Humanities 110

Assignment

• Davíd Carrasco, Chapter 2 “Aztec Foundations: Aztlan, Cities, People,” The Aztecs: A Very Short Introduction (E-book)
• Gallery: Tira de la peregrinación / Boturini Codex (c. 1530-1541).

Assignment

• 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]
• Facsimiles of folios 18v-19r, 37v-38r, 45v-46r, Codex Mendoza, Vol. III, 44-45, 82-83, 98-99. 
• Translations of folios 18v-19r, 37v-38r, 45v-46r, Codex Mendoza, Vol. IV, 42-43, 80-81, 96-97.
• Recommended: Carrasco, “Aztec Expansion Through Conquest and Trade,” The Aztecs, chapter 3.  (E-book)

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.
• “The Birth of Huitzilopochtli, Patron God of the Aztecs,” Native Mesoamerican Spirituality, ed. Miguel León-Portilla, (New York: Paulist Press, 1982), 220-225.
• Gallery: Templo Mayor and city of Tenochtitlan
• Recommended: Carrasco, “Cosmovision and Human Sacrifice,” The Aztecs, chapter 4. (E-book)

Assignment

• “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. 
• Aquiauhtzin of Ayapanco, “Warrior Women of Chalco,” Fifteen Poets of the Aztec World, (Norman: University of Nebraska Press), pp. 255-282  
• Recommended: Davíd Carrasco, Chapter 6 “Wordplay, philosophy, sculpture” The Aztecs: A Very Short Introduction (E-book)

Assignment

• Florentine Codex book 12, in We People Here: Nahuatl Accounts of the Conquest of Mexico, ed. and trans. James Lockhart (Berkeley: University of California Press), 1992, 108-172. 
• Bernal Díaz, The Conquest of New Spain, trans. J. M. Cohen  (London: Penguin, 1963), 284-307.
• Recommended: Carrasco, “Fall of the Aztec Empire,” The Aztecs, chapter 7. (E-book)

Assignment

• Introduction to the Lienzo de Tlaxcala, Mesolore. This site also includes an interactive recreation of the whole Lienzo de Tlaxacala. The numbers on the image correspond to annotations; click on them to see the description. To hide these numbers, click on “Hide Highlights” in the lower lefthand corner.
• Gallery: Lienzo de Tlaxcala (Abridged)
• Bernal Díaz, The Conquest of New Spain (London: Penguin, 1963), 85-88.
• Recommended: Carrasco, “Women and Children: Weavers of Life and Precious Necklaces,” The Aztecs, chapter 5. (E-book)

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 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

• “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.
• In Sor Juana Inés de la Cruz, Poems, Protest, and a Dream: 
  • “Reply to Sor Filotea,” 1-75. 
  • “Redondilla 92: A Philosophical Satire,” 148-151.
  • Decimas 130, 132 (p. 165)
  • Sonnet 161 (p. 179)

Assignment

• Magali M. Carrera, “Locating Race in Late Colonial Mexico,” Art Journal 57.3 (1998): 36-45. 
• John Tutino, “Terms of Analysis: New Spain in Spanish America,” introductory maps, and “From Mexica Capital to Silver Metropolis, 1350-1770,” in Mexico City, 1808: Power, Sovereignty, and Silver in an Age of War and Revolution (Albuquerque: University of New Mexico Press, 2018), xiv-xxiv, 21-34.
• Gallery: casta paintings

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.
• Gallery: Diego Rivera, National Palace mural (c. 1929-1935)

Assignment

• Gallery: Diego Rivera, National Palace mural (c. 1929-1935)
• Branch, H.N., trans., The Mexican Constitution of 1917 compared with the Mexican Constitution of 1857, (American Academy of Politcal and Social Science, 1917), 1-3, 15-32, 94-113,
• “The Plan de Ayala” (1911), in John Womack, Zapata and the Mexican Revolution (New York: Vintage Books, 1970), 400-404.
• Zapata and Villa in Mexico City, 1914, 120 seconds (video)

Assignment

• Gallery: Diego Rivera - Secretaria de Educacion Publica Murals
• Gallery: Davíd Alfaro Siqueiros, Electricians’ Union Mural
• “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. 
• Robin Adèle Greeley, “Muralism and the State in Post-Revolution Mexico, 1920-1970,” in Mexican Muralism: A Critical History, 13-36.

Assignment

• Los Olvidados (The Young and the Damned), directed by Luis Buñuel (1950). Login using your Kerboros username and password.
• 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

• Nancy Deffebach, “Introduction,” María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art (Austin: University of Texas Press, 2015), 1-34.   
• Gallery: María Izquierdo
• Gallery: Frida Kahlo

Assignment

• Elena Poniatowska, Massacre in Mexico (Columbia: University of Missouri Press, 1991), vii-xvii, 3-23, 173-231. 
  • Pages vii-xvii,  3-23, 171-172, 199-231 (Text only)
  • Pages 173-198 (Images only)
• Elena Poniatowska, La Noche de Tlateloco (Biblioteca Era, Mexico, D.F. 1971), (Images only)

Assignment

• Mónica Mayer, “On Life and Art as a Feminist,” n.paradox 9 (1998), 47-58 (scroll through Spanish version to get to English version). 
• Alberto McKelligan Hernández, “Mónica Mayer, The Clothesline,” Smarthistory.org, 2 May 2019. For a captioned version of the video on this webpage, click here
• Alberto McKelligan Hernández, Mónica Mayer Powerpoint slides.

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).
• Zapatista Women’s Revolutionary Law

Assignment

• Ida B. Wells, Southern Horrors: Lynch Law in All Its Phases, in Southern Horrors and Other Writings: The Anti-Lynching Campaign of Ida B. Wells, 1892-1900, 2nd ed., ed. Jacqueline Jones Royster (Boston: Bedford/St. Martin’s, 2016), 46-68.
• Booker T. Washington, “The Atlanta Exposition Address,” in Up from Slavery (Boston: Bedford/St. Martin’s, 2003), 141-151.
• Du Bois, Souls of Black Folk, chapter 3.

Assignment

• Du Bois, Souls of Black Folk, chapters 1 and 2.

Assignment

• Du Bois, Souls of Black Folk, chapters 10 and 13. 
• W. E. B. Du Bois, “Credo,” “A Litany in Atlanta,” “Religion in the South,” “The Church and the Negro,” “Pontius Pilate,” “The Color Line and the Church,” and “Will the Church Remove the Color Line?” in Du Bois on Religion, ed. Phil Zuckerman (Walnut Creek, Calif.: AltaMira Press, 2000), 43-44, 65-89, 99-100, 157-159, 169-179.

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.
• Gallery: W.E.B. Du Bois data portraits.

Assignment

• Du Bois, Souls of Black Folk, chapter 14.
• Zora Neale Hurston, “Spirituals and Neo-Spirituals,” in The Sanctified Church (Berkeley, Calif.: Turtle Island, 1983), 79-84.
• Alain Locke, “The Negro Spirituals,” in The New Negro, ed. Locke (1925; rpt. New York: Touchstone, 1992), 199-213.
• James Weldon Johnson, “O Black and Unknown Bards,” in The Portable Harlem Renaissance Reader, ed. Lewis, 282-283. 
• Deacon A. Wilson and Congregation, "Certainly, Lord" (1926)
• Marian Anderson, “Go Down, Moses” (1924)
• Paul Robeson, “Didn’t My Lord Deliver Daniel?” (1936)     
• Hosea Williams and Selma Marchers, “Steal Away” and “Nobody Knows the Trouble I’ve Seen” (1965)
• Moses Hogan Chorale, “Didn’t My Lord Deliver Daniel?” (c. 2000)

Assignment

• James Weldon Johnson, “The Making of Harlem,” in Survey Graphic, 635-639.
• Saidiya Hartman, “A Note on Method,” “Mistah Beauty: the Autobiography of an Ex-Colored Woman, Select Scenes from a Film Never Cast by Oscar Micheaux, Harlem, 1920s,” “Revolution in a Minor Key,” “Wayward: A Short Entry on the Possible,” and “The Anarchy of Colored Girls Assembled in a Riotous Manner,” in Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval (New York: Norton, 2019),  xiii-xvi, 192-202, 216-256.

Assignment

• W.E.B. Du Bois, “Credo” and “Souls of White Folk,” in Darkwater: Voices from Within the Veil, (New York, Schocken Books, 1969), vii-viii, 3-4, 29-52.
• W.E.B. Du Bois, “Returning Soldiers,” in The Portable Harlem Renaissance Reader, ed. Lewis, 3-5.
• Universal Negro Improvement Association, “Declaration of the Rights of the Negro Peoples of the World” (1920).
• Amy Ashwood Garvey, “The Birth of the Universal Negro Improvement Association,” in The Pan-African Connection: From Slavery to Garvey and Beyond, ed. Tony Martin (Dover, Mass.: Majority Press, 1983), 219-226.
• Marcus Garvey, “Africa for the Africans” and “Liberty Hall Emancipation Day Speech,” in The Portable Harlem Renaissance Reader, ed. Lewis, 17-28.

Assignment

• Black and Tan (1929), 18:12 minutes, (movie)
• Listening assignment:
  • Blind Lemon Jefferson – Matchbox Blues, lyrics - PDF or Word. 
  • Bessie Smith – Back Water Blues, lyrics.
  • Joe Williams – Everyday I have the Blues, lyrics.
  • Elvis Presley – Hound Dog, lyrics.
  • James Brown – I Feel Good, lyrics.
  • Sonny Clark – Sippin’ at Bells 
  • Miles Davis – Footprints 
  • Duke Ellington - Such Sweet Thunder

Assignment

• Toomer, Cane, 3-75.
  • Click here for an alternative edition of this text in digital form.

Assignment

•  Toomer, Cane, 76-160.
  • Click here for an alternative edition of this text in digital form.

Assignment

• Survey Graphic:
  • Cover;
  • Table of contents and "The Gist of It" (p. 627);
  • Locke, "Harlem" pp. 629-30;
  • Locke, "Enter the New Negro pp. 631-34;
  • Reiss, "Harlem Types" pp. 651-54;
  • Locke, "The Art of the Ancestors" p. 673.
• In The Portable Harlem Renaissance Reader, ed. Lewis: 
  • Du Bois, "Criteria of Negro Art" pp. 100-105.

Assignment

• In 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. 
  • Helene Johnson, “Sonnet to a Negro in Harlem” and “Poem,” 277-278
  • Langston Hughes, “The Weary Blues,” 260-261. 

Assignment

• In The Portable Harlem Renaissance Reader, ed. Lewis:
  • Gwendolyn Bennett, “Song,” 221–222, “Hatred,” 223. 
  • Claude McKay, “The Tropics in New York,” 292, “The Desolate City,” 294-296.
  • Anne Spencer, “Lady, Lady,” 299. 

Assignment

• Hurston, Their Eyes Were Watching God, 1-115 (chapters 1-12).
• 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, 116-193 (chapters 13-20).

Assignment

• Ellison, Invisible Man, 1-108 (chapters 1-4).

Assignment

• Ellison, Invisible Man, 109-230 (chapters 5-10).
• W. E. B. Du Bois, “The Negro and the Warsaw Ghetto” (1952), in The Oxford W. E. B. Du Bois Reader, ed. Eric J. Sundquist (New York: Oxford University Press, 1996), 469-473.

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).