This dissertation intends to demonstrate the impact of numerology in every aspect of the lives of ancient precolombian people as well as several contemporary American Indian tribes. For this reason numerology may be viewed as a true science, that is both an esoteric and a philosophical one. Thus, numbers may be looked upon not only as abstract signs, but as all inclusive entities in and of themselves. To the ancients, numerical symbols had an occult connotation that transcended the restrictive boundaries of simple computation. For instance, numerology had an integral role in Maya, Aztec, and some contemporary American Indian religious ceremonies. As an example, the high priests were able to predict future events by making intricate numerological computations. Further still, Maya and Aztec calendars were so accurate that they demonstrated an extraordinary knowledge of astronomical events. In order to accurately study the intricate subject of numerology it was necessary to divide the dissertation in several parts. These parts include a concise discussion of the Maya, the Aztec, and certain contemporary American Indian tribes. A general account of Maya, Aztec, and Contemporary American Indian culture and society was included, using the available data of present day archeological and written documents, in order to accurately describe the philosophy of these people. From an examination of the life and culture of these ancient societies, the basis for their myths of creation and the impact of numerology on those particular myths may be easily ascertained. The conclusion discusses how numerology shaped two great civilizations, that of the Maya and Aztecs, and how these basic esoteric numbers were absorbed and changed, to suit the needs and culture of some present day American Indian tribes.

This thesis takes a feminist and spatial approach to the analysis of ire'ne lara silva's collection of short stories flesh to bone, a continuation of the Anzaldúan body of thought. The thesis introduces two aspects–spiritual and spatial–to the wounds suffered by the Chicana collective Self which can be found within the characters and plotlines of lara silva's stories, and which had previously been outlined by Anzaldúa herself. This thesis also explains in depth the steps necessary to achieving the never-ending Coyolxauhqui Imperative, which is Anzaldúa's idea that to heal the collective Self, individuals must continue to create and tell the stories of our ancestors and ourselves as survivors instead of victims. Throughout this analysis, it is elucidated that lara silva has created herself a new theory to add to the Anzaldúan framework, called Tomiccama Tomiccanacayo, which translates from Nahuatl to mean: "We are protected by the hands and bodies of our ancestors". Thus, this thesis finds that, within flesh to bone, this new theory is asserted as a method of continuous healing and as an addendum to Anzaldúa's Coyolxauhqui Imperative. This study adds lara silva into the Anzaldúan academe and explains her words' significance to Chicana spatiality. My argument for the existence of lara silva's theory is important because of a continued necessity for collective female healing and the creation of art reaffirming the female Self to new generations of daughters becoming women.

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