Bibliografie tematiche / Manuscrits mexicains

Letteratura scientifica selezionata sul tema "Manuscrits mexicains"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 26 luglio 2024

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Articoli di riviste sul tema "Manuscrits mexicains"

1

Vié-Wohrer, Anne-Marie. "Les manuscrits pictographiques mexicains à contenu religieux". École pratique des hautes études. Section des sciences religieuses, n. 117 (1 ottobre 2010): 15–16. http://dx.doi.org/10.4000/asr.763.

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2

Barahona, Ana. "Redes de colaboración y objetos híbridos: mujeres citogenetistas en México, 1960 - 1980". Dynamis 43, n. 2 (27 dicembre 2023): 399–427. http://dx.doi.org/10.30827/dynamis.v43i2.29443.

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Abstract (sommario):
Estudios recientes sobre la historia de la ciencia han enfatizado el enfoque transnacional que problematiza las narrativas eurocéntricas clásicas, las interpretaciones de difusión cultural y la oposición rígida de las categorías de «centro» y «periferia», para explicar la dinámica de los circuitos transnacionales y la circulación de conocimientos, personas, artefactos y prácticas científicas. El presente escrito intenta abonar en esta dirección al mostrar que el trabajo realizado por los genetistas mexicanos en los mil novecientos sesenta y setenta, en especial los trabajos de citogenética, no pueden caracterizarse como periféricos, pues al formar parte de redes de colaboración internacional, el conocimiento generado localmente en instituciones mexicanas y extranjeras logró circular y formar parte de la consolidación de la citogenética a escala global. En este artículo se abordarán las trayectorias de la bióloga y genetista mexicana María Cristina Cortinas, y en menor medida la de la médica y genetista mexicana de origen argentino Susana Kofman. Ellas compartieron agenda médica y de investigación además de tiempo y lugar, participaron en el diagnóstico temprano de enfermedades genéticas y revelaron la correlación entre las observaciones clínicas y el cariotipo. Este manuscrito se centrará, por un lado, en los cromosomas como objetos científicos híbridos que circularon entre la clínica y el laboratorio; por el otro, se abordarán los contextos locales, las culturas materialesy las prácticas específicas que permitieron a estas mujeres genetistas mexicanas ser parte de la producción y transmisión de conocimiento en los años mil novecientos sesenta y setenta, gracias a su pertenencia a redes científicas de colaboración nacionales e internacionales.
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3

Mastache, Emiliano. "En busca de la escritura perdida: los manuscritos de El libro vacío de Josefina Vicens". (an)ecdótica 4, n. 2 (27 giugno 2020): 61–91. http://dx.doi.org/10.19130/iifl.anec.4.2.2020.0003.

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Abstract (sommario):
This editorial has the privilege of being the first to disclose in the Mexican Literature scene, a material of extraordinary importance that has remained unpublished. I’m talking about the manuscripts of El libro vacío, the first novel of Josefina Vicens published in 1958.1 There’s no need to stress the importance that such novel has had since its publication until now. In a similar mood, it’s to be understood the transcendence that making public such material would imply. Nevertheless, the purpose of this article is to analyze only some of the preeminent aspects of the manuscript, not just because of the restrictions proper of this space but also primarily because of the vast complexity that the manuscript possess. This is a first approach to the manuscripts of El libro vacío. In the future is intended to present other remarkable aspects of the material.
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Lesbre, Patrick. "Los grabados de la "Historia" de Clavijero: manuscritos pictográficos mexicanos, entre redifusión, invención y olvidos". Cuadernos de Estudios del Siglo XVIII, n. 30 (26 ottobre 2020): 303–47. http://dx.doi.org/10.17811/cesxviii.30.2020.303-347.

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En su "Historia antigua de México", el jesuita Clavijero reivindica el uso de manuscritos pictográficos mexicanos. Unas láminas copian documentos supuestamente pictográficos como las ruedas calendáricas (siglo, ano, mes mexicas). La mayor parte retoman códices ya publicados (principalmente por Purchas, Careri y Lorenzana). Eso se puede comprobar fácilmente con la representación de armas mexicas defensivas. Logra también condensar una forma de saber y presentar nuevos grabados (glifos numéricos, nombres de reyes aztecas, nombres de ciudades) de alcance pedagógico. Clavijero modifica unos glifos voluntariamente para mayor claridad. Los prestamos a los grabados de Carreri menos conocidos (para mostrar vestimentas, armas y regalía mexicas) presentan el mismo interés por el trabajo creativo visible en los grabados. Por fin, otros grabados permiten identificar diversos prestamos mas o menos fieles (fabricación de las tortillas) pero también erróneos (temazcal). La representación del Templo Mayor de México, que rechaza la versión fantasiosa de Lorenzana, propone una versión también defectuosa tal como las demás representaciones en materia de religión (templos, sacrificios humanos) porque retoman elementos de grabados del siglo XVI (Valades) o XVIII (Lorenzana).
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Davis, Caitlin Reddington. "Monumentalizing metaphors: diphrasis in the murals of Tulum". Manuscript and Text Cultures (MTC) 1 (1 maggio 2022): 55–82. http://dx.doi.org/10.56004/v1d55.

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Abstract (sommario):
At Tulum, as well as other Maya sites in the Yucatan Peninsula, mural painting traditions are related to the style and symbol-set associated with Central Mexican manuscript cultures. The murals reflect the widespread Postclassic Mesoamerican manuscript cultures lourishing from the twelfth to sixteenth centuries AD, during which iconic and logosyllabic scripts were used in the construction of regionally distinct manuscript forms. The murals at Tulum relate to manuscript culture not only in their style and symbol set, but also in their use of metaphorical dualisms, in which significant iconic elements are contrasted as an indicator of a more abstract concept. Recognizing metaphorical juxtaposition as an underlying principle of Mesoamerican ritual language, this paper discusses the process by which manuscripts become monuments and considers the sacred metaphors painted on the temples of Tulum as mechanisms for reinforcing political power.
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Colmenares, David Horacio. "“Postreros acentos de la lira indiana”: The Discovery of the Cantares mexicanos in the Nineteenth Century". Hispanic American Historical Review 102, n. 3 (1 agosto 2022): 415–48. http://dx.doi.org/10.1215/00182168-9798278.

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Abstract The exhumation, in 1895, of the manuscript known as Cantares mexicanos y otros opúsculos in the Biblioteca Nacional de México made available for the first time authentic examples of sixteenth-century Nahua song (cuicatl). This article traces the history of the rediscovery of this manuscript and, more broadly, the history of the literary recuperation—through editing, translation, and study—of Nahua verbal art during the nineteenth century. By studying earlier unsuccessful attempts at incorporating the Cantares mexicanos into the emerging canon of Mexican literature, the article reconstructs the changing epistemic conditions and disciplinary realignments between Mexico and the United States that eventually made the 1895 exhumation possible. The Porfirian encounter with the Cantares not only made Nahua song available for an international audience but also established a paradigm of literary interpretation that continues to shape our understanding of this form of Indigenous verbal art to this day.
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Pérez-Morales, A., e C. J. Band-Schmidt. "BREVETOXINAS EN LAS COSTAS DE MÉXICO: EFECTOS POTENCIALES EN LA SALUD PÚBLICA". CICIMAR Oceánides 26, n. 2 (4 dicembre 2011): 59. http://dx.doi.org/10.37543/oceanides.v26i2.103.

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Abstract (sommario):
Las brevetoxinas provocan la intoxicación neurotóxica por mariscos. Las rutas principales son por ingesta e inhalación con efectos adversos en la salud. A nivel celular las brevetoxinas activan los canales de sodio sensibles al voltaje, permitiendo la entrada de iones de sodio y despolarizando la membrana nerviosa. Diversas especies de microalgas producen estas toxinas, principalmente dinoflagelados del género Karenia, así como rafidofíceas de los géneros Chattonella, Fibrocapsa y Heterosigma. El objetivo de este manuscrito es describir las brevetoxinas, los organismos que las producen, sus mecanismos de acción, los efectos que tienen en la salud pública y las áreas geográficas donde se ha detectado la presencia de especies productoras de brevetoxinas en costas mexicanas. Brevetoxins off the coasts of Mexico: potential effects on public health Brevetoxins cause neurotoxic shellfish poisoning. The main routes are ingestion and inhalation with adverse health effects. At the cellular level brevetoxins activate the voltage-sensitive sodium channels allowing the entry of sodium ions that depolarize the nerve membrane. Different species of microalgae produce these toxins, mainly dinoflagellates of the genus Karenia, and raphidophyceans of the genera Chattonella, Fibrocapsa, and Heterosigma. The aim of this manuscript is to describe the brevetoxins, the organisms that produce them, their mechanisms of action, and the effects on public health and geographic areas where it has detected the presence of brevetoxin-producing species in Mexican coasts.
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Hébert, John R., e Abby L. Forgang. "Small Particulars: Variant Titles and Dates to the Manuscript of Fray Diego Durán". Americas 55, n. 2 (ottobre 1998): 299–313. http://dx.doi.org/10.2307/1008056.

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Abstract (sommario):
The famous sixteenth-century illustrated manuscript Historia by Fray Diego Durán is an extensive account of Aztec/Mexica history and rites, and a description of the Aztec calendar. Although the exact date of completion is unknown, there are two internal dates in the text (1579 and 1581) which have been used to date the original document. Durán's account was recopied by Mexican scholar José F. Ramírez in 1854 and a two volume printed version with the title Historia de Nueva España y Yslas de Tierra Firme was published in Mexico between 1867 and 1880. Recently a manuscript copy of Durán's text, transcribed in the 1840s, was rediscovered at the Library of Congress containing the following title and description:Historia antigua de la Nueva España con noticias de los ritos y costumbres de los Yndios y esplicacion del calendario mexicano por Fray Diego Durán, Escrita en el año de 1585. [Peter Force Papers, Series VIII C (Hispanic Collection), Manuscript Division, Library of Congress, Washington].
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Sherman, William L. "Illuminated Mexican Manuscript". Americas 47, n. 3 (gennaio 1991): 353–54. http://dx.doi.org/10.1017/s000316150001676x.

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10

Lelis, Sara, e Pilar Máynez. "Cantos “Idolátricos” en la Nueva España: cuestiones de epistemología y traducción. El caso de los Cantares Mexicanos". Cadernos de Tradução 42, n. 01 (24 novembre 2022): 1–23. http://dx.doi.org/10.5007/2175-7968.2022.e82060.

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Abstract (sommario):
Este artículo reflexiona sobre el concepto de “idolatría”, categoría epistemológica con la cual los misioneros españoles en la Nueva España interpretaron los cantos en lengua mexicana que formaban parte de la tradición oral en Mesoamérica. Dicha interpretación se ubica en el ámbito de la traducción cultural, resultado de la estructuración de la cultura originaria a partir de modalidades de conocimiento asociadas al dominio. Se destaca, en este campo, el proyecto evangelizador de fray Bernardino de Sahagún, probable supervisor y suscritor de los Cantares mexicanos, manuscrito compuesto de cantos en el llamado náhuatl clásico cuyo texto conserva la cultura predominante y las interpolaciones propias de su interacción con el Occidente. Esas ocurrieron en castellano, pero igualmente en náhuatl clásico, por lo que reflejan la compleja labor epistémica y traductológica que implicó la creación de neologismos para introducir nociones cristianas en la cultura nahua.
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Più fonti

Tesi sul tema "Manuscrits mexicains"

1

Simonin, Martine. "Manuscrit Aubin no 20 Codex mexicanus no20 (fonds mexicain de la Bibliothèque Nationale de France) manuscrit mixtèque préhispanique /". Villeneuve d'Ascq : Presses universitaires du Septentrion, 1997. http://catalog.hathitrust.org/api/volumes/oclc/39190595.html.

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2

Roskamp, Hans. "La historiografía indigena de Michoacán : el lienzo de Jucutácato y los títulos de Carapan /". Leiden : Research school CNWS, 1998. http://catalogue.bnf.fr/ark:/12148/cb37626506p.

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3

Montoro, Glaucia Cristiani. "Memorias fragmentadas : novos aportes a historia de confecção e formação do Codice Telleriano Remensis. Estudo codicologico". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280506.

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Abstract (sommario):
Orientador: Leandro Karnal
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T11:32:36Z (GMT). No. of bitstreams: 1 Montoro_GlauciaCristiani_D.pdf: 22830964 bytes, checksum: e613e57bfd246ad0dad6ec74eb7778c1 (MD5) Previous issue date: 2008
Resumo: Este trabalho enfoca um manuscrito de tradição indígena, chamado Códice Telleriano Remensis, confeccionado em meados do século XVI na região central do México. Trata-se de um documento de patronagem européia composto por um sistema de notação indígena basicamente pictográfico e por textos em caracteres latinos. Foram realizadas análises do documento original com o auxílio da Codicologia, uma disciplina especializada no estudo dos manuscritos do ponto de vista material, e um estudo pormenorizado dos escribas/ pintores ou tlacuilos. O trabalho é focado, portanto, nas características materiais do códice (suporte, organização material, encadernações, restaurações, etc), visando à reconstrução de sua história de confecção, com enfoque no conteúdo imagético. A pesquisa trouxe dados importantes sobre a confecção e formação do manuscrito, que foi realizado por vários tlacuilos, os quais se vinculam estilisticamente a distintas tradições do México Central e mostram diversas formas de adaptar os conteúdos tradicionais indígenas ao papel e formato de livro europeu e às necessidades dos novos usuários. O códice é um material fascinante, de grande heterogeneidade, e as análises permitiram demonstrar suas diversidades internas, que refletem a complexidade e pluralidade das tradições indígenas e algumas formas de adaptá-las a materiais, convenções e concepções ocidentais
Abstract: The present work focuses on a manuscript of indigenous tradition called Codex Telleriano Remensis, created in the mid sixteenth-century in the central region of Mexico. It is a work of European sponsorship which is composed of a native notation system, basically pictographic, and through texts in latin characters. An analysis of the original manuscript was carried out with the help of Codicology, a discipline that specialises on the study of manuscripts from a material perspective, as well as a detailed study of the scribes/ painters, the so-called tlacuilos. The research is hence focused on the material characteristics of the Codex (support, material organization, binding, restorations, etc). The main objective of this analysis was to re-construct the history of its creation, with special emphasis on its pictographic content. The work developed brought important data into light regarding the history of the creation and development of the manuscript. The task was undertaken by several tlacuilos, which a related to different style traditions of Central Mexico and who show various forms of adapting the traditional indigenous contents to European paper and book formats, as well as to the needs of the new users. The Codex itself is a fascinating working material, with a great level of heterogeneity and, the analysis undertaken gave the opportunity to demonstrate its internal diversity, reflecting the complexity and pluralism of indigenous traditions and some of the forms used to adapt them to Western materials, conventions and concepts
Doutorado
Historia da America
Doutor em História
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4

Simonin, Martine. "Le manuscrit Aubin no 20 : Codex mexicanus no 20 (Fonds mexicain de la Bibliothèque nationale de France), manuscrit mixtèque préhispanique". Paris, EHESS, 1996. http://www.theses.fr/1996EHES0322.

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Abstract (sommario):
Cette etude est l'application de la methode elaboree par joaquin galarza et adaptee a un manuscrit prehispanique mixteque : le manuscrit aubin no 20, conserve a la bibliotheque nationale de france. La premiere etape de cette etude presente un historique du manuscrit et de la collection a laquelle il a appartenu. Elle amorce egalement l'analyse de l'image. La seconde etape s'attache plus particulierement a l'analyse de l'image mixteque a travers la notion de plans dans l'espace, les sens de lecture de ces plans dans les espaces plastique et narratif du manuscrit. Enfin, l'analyse rigoureuse, methodique et minutieuse de l'image regroupe les elements en trois themes: temps, geographie, guerre et religion. Cette etude permet de proposer un dechiffrement des elements identifies, des lectures descriptives hypothetiques en francais necessaires a l'approche metaphorique et symbolique de ce "texte-image". Elle debouche sur la troisieme etape non traitee dans le cadre de ce travail : la lecture totale du manuscrit dans sa langue d'origine, le mixteque avec l'aide d'un locuteur mixteque
This study concerns the application of the joaquin galarza method to a pre-hispanic mixtec manuscript : the manuscript aubin no 20, which is kept in the bibliotheque nationale de france. The first stage of this study presents the history of the codex and the collection to which it belonged. It also provides an initial analysis of the image. The second stage is devoted to an analysis of the mixtec pictography using the notion of frames in space, orientation of approach in the visual and narrative spaces of this manuscript. Finally, a rigorous, methodical and detailed analysis of the pictography is used to classify the material according to theme : chronology, geography, war and religion. This study is an approach to deciphering the manuscript : tentative descriptive readings in french, as a necessary step to a metaphorical and symbolic interpretation of this "pictographic text". The next stage in this work has not been adressed here : namely a reading of the manuscript in the original language, mixtec, with the help of a mixtec speaker
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5

Rodríguez, Mosquera María José. "Flores de Baria Poesía (México, 1577). Estudio y análisis del manuscrito". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/123367.

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El objetivo de esta tesis ha sido recuperar y editar fielmente el manuscrito que se conserva en la Biblioteca Nacional de España, en Madrid, con signatura 2973, bajo el título "Flores de Baria Poesía". La importancia de recobrar el manuscrito de "Flores" reside, sobre todo, en que en él se conservan poemas primerizos y en algunos casos únicos de los autores presentes, de ahí que el códice tenga un valor notable, además de ser el primer cancionero de corte petrarquista que se compila, o al menos se firma, en México. Añadir a ello otro valor: la posibilidad que nos brinda de poder establecer la evolución de la obra poética de una serie de autores –Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, por ejemplo- y de una época determinada que alcanza desde 1543 más o menos hasta el año de su compilación, 1577. En definitiva, lo que hemos pretendido ha sido poner al alcance del lector un texto fundamental de la literatura hispánica; obra absolutamente descuidada por la crítica a pesar de que tantos y tantos editores de textos poéticos del Siglo de Oro han recurrido a ella.
The goal of this dissertation has been to recuperate and edit faithfully the manuspript guarded at the Spanish National Library in Madrid, with the code 2973 and titled “Flores de Baria Poesia”. The importance of recuperating the “Flores” manuscript resides mainly on the fact that contained within it are early and, in some cases, unique poems by the authors that conform it. It is also the first songbook of Petrarchan style ever compiled, or at least signed, in Mexico. Additionally, it provides us with the possibility of researching the evolution of the poetry works of a number of authors -Gutierre de Cetina, Diego Hurtado de Mendoza o Fernando de Herrera, for example- from a specific period of time between approximately 1543 and 1577, which is the year of its compilation. It is for these reasons that the codex is of high value. The manuscript has been largely ignored by literary critics even if referenced by numerous editors of poetry works of the Spanish Golden Age. With this study we want to make such a fundamental text in hispanic literature accessible to the reader.
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6

Robertson, Donald. "Mexican manuscript painting of the early colonial period : the metropolitan schools /". Norman (Okla.) : University of Oklahoma press, 1994. http://catalogue.bnf.fr/ark:/12148/cb37512475w.

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7

Blodget, Sherrill Bigelow Lee. "From Manuscript to Performance: A Critical Edition of Ignacio de Jerusalem's Los Maitines de Nuestra Senora de la Concepcion (1768)". Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194838.

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Abstract (sommario):
The purpose of this study is to make Ignacio de Jerusalem's Los Maitines de Nuestra Senora de la Concepcion (The Matins for Our Lady of the Conception), composed in 1768 for the Mexico City Cathedral, accessible to modern choral and orchestral ensembles through the creation of a historically informed edition of the work that incorporates the latest scholarship on editorial and performing practices of the Mexican Baroque. Jerusalem's manuscript is housed in the Mexico City Cathedral archive and on microfilm in the Biblioteca Nacional de Antropologia e Historia of Mexico, D.F. The Matins has not been performed since the nineteenth century, and never outside of Mexico, nor has it been the subject of scholarly research. Set for choir and chamber orchestra with arias, recitatives, and choral movements, the work represents the most elaborate of Jerusalem's compositions. This document provides background information and a discussion of performance practice and editorial protocol based on research and the performance of the Invitatory and First Nocturn of The Matins by the University of Arizona Collegium Musicum. The document culminates with a performance edition of the Invitatory and First Nocturn of Los Maitines de Nuestra Senora de la Concepcion.
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Martínez, Correa María Guadalupe. "MISSA À 4 COMPUESTA A GRANDE ORQUESTA IN D MAJOR BY MANUEL ARENZANA, THE LAST CHAPEL MASTER OF THE CATHEDRAL OF PUEBLA, MEXICO IN THE COLONIAL PERIOD (1791-1821)". OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/2066.

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Abstract (sommario):
Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1821), and the documents from the Archivo General de Indias revealed new biographic data, which is confronted with a review of the existing biography. Additionally, the music catalogue in New Spain is included with the repertoire of the archives of Cathedrals from Puebla, Morelia, and Oaxaca, two parishes, and the Basílica de Santa María de Guadalupe.
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Manzano, Valenzuela Sidharta Yair. "Los impresos novohispanos del siglo XVII: Revisión y caracterización del libro barroco mexicano". Thesis, 2021. http://eprints.rclis.org/42273/1/Los%20impresos%20novohispanos%20del%20siglo%20XVII.pdf.

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Abstract (sommario):
Studies of the seventeenth century Mexican printed book consider it as an extension of the legacy of the sixteenth century typographic tradition, whose only distinctive characteristics lie in the increase and diversity of printers and in the decrease in the material and artisanal quality of their printed matter. . Both characteristics respond to a greater need for dissemination for the effective communication of the administrative, judicial, religious, political and educational propaganda of the viceroyalty. However, other studies have focused on highlighting specific aspects of the seventeenth century printing press through the analysis of particular works or the study of the production of printers, as is the case of the production of Bernardo Calderón's Widow; However, in general, the history of the Mexican book considers that the seventeenth century print did not present notable variants, except for some insignificant ones such as the decrease in images on the covers, the increase in ornamentation, the reduction of formats and the preference of the vulgar languages ​​for the printing of the works. In this sense, the relevance of the analysis of the 17th century New Hispano prints consists in broadening the understanding of the development of the printing press in Mexico, as well as in providing the distinctive characteristics of the prints of this period.
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10

Cunningham, Debbie S. "The Exploration and Preliminary Colonization of the Seno Mexicano under don José de Escandón (1747-1749): An Analysis Based on Primary Spanish Manuscripts". Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-08-8218.

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In 1747, José de Escandón led an expeditionary force into the Seno Mexicano, the remote northern frontier of New Spain, which had developed into a safe haven for rebellious natives who had fled to the region as they resisted Spanish domination in the interior provinces. News of foreign encroachment into the region prompted officials in New Spain to renew their efforts to explore and pacify the region. Within three and onehalf months, the area that had resisted previous attempts at exploration had been thoroughly explored and mapped. In December, 1748, Escandón set out to colonize the newly explored region, named Nuevo Santander. During the preliminary colonization of Nuevo Santander from 1748 to 1749, Escandón founded fourteen settlements along the Río Grande. In this study, I transcribe, translate, and study all primary Spanish manuscripts documenting the exploration of the Seno Mexicano, and the preliminary colonization of the newly founded province of Nuevo Santander. I provide the first English annotated translation of Escandón’s Informe documenting the exploration of the Seno Mexicano, and the first English-language account of the preliminary colonization of Nuevo Santander that is based on all available manuscripts documenting the event: Escandón’s Autos and Friar Simón del Hierro’s Diario. Escandón accomplished what no Spaniard before him could. He successfully explored the Seno Mexicano, and began colonizing the newly founded province of Nuevo Santander. Under Escandón’s colonization design, for the first and only time in the history of New Spain, Spanish officials relied on colonists rather than soldiers and priests to colonize a region. This colonization design had a definitive impact on the future development of the region, and provided the framework under which a civilian ranching industry would emerge and flourish. Escandón was one of the most important people in 18th century New Spain, and the impact of his accomplishments and unique colonization plan is still evident today on both sides of the Río Grande.
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Libri sul tema "Manuscrits mexicains"

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Solana, Nelly Gutiérrez. Códices de México: Historia e interpretación de los grandes libros pintados prehispánicos. México, D.F: Panorama Editorial, 1992.

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2

González, Xóchitl Medina. Histoire mexicaine depuis 1221 jusqu'en 1594: Manuscrito núm. 40 del Fondo de Manuscritos Mexicanos, Biblioteca Nacional de Francia. México, D.F: Instituto Nacional de Antropología e Historia, 1998.

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3

Battcock, Clementina, Rodrigo Martínez Baracs e Salvador Rueda Smithers. Manuscritos mexicanos perdidos y recuperados. Ciudad de México: Instituto Nacional de Antropología e Historia, 2019.

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Franch, José Alcina. Códices mexicanos. Madrid: Editorial MAPFRE, 1992.

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5

Nicholson, H. B. Topiltzin Quetzalcoatl: The once and future lord of the Toltecs. Boulder: University Press of Colorado, 2001.

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6

Enrique, Asensio Ortega, a cura di. Dos manuscritos mexicanos de cocina: Siglo XVIII. México: Consejo Nacional para la Cultura y las Artes, Dirección General de Culturas Populares e Indígenas, 2002.

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7

Herrera, María Teresa Sepúlveda y. Anales mexicanos.: Colección antigua 229. México, D.F: Instituto Nacional de Antropología e Historia, 1995.

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8

H, Crapo Richley, e Glass-Coffin Bonnie 1957-, a cura di. Anónimo mexicano. Logan: Utah State University Press, 2005.

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9

Archivo Histórico del Estado de México. Ramo Revolución Mexicana: Impresos y manuscritos, 1900-1932. [Toluca de Lerdo, Mexico?]: Archivo Histórico del Estado de México, 1987.

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Miguel, León Portilla, e Biblioteca Nacional de México. Sección de Manuscritos., a cura di. Cantares mexicanos. [México: Instituto de Investigaciones Bibliográficas de la UNAM, 1994.

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Capitoli di libri sul tema "Manuscrits mexicains"

1

"Imaging Mexican Codices, Challenges and Opportunities". In Mesoamerican Manuscripts, 380–95. BRILL, 2018. http://dx.doi.org/10.1163/9789004388116_016.

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"Conclusions: Materiality and Practice in the Study of Mexican Manuscripts". In Mesoamerican Manuscripts, 460–74. BRILL, 2018. http://dx.doi.org/10.1163/9789004388116_019.

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3

Laird, Andrew. "From the Epistolae et Evangelia to the Huehuetlahtolli". In Aztec Latin, 149–86. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197586358.003.0006.

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Abstract The varied corpus of literature produced by Franciscans and Mexican scholars at the College of Santa Cruz in Tlatelolco ranged from Latin compositions to translations of Christian texts and original dialogues in Nahuatl. These different kinds of writing have seldom been considered in conjunction, and manuscript copies of Epistles and Gospels in Nahuatl from the 1500s have long been overlooked. Comparison of surviving manuscripts offer fresh insights on the way in which the translations were made and transmitted. Standard interpretations of some original works in Nahuatl, including the Colloquios y Doctrina christiana and the Huehuetlahtolli, can also be questioned, prompting consideration of the extent to which Latin humanism determined the nature of the first literature in Nahuatl. Chapter 5 consists of the following sections: I. Latin manuscripts by Mexican scholars: (i) Juan Badiano, Libellus de medicinalibus Indorum herbis, 1552; (ii) A trilingual vocabulary of Spanish, Latin, and Nahuatl, c. 1545; II. Status and achievements of the native translators; III. Biblical translation; IV. Religious literature in Nahuatl: translations and new compositions: (i) Colloquios y Doctrina christiana, 1564; (ii) translations of the Contemptus mundi and Spanish devotional literature; (iii) the Colloquios de la paz, c. 1540, and Espejo divino, 1607; (iv) The Huehuetlahtolli, c. 1601; and V. Conclusions: Latin humanism and Nahuatl literature.
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Bueno, Christina. "La Biblioteca Nacional de Antropología e Historia de México: un legado del nacionalismo porfiriano". In Bibliotecas y cultura letrada en América Latina: Siglos XIX y XX, 205–23. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9786123173647.008.

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El historiador y arqueólogo mexicano Francisco del Paso y Troncoso (1842-1916) fue una figura extraordinaria: en 1892 dejó su posición de director del Museo Nacional Mexicano y se lanzó a una tarea de la cual nunca habría de volver. El gobierno de México lo envió en una misión especial a transcribir todo documento relacionado con el pasado de la nación mexicana que pudiera encontrar en las bibliotecas europeas. Gran parte de las fuentes materiales de México —manuscritos, códices, mapas— se encontraban en archivos y otros depósitos extranjeros; el trabajo de Del Paso consistía en recuperarlos. El dedicado historiador trabajó noche y día, apenas dormía y comía, sufría de pobreza y mala salud y tenía ineptos asistentes de investigación. Así sacrificó los últimos veinticuatro años de su vida, copiando una cantidad masiva de textos, incluyendo obras tan importantes como la Historia general de la Nueva España —también conocida como el Códice Florentino— del monje del siglo XVI Bernardino de Sahagún. Del Paso no volvió a ver su tierra natal, pues murió en Florencia, Italia, en 1916. Las cajas que contenían sus notas de investigación, junto con sus desgastados trajes, fueron enviadas muchos años más tarde por barco a México.
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Laird, Andrew. "A Mirror for Mexican Princes". In Aztec Latin, 225–53. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197586358.003.0008.

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Abstract Identification of the specific Latin edition of Aesop’s Fables that constituted the source of the Nahuatl translation of thirty-five fables dispels the persistent misunderstandings that have impaired previous discussions. The unusual focus of the Nahuatl fables on the art of government—unique among Renaissance Aesopian collections—provides the basis for a conjecture about who might have been responsible for the translation. The Nahuatl text of Aesop thus reflects two defining features of the College of Santa Cruz in Tlatelolco: a culture of humanist translation into the Mexican language and the institution’s official function of training native principals for positions of leadership. Chapter 7 consists of the following sections: I. Manuscripts of Aesop’s Fables in Nahuatl; II. The source of the Nahuatl fables: Joachim Camerarius, Fabellae Aesopicae, 1538; III. The purpose of the Nahuatl translation; IV. The identity of the translator or translators; and V. Conclusions.
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"Chapter 7 Conclusion: Central Mexican Manuscript Painting in Transition". In Portraying the Aztec Past, 128–31. University of Texas Press, 2018. http://dx.doi.org/10.7560/316061-009.

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"El proyecto de constitución del Segundo Imperio Mexicano: Notas sobre el manuscrito de la archiduquesa Carlota". In Más nuevas del imperio, 41–54. Vervuert Verlagsgesellschaft, 2001. http://dx.doi.org/10.31819/9783964562692-004.

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8

Lasarte, Pedro. "Una glosa inédita del novohispano José de Arrázola y algunas variantes mexicanas a las obras de Femán González de Eslava y Gutierre de Cetina". In Homenaje: Luis Jaime Cisneros, 1081–99. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9789972424731.050.

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El 26 de junio de 1973, en una subasta de la casa Sotheby, la biblioteca de la Universidad de Pensilvania compró un cancionero poético, de 191 folios, de principios del siglo XVII, que contiene un total de 211 composiciones de los siglos áureos españoles. El manuscrito -clasificado como el «Ms. Codex 193»- había pertenecido a Vicente Isabel Osorio de Moscoso, Marqués de Astorga, quien hacia 1820 lo vendió al coleccionista británico Sir Thomas Phillipps (1792-1872).1 Sotheby pensó que procedía de las regiones entre Salamanca y la frontera portuguesa porque contiene obras de Camoes y de dos «profesores de Salamanca»: Fray Luis de León y Fray Pedro de Ledesma; pero, como hemos logrado mostrar en varias ocasiones, es casi seguro que el cancionero se compiló más bien en México y no en Espaúa
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