecs relied as much on threats and the image of power as on military might to subdue enemies and hold them in their orbit. Hassig describes the role of war in the everyday life of the capital, Tenochtitlan: the place of the military in Aztec society; the education and training of young warriors; the organization of the army; the use of weapons and armor; and the nature of combat.

Nahuatl drama, one of the most surprising results of the Catholic presence in colonial Mexico, merges medieval European religious theater with the language and performance traditions of the Aztec (Nahua) people of central Mexico. Franciscan missionaries, seeking effective tools for evangelization, fostered this new form of theater after observing the Nahuas’ enthusiasm for elaborate performances. The plays became a controversial component of native Christianity, allowing Nahua performers to present Christian discourse in ways that sometimes effected subtle changes in meaning. The Indians’ enthusiastic embrace of alphabetic writing enabled the use of scripts, but the genre was so unorthodox that Spanish censors prevented the plays’ publication. As a result, colonial Nahuatl drama survives only in scattered manuscripts, most of them anonymous, some of them passed down and recopied over generations. Aztecs on Stage presents accessible English translations of six of these seventeenth- and eighteenth-century Nahuatl plays. All are based on European dramatic traditions, such as the morality and passion plays; indigenous actors played the roles of saints, angels, devils—and even the Virgin Mary and Jesus Christ. Louise M. Burkhart’s engaging introduction places the plays in historical context, while stage directions and annotations in the works provide insight into the Nahuas’ production practices, which often incorporated elaborate sets, props, and special effects including fireworks and music. The translations facilitate classroom readings and performances while retaining significant artistic features of the Nahuatl originals.