Humanities 110

Assignment

***Click here to access the entire e-reserves packet for Module 3 - Palimpsest of Past and Present: Tenochtitlan/Mexico City. For best printing, download the PDF and from the print screen select "Fit" under "Page Sizing and Handling."***

Assignment for January 28:

• Aztec origins: introduction
• Gallery: Tira de la peregrinación / Boturini Codex (c. 1530-1541).
• Translations of folios 1-18r, Codex Mendoza, ed. Frances F. Berdan and Patricia Rieff Anawalt (Berkeley: University of California Press, 1992), Vol. IV, 7-41 (blank pages omitted). [suitable for printing]
• Facsimiles of folios 1-18r (color images), Codex Mendoza, Vol. III, 9-43 (blank pages omitted). [large file; best viewed on computer screen]

Assignment

• Reading packet: click here to download all readings listed below.
  • Aztec Cosmology: introduction
  • Translations of folios 18v-19r, 37v-38r, 45v-46r, Codex Mendoza, Vol. IV, 42-43, 80-81, 96-97.
  • Fray Bernardino de Sahagún,“De los Dioses,” Florentine Codex: General History of the Things of New Spain, Book 1 (New Mexico: School of American Research, 1982), 1-2, 7, 11, 13.
  • Fray Bernardino de Sahagun, “De las Cerimonjas,” Florentine Codex, Book 2, 1-2, 42-46.
  • “The Birth of Huitzilopochtli, Patron God of the Aztecs,” Native Mesoamerican Spirituality, ed. Miguel León-Portilla, (New York: Paulist Press, 1982), 220-225.
• Bernal Díaz, The Conquest of New Spain (London: Penguin, 1963),  216-244.
• Color images: 
  
  • Facsimiles of folios 18v-19r, 37v-38r, 45v-46r, Codex Mendoza, Vol. III, 44-45, 82-83, 98-99.
  • Fray Bernardino de Sahagun, Story of Huitzilopochtli (Illustrated), in Florentine Codex, Book 3, (New Mexico: School of American Research, 1982), n.p.

Assignment

• Accounts of the Spanish Conquest: introduction
• We People Here: Nahuatl Accounts of the Conquest of Mexico, ed. and trans. Lockhart, James, (Berkeley: University of California Press), 1992, pp. 108-172.
• Díaz, Conquest of New Spain, 85-8, 284-307.

Assignment

• Barbara E. Mundy, “Mapping the Aztec Capital: The 1524 Nuremberg Map of Tenochtitlan, Its Sources and Meanings,” Imago Mundi 50.1 (1998), 11-33.
• Gallery: Templo Mayor and city of Tenochtitlan

Assignment

• Acosta's Natural and Moral History: introduction
• José de Acosta, Natural and Moral History of the Indies, ed. Jane Mangan, trans. Frances M. López-Morillas (Durham: Duke University Press, 2002), v-xvi (table of contents), 250-251 (“Prologue to the subsequent books”), 275-276 (V.11), 278-282 (V. 13-14), 293-296 (V.20), 327-333 (V.31, VI.1-2), 339-342 (VI.7), 368-380 (VI.24-28, VII.1), 392-394 (VII.7).

Assignment

• Reading packet: click here to download all readings listed below.
  • Flower and Song: introduction
  • “Beginning of the Songs,” “A Song of Green Places, an Otomi Song, a Plain One,” and “Another to the Same Tone, a Plain One,” in Cantares Mexicanos: Songs of the Aztecs, trans. John Bierhorst (Stanford, Calif.: Stanford University Press, 1985), 134-139.
  • “Epic Description of the Besieged City,” in The Broken Spears: The Aztec Account of the Conquest of Mexico, exp. ed., ed. Miguel León-Portilla (Boston: Beacon Press, 1992), 137-138.
  • “Lamentatio” (lyrics) in Nueva Espana : Close Encounters in the New World, 1590 -1690, Boston Camerata (Artist), Joel Cohen (Conductor)
  • Miguel León-Portilla, “Myths in Pre-Columbian Poetry,” Pre-Columbian Literatures of Mexico, trans. Grace Lobanov and Miguel León-Portilla (Norman: University of Oklahoma Press, 1986), 30-48.
  • “Excerpt from the Nahuatl Story of the Apparition of the Virgin of Guadalupe, 1649” in Mesoamerican Voices: Native-Language Writings from Colonial Mexico, Oaxaca, Yucatan, and Guatemala, ed. Matthew Restall, Lisa Sousa, and Kevin Terraciano (New York: Cambridge University Press, 2005), 196-201.
• “Lamentatio” (music) in Nueva Espana : Close Encounters in the New World, 1590 -1690, Boston Camerata (Artist), Joel Cohen (Conductor)
• Gallery: Coatlicue and Virgin of Guadalupe

Assignment

• “Sacrifice of Isaac,” in Nahuatl Theater Volume I: Death and Life in Colonial Nahua Mexico, eds. Barry D. Sell and Louise M. Burkhart (Norman: University of Oklahoma, 2004), 147-163.
• Sor Juana Inés de la Cruz, “Loa to the Divine Narcissus,” in Poems, Protest, and a Dream, 195-239.

Assignment

• Sor Juana Inés de la Cruz, “First I Dream,” in Poems, Protest, and a Dream, 77-129.

Assignment

• From Sor Juana Inés de la Cruz, Poems, Protest, and a Dream:
  • “Reply to Sor Filotea,” 1-75.
  • “Redondilla 92: A Philosophical Satire,” 148-151.
  • “Sonnet 145: She Attempts to Minimize…,” 168-169.

Assignment

• Gallery: casta paintings
• Magali M. Carrera, “Locating Race in Late Colonial Mexico,” Art Journal 57.3 (1998): 36-45.

Assignment

• Selections from The Mexico Reader: History, Culture, Politics, ed. Gilbert M. Joseph and Timothy J. Henderson (Durham, N.C.: Duke University Press, 2002).
  • José Maria Morelos, “Sentiments of the Nation” (1813), 189-191.
  • Agustín de Iturbide, “Plan of Iguala” (1821), 192-195.
  • Editors of El Tiempo, “A Conservative Profession of Faith” (1846), 220-225.
  • Mariano Otero, “Considerations Relating to the Political and Social Situation of the Mexican Republic in the Year 1847” (1847), 226-238.

Assignment

• Reading packet: click here to download all readings listed below.
  • Introduction
  • Andrés Molina Enríquez, excerpts from The Nation’s Great Problems, in Mexican History: A Primary Source Reader, ed. Nora E. Jaffary, Edward W. Osowski, and Susie E. Porter (Boulder, Col.: Westview Press, 2010), 272-279.
  • “The Plan de Ayala” (1911), in John Womack, Zapata and the Mexican Revolution (New York: Vintage Books, 1970), 400-404.
  • “Political Constitution of the United States of Mexico” (1917), Articles 1-3, 27, 123, 130.
  • Nellie Campobello, excerpts from Cartucho, in Cartucho and My Mother’s Hands, trans. Doris Meyer and Irene Matthews (Austin: University of Texas Press, 1988), 10-14, 18-23, 58-65.
• Zapata and Villa in Mexico City, 1914, 120 seconds (video)

Assignment

• Gallery: José Clemente Orozco and other artists, murals at Colegio de San Ildefonso (c. 1922-1927)
• Gallery: Diego Rivera, National Palace mural (c. 1929-1935)
• Gallery: Davíd Alfaro Siqueiros, Electricians’ Union mural (1939-1940)
• “Manifesto of the Syndicate of Technical Workers, Painters and Sculptors” (1923-1924), in Mexican Muralism: A Critical History, ed. Alejandra Anreus, Leonard Folgarait, and Robin Adèle Greeley (Berkeley: University of California Press, 2012), 319-321.

Assignment

• Revisit galleries from February 25
• Robin Adèle Greeley, “Muralism and the State in Post-Revolution Mexico, 1920-1970,” in Mexican Muralism: A Critical History, 13-36.

Assignment

• Buñuel, Luis, et al. 1950. Los Olvidados = The young and the damned. [México]. (film)
• Cesare Zavattini, “Some Ideas on the Cinema,” Sight and Sound 23.2 (1953): 64-69.
• Luis Buñuel, “The Cinematic Shot,” “Découpage, or Cinematic Segmentation,” and “Cinema as an Instrument of Poetry,” in An Unspeakable Betrayal: Selected Writings of Luis Buñuel, trans. Garrett White (Oakland: University of California Press, 1995), 125-141.

Assignment

• José Emilio Pacheco, “Battles in the Desert,” Battles in the Desert and Other Stories, trans. Katherine Silver (New York: New Directions, 1987), 81-117.
• Gallery: Juan O’Gorman, “Landscape of the City of Mexico"

Assignment

• Elena Poniatowska, Massacre in Mexico (Columbia: University of Missouri Press, 1991), vii-xvii, 3-23, 173-231.

Assignment

• Selections from Subcomandante Marcos, Our Word Is Our Weapon: Selected Writings, ed. Juana Ponce de León (New York: Seven Stories Press, 2001).
  • “Fourth Declaration of the Lacandon Jungle” (1996), 78-81.
  • “Mexico City: We Have Arrived. We Are Here: The EZLN.” (2001), 155-162.
  • “The Story of the Questions” (1994), 413-416.
• Zapatista Army of National Liberation, “6th Declaration of the Lacandon Jungle” (June 2005).

Assignment

Assignment

• Du Bois, Souls of Black Folk, 3-44, 189-205 ("The Forethought"; chapters 1-3; Appendix II: “The Talented Tenth”).

Assignment

• Du Bois, Souls of Black Folk, 45-62, 128-139, 153-177 (chapters 4-5, 10, 13-14).

Assignment

• Jacob Lawrence, Migration Series (1940-1941), Phillips Collection.
  • Browse the thumbnails, including the titles (titles are visible if you hover the mouse over an image). Then, explore the full series (60 panels) panel-by-panel, starting with panel 1. You can advance to the next panel by clicking the down arrow below “panel 1” on the upper right of the screen.
• James Weldon Johnson, “The Making of Harlem,” in Survey Graphic, ed. Locke, 635-639.
• Gallery: W.E.B. Du Bois data portraits. 

Assignment

• Selections from The Portable Harlem Renaissance Reader, ed. Lewis:
  • W.E.B. Du Bois, “Returning Soldiers,” 3-5.
  • Marcus Garvey, “Africa for the Africans,” 17-25. Marcus Garvey, “Liberty Hall Emancipation Day Speech,” 26-28.
• “Manifesto of the Second Pan-African Congress” (1921), in The Oxford W. E. B. Du Bois Reader, ed. Eric J. Sundquist (New York: Oxford University Press, 1996), pp. 640-644.
  • Browse the issue of The Crisis (Nov. 1921) in which this manifesto appeared.
• Universal Negro Improvement Association, “Declaration of the Rights of the Negro Peoples of the World” (1920). 

Assignment

• From Survey Graphic, ed. Locke:
  • Alain Locke, “Harlem” and “Enter The New Negro,” 629-634.
  • W.A. Domingo, “The Tropics in New York,” 648-650.
  • Elise McDougald, “The Double Task,” 689-691.
  • Look at illustrations in the Survey Graphic volume.

Assignment

• From The Portable Harlem Renaissance Reader, ed. Lewis:
  • Langston Hughes, “The Negro Artist and the Racial Mountain,” 91-95.
  • George S. Schuyler, “The Negro-Art Hokum,” 96-99.
• James Weldon Johnson, “Preface” to The Book of American Negro Poetry, 9-22, 34-48.

Assignment

• Toomer, Cane, 3-75.

Assignment

• Toomer, Cane, 76-160.

Assignment

• From The Portable Harlem Renaissance Reader, ed. Lewis:
  • Gwendolyn Bennett, “Song,” 221–222, “Hatred,” 223.
  • Mae Cowdery, “The Young Voice Cries,” 238–240.
  • Countee Cullen, “Yet Do I Marvel,” 244, “Heritage,” 244–247, “Tableau,” 248–249.
  • Langston Hughes, “The Negro Speaks of Rivers,” 257, “I, Too,” 257–258, “America,” 258-260, “The Weary Blues,” 260–261, “Jazzonia,” 261, “Mother to Son,” 261–262, “Elevator Boy,” 263–264, “Elderly Race Leaders,” 265, “Dream Variation,” 266.
• Poems read by Langston Hughes:
  • “The Negro Speaks of Rivers,” 257,
  • “I, Too,” 257–258
  • “The Weary Blues,” 260–261
  • “Mother to Son,” 261–262,

Assignment

• From The Portable Harlem Renaissance Reader, ed. Lewis:
  • Sterling Brown, “Southern Road,” 227–229, “Odyssey of Big Boy,: 229–231.
  • James Weldon Johnson, “O Black and Unknown Bards,” 282, “The Creation,” 286.
  • Claude McKay, “If We Must Die,” 290, “The White House,” 291, “The Tropics in New York,” 292, “When Dawn Comes to the City,” 293–294, “The Desolate City,” 294–296, “The Harlem Dancer,” 296.
  • Anne Spencer, “Lady, Lady,” 299.
  • Jean Toomer, “The Blue Meridian,” 303–307.
• "The Creation," 286, read by James Weldon Johnson

Assignment

• Viewing/listening assignment:
  • Duke Ellington, "Blue Light" (1938), featuring Barney Bigard and Lawrence Brown
  • Black and Tan (1929), 18:12 minutes, (movie)
  • Duke Ellington, “Daybreak Express” (1934), (music)
  • Duke Ellington, “Such Sweet Thunder” (1957), (music)
  • Duke Ellington, “Heaven,” Second Sacred Concert (1968), (music)
• Mark Tucker, “The Renaissance Education of Duke Ellington,” in Black Music in the Harlem Renaissance, ed. Samuel A. Floyd, Jr. (Knoxville: University of Tennessee Press, 1993), 111-127.

Assignment

• Hurston, Their Eyes Were Watching God, 1-138 (chapters 1-15).
• Zora Neale Hurston, “What White Publishers Won’t Print,” in I Love Myself When I Am Laughing...And Then Again When I Am Looking Mean and Impressive: A Zora Neale Hurston Reader, ed. Alice Walker (Old Westbury, N.Y.: Feminist Press, 1979), 169-173.

Assignment

• Hurston, Their Eyes Were Watching God, 139-193 (chapters 16-20).
• Zora Neale Hurston, “How It Feels to Be Colored Me” (1928), in The Story and Its Writer: An Introduction to Short Fiction, 8th ed., ed. Ann Charters (Boston: Bedford/St. Martin’s, 2011), 1484-1488.

Assignment

• Viewing/listening assignment
  • Paul Robeson, “Old Man River,” from Show Boat (1936) [film clip]
  • Paul Robeson, “Old Man River,” performed in concert, Moscow, 1949 [audio clip]
• Selections from Paul Robeson, Paul Robeson Speaks: Writings, Speeches, Interviews, ed. Philip S. Foner (New York: Citadel Press, 1978).
  • “‘I’m at Home,’ Says Robeson at Reception in Soviet Union,” 94-96.
  • “U.S.S.R.--The Land for Me,” 105-109.
  • “Soviet Culture,” 136-137.
  • “The Negro People and the Soviet Union,” 236-241.
  • “Two Worlds--Ten Years of Struggle,” 486-490.
  • “Thoughts on Winning the Stalin Peace Prize,” 336-339.
  • “The Essence of Fascism and Communism,” 490-494.

Assignment

• Listening assignment:
  • Charlie Parker, “Wee,” from Jazz at Massey Hall (1953) (music)
  • Barry Harris, “Moose the Mooche,” from At the Jazz Workshop (1960) (music)
  • Oscar Peterson, “You Look Good to Me,” from We Get Requests (1964) (music)
  • McCoy Tyner, “Passion Dance,” from The Real McCoy (1967) (music)

Assignment

• Ellison, Invisible Man, 1-108 (chapters 1-4).
• W. E. B. Du Bois, “The Negro and the Warsaw Ghetto” (1952), in The Oxford W. E. B. Du Bois Reader, 469-473.

Assignment

• Ellison, Invisible Man, 109-230 (chapters 5-10).

Assignment

• Ellison, Invisible Man, 231-355 (chapters 11-16).

Assignment

• Ellison, Invisible Man, 356-478 (chapters 17-22).

Assignment

• Ellison, Invisible Man, 479-581 (chapter 23-epilogue).