Catherine DiCesare – författare

The sixteenth-century pictorial manuscript known as the Codex Borbonicus contains a remarkable record of the eighteen Mexica (or "e;Aztec"e;) festival periods of twenty days, known as veintenas, celebrated during the 365-day solar year. Because its indigenous artists framed the Borbonicus veintenas with historical year dates, this volume situates the annually recurring rituals within the march of linear, reckoned time, in the singular year "e;2 Reed"e; (1507), during the reign of Moteuczoma II. DiCesare attends to the historical dimensions of several unusual scenes, proposing that the veintenas probably varied significantly from year to year in response to historical concerns. She considers particularly whether the Borbonicus veintenas document the confluence of solar year ceremonies with a second set of ritual feast days, governed by the 260-day cycle known as the tonalpohualli, or "e;count of days."e; In this way, DiCesare analyzes how linear and cyclical conceptions of time intersected in Mexica ritual performance.

The sixteenth-century pictorial manuscript known as the Codex Borbonicus contains a remarkable record of the eighteen Mexica (or "e;Aztec"e;) festival periods of twenty days, known as veintenas, celebrated during the 365-day solar year. Because its indigenous artists framed the Borbonicus veintenas with historical year dates, this volume situates the annually recurring rituals within the march of linear, reckoned time, in the singular year "e;2 Reed"e; (1507), during the reign of Moteuczoma II. DiCesare attends to the historical dimensions of several unusual scenes, proposing that the veintenas probably varied significantly from year to year in response to historical concerns. She considers particularly whether the Borbonicus veintenas document the confluence of solar year ceremonies with a second set of ritual feast days, governed by the 260-day cycle known as the tonalpohualli, or "e;count of days."e; In this way, DiCesare analyzes how linear and cyclical conceptions of time intersected in Mexica ritual performance.

The sixteenth-century pictorial manuscript known as the Codex Borbonicus contains a remarkable record of the eighteen Mexica (or “Aztec”) festival periods of twenty days, known as veintenas, celebrated during the 365-day solar year. Because its indigenous artists framed the Borbonicus veintenas with historical year dates, this volume situates the annually recurring rituals within the march of linear, reckoned time, in the singular year “2 Reed” (1507), during the reign of Moteuczoma II. DiCesare attends to the historical dimensions of several unusual scenes, proposing that the veintenas probably varied significantly from year to year in response to historical concerns. She considers particularly whether the Borbonicus veintenas document the confluence of solar year ceremonies with a second set of ritual feast days, governed by the 260-day cycle known as the tonalpohualli, or “count of days.” In this way, DiCesare analyzes how linear and cyclical conceptions of time intersected in Mexica ritual performance.

Incorporating human sacrifice, flaying, and mock warfare, the pre-Columbian Mexican ceremony known as Ochpaniztli, or “Sweeping,” has long attracted attention. Although among the best known of eighteen annual ceremonies, Ochpaniztli’s significance has nevertheless been poorly understood. Ochpaniztli is known mainly from early colonial illustrated manuscripts produced in cross-cultural collaboration between Spanish missionary-chroniclers and native Mexican informants and artists.Although scholars typically privilege the manuscripts’ textual descriptions, Sweeping the Way examines the fundamental role of their pictorial elements, which significantly expand the information contained in the texts. DiCesare emphasizes the primacy of the regalia, ritual implements, and adornments of the patron “goddess” as the point of intersection between sacred, cosmic forces and ceremonial celebrants. The associations of these paraphernalia indicate that Ochpaniztli was a period of purification rituals, designed to transform and protect individual and communal bodies alike. Spanish friars were unable to apprehend the complex nature of the festival’s patroness, ultimately fragmenting her identity into categories meeting their expectations, which continues to vex modern investigations.Taken together, the variety of Ochpaniztli sources offer a useful tool for addressing myriad issues of translation and transformation in pre-Columbian and post-conquest Mexico, as Christian friars and native Mexicans together negotiated a complex body of information about outlawed ritual practices and proscribed sacred entities.