Cover

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Frontmatter

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Contents

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p. v

Acknowledgments

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pp. vii-viii

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1. Introduction

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pp. 1-11

The Tira de Tepechpan is an annals history created in Tepechpan, a relatively minor altepetl, or city-state, in Central Mexico (plates 1–20). Painted by several historians working in the second half of the sixteenth century and then annotated alphabetically over a span of perhaps two hundred years, the main goal of this history was to establish the antiquity, autonomy, ...

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2. The Tira de Tepechpan: Its Structure, Contributors, and History

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pp. 13-21

Clearly a dynamic means of recording this community’s history and likely used in a variety of contexts, the Tira is a product of its previous contributors, interpreters, and even owners. Indeed, based on the manuscript’s pictorial and alphabetic content, it is likely that it was not created...

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3. Pre-Imperial History

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pp. 23-50

According to Central Mexican historical tradition, after the fall of the esteemed urban center of Tula in the northern Valley of Mexico in the twelfth century, its noble Toltec descendants dispersed. Many of them settled in different communities around Lake Texcoco, with the greatest concentration said to have been at Culhuacan, which accordingly became...

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4. Imperial History

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pp. 51-71

In the early fifteenth century, war broke out between the Tepaneca, the reigning power in Central Mexico, whose capital was at Azcapotzalco, and many of their subject cities. Clearly, this was a major event in Valley of Mexico politics for it receives a great deal of attention in many Aztec histories, in which the Tenochca stand out as the major combatants in the ensuing Tepanec...

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5. Colonial History of Painter A

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pp. 73-92

In 1519, Spaniards arrived in the Valley of Mexico and began the conquest of the Aztec empire. In the Tira, the conquest barely touches Tepechpan; instead the military conquest is localized at Tenochtitlan, while a more peaceful, “spiritual” conquest unfolds in Tepechpan. Painter A’s record of the subsequent imposition of Spanish political and religious rule emphasizes Tepechpan’s acceptance of Spanish hegemony, and...

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6. Colonial Histories of Painters B, C, and D

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pp. 93-111

After Painter A ceased working on the Tira, a succession of three different painters updated the manuscript until its end. Because each of these painters worked at a different time, the form and content of their histories had to change to effectively argue for Tepechpan’s rights and corporate integrity in the constantly evolving Spanish colonial system. Also, since they...

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7. The Alphabetic Annotations

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pp. 113-124

Introduced by the Spaniards, alphabetic writing took on an almost fetishized role in New Spain, symbolizing the authority of the Spanish empire because of its overwhelming use in the political, religious, and judicial spheres (Lienhard 1991:5–10). Because colonial power rested largely on legal titles, or mercedes, which were written alphabetically on paper, the indigenous...

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8. Indigenous Histories as Strategies for Survival

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pp. 125-131

The Tira de Tepechpan certainly supports the notion that all politics is local. Though the Tira comments on the Aztec and Spanish empires and promotes Tepechpan as a key member of these empires, the point of view and bias always favors the local community. Created from the subject position, then, the Tira allows us to consider imperial strategy from the bottom...

Appendix: Transcription and Translation of Annotator I’s Glosses

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pp. 133-136

Notes

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pp. 137-143

Bibliography

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pp. 145-154

Index

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pp. 155-160