Assignment

• David M. Carballo, “Mesoamerica: A Deep History,”Collisions of Worlds: A Deep History of the Fall of Aztec Mexico and the Forging of New Spain, (New York: Oxford University Press, 2020), 16-49. 
• Gallery: Teotihuacan

Assignment

• Davíd Carrasco, “Aztec Foundations: Aztlan, Cities, People,” The Aztecs: A Very Short Introduction, chapter 2. (E-book)
• 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

• 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), 255-282.
• Recommended: Carrasco, “Wordplay, Philosophy, Sculpture,” The Aztecs, chapter 6. (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 left hand corner.
• Gallery: Lienzo de Tlaxcala
• 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.
• “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.

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 Political 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).
• 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

• 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, 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

• 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

• Introduction and resources for March 19
• 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

• Introduction and resources for March 22-24
• 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.
• W.E.B. Du Bois, Souls of Black Folk, chapter 13

Assignment

• Introduction and resources for March 22-24
• 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

• Introduction and resources for March 26-29
• Toomer, Cane, 3-75.

Assignment

• Introduction and resources for March 26-29
• Toomer, Cane, 76-160.

Assignment

• Introduction and resources for March 31
• 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

• Introduction and resources for April 2
• 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

• Introduction and resources for April 5
• 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

• Introduction and resources for April 7-9
• 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

• Introduction and resources for April 7-9
• Hurston, Their Eyes Were Watching God, 116-193 (chapters 13-20).

Assignment

• Introduction and resources for April 19

Listening assignment:

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

Assignment

• Introduction and resources for April 21-30
• Ellison, Invisible Man, 1-108 (chapters 1-4).

Assignment

• Introduction and resources for April 21-30
• Ellison, Invisible Man, 109-230 (chapters 5-10).

Assignment

• Introduction and resources for April 21-30
• Ellison, Invisible Man, 231-355 (chapters 11-16).

Assignment

• Introduction and resources for April 21-30
• Ellison, Invisible Man, 356-478 (chapters 17-22).
• 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

• Introduction and resources for April 21-30
• Ellison, Invisible Man, 479-581 (chapter 23-epilogue).