This thesis examines the changes Spain was forced to make toward their colonial patterns due to Nahua resistance. Each chapter assesses different periods during the colonial era, tracing how the Virgin of Guadalupe's meaning changed according to Spanish colonial needs.

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The thesis deals with the issue of the representation of the New World conquest in literature most accessible to the Czech reader, i.e. not only literature of Czech origin but also translations. The thesis contains representation of different kinds of literature and a narratological analysis of work with the selected topic. The work will point out the plurality and diversity of approaches to the topic and the individual authors who interpret the historical event through their texts. Then, with the help of comparing the individual publications, it will identify the author's possibilities to shape the reader's awareness and knowledge of the conquest but also how these can be manipulated. Diachronic comparisons will also point to changes in reception over time.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-10-22T19:00:31Z No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-22T19:11:09Z (GMT) No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-22T19:11:09Z (GMT). No. of bitstreams: 2 Dissertacao - Regis Puppim - 2014.pdf: 12285624 bytes, checksum: 373e1696407287b4c5865465ab71f27f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-05-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present study aimed to measure the cultural significance of clothing in the Aztec and Mayan civilizations , besides exposing the hierarchy , reflected in dressing practices and compare historical reports and graphical representations , portrayed in contemporary media. Thus, the work was devided into three stages: Imaging survey (Chapter 1: The history viewed), literature review (Chapter 2: The history read) and field research (Chapter 3: A living history). The first chapter emphasized the analysis of representations of the clothing of the Aztecs and Mayans, enabling the interpretation noted by several authors, in three different medias: Electronic game Age of Empires II: The Conquerors, the animation The Road to Eldorado and feature film Apocalypto. The second chapter allows to understand how History and the History of Fashion and Dress Code narrate these nations, especially about costumes. Finally, the third chapter unraveled the strong legacy left by these civilizations, even though not much explored by other types of research. Therefore, the study revealed that the solid hierarchical relationships within the classic Mesoamerican societies are still seen by media artists and contemporary fashion brands. / El presente estudio tuvo como objetivo medir la importancia cultural de la ropa en las civilizaciones azteca y maya, además de la exposición de la jerarquía, que se refleja en las prácticas de vestir y comparación de los informes históricos y las representaciones gráficas, retratados en los medios de comunicación contemporáneos. Para ello, se divide el trabajo en tres etapas: estudio de imágenes (Capítulo 1: La visión de la Historia), revisión de la literatura (Capítulo 2: La historia leída) y la investigación de campo (Capítulo 3: una historia vivida). El primer capítulo enfatiza el análisis de las representaciones de la ropa de los aztecas y más, lo que permite la interpretación han señalado varios autores, en tres medios diferentes: Electrónico juego Age of Empires II: The Conquerors, la animación The Road to El Dorado y la película Apocalypto. En el segundo capítulo, nos permite comprender cómo la Historia y la Historia de la Moda y el Código de Vestimenta dice esta gente, sobre todo cuando se trata de disfraces. Finalmente, el tercer capítulo fue desentrañar el fuerte legado dejado por estas civilizaciones, aunque poco explorado en otros tipos de investigación. Por lo tanto, el estudio reveló que las relaciones jerárquicas sólidos dentro de las sociedades mesoamericanas clásicas siguen siendo vistos por los artistas de medios y marcas de moda contemporáneas. / A presente investigação objetivou mensurar o significado cultural da indumentária nas civilizações Asteca e Maia, além de expor a hierarquização, refletida nas práticas vestimentares e comparar relatos históricos e representações gráficas, retratadas em mídias contemporâneas. Para tanto, dividimos o trabalho em três etapas: levantamento imagético (Capítulo 1: A história vista), revisão bibliográfica (Capítulo 2: A história lida) e pesquisa de campo (Capítulo 3: a história vivida). O primeiro capítulo ressaltou a análise das representações da indumentária dos Astecas e Mais, possibilitando notar a interpretação de diversos autores, em três distintas mídias: O jogo eletrônico Age of Empires II: The Conquerors, a animação O Caminho para Eldorado e o filme de longa metragem Apocalypto. Já o segundo capítulo, permitiu compreender como a História e a História da Moda e da Indumentária narra estes povos, sobretudo, no que se refere aos trajes. E, por fim, o terceiro capítulo possibilitou desvendar o forte legado deixado por estas civilizações, mesmo que pouco explorado em outras modalidades de pesquisas. Portanto, o trabalho revelou que as sólidas relações hierárquicas dentro das sociedades mesoamericanas clássicas são ainda visto por mídias, artistas e marcas de moda contemporâneas.

This paper presents an investigation of sedimentary deposition, soil formation, and pedoturbation in the Animas River Valley to determine the provenience of archaeological deposits in an open field at Aztec Ruins National Monument, NM outside of the Greathouse complex. Four stratigraphic pedounits correlated with active fan deposition have been proposed for the lower terrace in the project area with only one of these units retaining strong potential for buried archaeological deposits from the Anasazi late Pueblo II/Pueblo III period. The distal fan on the lower terrace and the Animas River floodplain appear to show poor potential for archaeological deposits either due to shallow sediment overburden with historic disturbance or alluvial activity during or after occupation. Based on these findings, four other zones of similar fan development have been identified throughout the Animas Valley and are recommended for subsurface testing during future cultural resource investigations.

For as long as I can remember, I have struggled with understanding who I am. What makes me is something I try to make sense of through art. When I started working on this my graduation show, the idea behind it was to make a portrait of the Mexico I know, but when the pandemic hit, I found myself locked down at home, completely alone in a new country for the first time. This led me to question my existence and the belief systems I espoused and prompted me to try to understand myself better in the context of a foreign culture. As a result, the concept behind the show evolved from being about the Mexico I know to exploring who I am and how my upbringing has shaped my art and trying to make sense of my existence.

Dans le present travail de recherche notre équipe s'est interessé à l'étude de la composition chimique -au niveau moléculaire- d'un groupe d'échantillons résineuses provenant d'objects Aztecs et Mayas. Le but ultime de cette étude a été d'établir l'origin botanique de ces résines et d'avoir une vue d'ensemble des formulations utilisées dans les adhésifs ou les figurines, afin de mieux comprendre leurs propriétes physiques.Pour aboutir à cet objectif une stratégie analytique très spécifique a été créeé et mise en oeuvre. Cette stratégie a inclus l'analyse d'échantillons des résines archéologiques mais aussi de résines d'origine botanique certifiée et de résines commerciales, achetées dans des marchés traditionels au Mexique dans une région qui correspond a la one géographique occupée autre fois par l'empire aztèque.L'étude des matériaux a fait appel à des techniques tels que l'observation a l'échelle microscopique, la spectroscopie infrarouge (IRTF), la chromatographie liquide-DAD (HPLC-UV/Vis) et la chromatographie en phase gazeuse couplée à la spéctroscopie de masse (CPG-SM).L'étude moléculaire de ces échantillons, et plus précisement, l'étude leur fraction tritérpenique a permis de : Établir un profil moléculaire des résines pour chaque origine botanique étudiée Idéntifier précisement certain composées tritérpeniques présents dans toutes les échantillons Réperer les molécules tritérpeniques susceptibles d'être utilisées dans l'avenir comme des marqueurs moléculaires d'origine botanique pour les résines frais des espèces étudiées Suggèrer une origine botanique pour les échantillons archéologiques Aztèques Écarter des origines botaniques possibles pour l'échantillon Maya Avoir une vue d'ensemble de l'origine botanique des résines commercialisées au territoire mexicain sous le nom de «copal» Créer un protocole d'analyse simple pour permettre aux professionnels de la conservation et des biomatériaux d'établir l'origine botanique et un profil moléculaire des résines utilisées dans des expériences diverses Caractériser le comportement du copal lors du vieillisement naturel et artificiel Établir des molécules susceptibles de devenir marqueurs moléculairs pour les deux types de vieillisement Établir que l'origine botanique d'un échantillon résineux peut être retrouvée malgré son âge (archéologique) / In the present work, the molecular composition of series of resinous aztec and maya archaeological samples were investigated to determinate their nature.Thus an analytical strategy was specifically designed. This analytical strategy included the analysis of botanically certified resins, freshly collected. It included as well the analysis of commercial samples bought in Mexican traditional markets.The study of all the samples included microscopical techniques, Fourier Inverse Infrared Spectrometry (FTIR) , High Performance Liquid Chromatography coupled to Ultraviolet-visible spectrometry (HPLC-UV/Vis) and Gas Chromatography coupled to Mass Spectrometry (GC-MS).The molecular study of these samples, in particular of their trterpenic composition allowed to : establish the molecular profile of resins from certified botanical origin. Identifiy some of the triterpenic compounds present in samples; Identify triterpenic molecules that could be uses as molecular markers for each botanical origin. Find the botanical origin of archeological astec samples. Discard possible botanic origins for maya archaeological sample. Have an overview of the origin of commercial samples of mexican copal. Create a simple protocol that allows conservation and biomaterials professionals to establish the botanical origin of archaeological and commercial resins, used in conservation interventions. Observe the behavior of copal materials upon ageing, establishing potential markers for natural ageing in copal, under darkness. Asses the botanical origin of a sample can be found regardless the age of the resin

Diploma thesis Motifs of pre-Columbian America in modern Mexican art deals with the pre- Columbian motifs in the work of three leading representatives of the Mexican muralism - Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Muralism, monumental painting with a clearly defined socio-educational function, started to develop on the initiative of the post- revolutionary Mexican government, since the 1920s of the 20th century. During its development, it gained international fame and today it is widely regarded as a uniquely Mexican style of art. An integral part of muralism form scenes from the life of pre-Columbian cultures. The main objective of this work is to analyse these scenes, the origin of particular motifs, their original meanings and meanings, which they assumed in the context of the murals. The work also reflects where muralists acquired knowledge about the Indian civilizations and what image of pre-Columbian past they created. The work also seeks to clarify the question in what specifically was the muralist access to pre-Columbian cultures innovative. The paper uses qualitative methods of analysis of the available written sources and analysis of visual materials.

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