Gabrielle Vail – författare

This long-awaited resource complements its companion volume on Classic Period monumental inscriptions. Authors Martha J. Macri and Gabrielle Vail provide a comprehensive listing of graphemes found in the Dresden, Madrid, and Paris codices, 40 percent of which are unique to these painted manuscripts, and discuss current and past interpretations of these graphemes.The New Catalog uses an original coding system developed for the Maya Hieroglyphic Database Project. The new three-digit codes group the graphemes according to their visual, rather than functional, characteristics to allow readers to see distinctions between similar signs. Each entry contains the grapheme's New Catalog code, an image, the corresponding Thompson number, proposed syllabic and logographic values, calendrical significance, and bibliographical citations. Appendices and an index of signs from both volumes contain images of all graphemes and variants ordered by code, allowing readers to search for graphemes by visual form or by their proposed logographic and phonetic values.Together the two volumes of the New Catalog represent the most significant updating of the sign lists for the Maya script proposed in half a century. They provide a cutting-edge reference tool critical to the research of Mesoamericanists in the fields of archaeology, art history, ethnohistory, and linguistics, and a valuable resource to scholars specializing in comparative studies of writing systems and related disciplines.

This long-awaited resource complements its companion volume on Classic Period monumental inscriptions. Authors Martha J. Macri and Gabrielle Vail provide a comprehensive listing of graphemes found in the Dresden, Madrid, and Paris codices, 40 percent of which are unique to these painted manuscripts, and discuss current and past interpretations of these graphemes.The New Catalog uses an original coding system developed for the Maya Hieroglyphic Database Project. The new three-digit codes group the graphemes according to their visual, rather than functional, characteristics to allow readers to see distinctions between similar signs. Each entry contains the grapheme’s New Catalog code, an image, the corresponding Thompson number, proposed syllabic and logographic values, calendrical significance, and bibliographical citations. Appendices and an index of signs from both volumes contain images of all graphemes and variants ordered by code, allowing readers to search for graphemes by visual form or by their proposed logographic and phonetic values.Together the two volumes of the New Catalog represent the most significant updating of the sign lists for the Maya script proposed in half a century. They provide a cutting-edge reference tool critical to the research of Mesoamericanists in the fields of archaeology, art history, ethnohistory, and linguistics, and a valuable resource to scholars specializing in comparative studies of writing systems and related disciplines.

Among their celebrated achievements, the ancient Maya are renowned for developing a highly sophisticated writing system. Their unique hieroglyphic script adorns stone and wood monuments, as well as portable objects. Drawing on a wealth of research, this remarkable book—the third and final volume in The New Catalog of Maya Hieroglyphs series—offers a comprehensive and up-to-date visual reference of the Maya script.As the culmination of The New Catalog, the current volume both summarizes information from the previous volumes and expands on the discussions of decipherment and grapheme functions. Incorporating the most recent research on the script, it reclassifies several signs and adds many more, including those appearing in newly discovered inscriptions. Along with explanatory text, it presents in visual form each individual sign used in the Maya script along with its corresponding three- or four-digit code.Combining cutting-edge scholarship with accessible presentation, this volume serves as a concise reference tool critical for the ongoing research of scholars and students of Mesoamerican writing systems. For enhanced interactivity, readers can also use the guide in coordination with the online Maya Hieroglyphic Database.

Migration and Creation in Aztec and Maya Literature provides a new perspective on migration and creation episodes in the Popol Vuh of the Quiché Maya Indians of highland Guatemala, demonstrating that they are largely borrowed from Aztec sources. These findings upend previous interpretations resulting from the widely held belief that the Popol Vuh is the most "authentic" Maya book. Victoria Bricker’s careful historical analysis explains the origin of these borrowings, which stemmed from the expansion of the Aztec empire southward from the Central Valley of Mexico into the highlands of what is today the Mexican state of Chiapas and continuing into highland Guatemala as far south as the town of Utatlán, whose rulers then intermarried with members of the Aztec royal family.This innovative volume explores new ground, comparing Aztec pictorial representations of migration with Maya written descriptions of the same events and showing that they have much in common. Bricker’s exploration of creation narratives demonstrates that the Aztec treatment of multiple creations is more coherent than the Popol Vuh version because it describes the end of each creation before embarking on a new creation, whereas the Popol Vuh version refers to the end of all creations only once. Bricker also provides a new interpretation of creation texts from the archaeological sites of Quirigua and Palenque that challenges models suggesting that the Precolumbian Maya, like the Aztecs, believed in multiple creations. Students of Latin American history will find fresh insights regarding interactions and cultural contact in Late Prehispanic Mesoamerica in Bricker’s study. Victoria Bricker, one of the most accomplished scholars in the field of Mesoamerican studies, presents a fascinating hypothesis about creation legends in this new book. Synthesizing references to Mesoamerican migration and creation accounts in the Colonial period and ethnographic literature, she concludes that the multiple creation events recorded in the Popol Vuh, a colonial-period Quiché Maya text, were derived from Central Mexican traditions. Bricker finds no evidence for multiple creation events in Classic period Maya texts, and suggests that the narrative recorded in the Popol Vuh was probably transferred from the Aztec outpost in Zinacantán, Chiapas, to Quiché nobility, who aspired to increase their status by linking their creation narrative to Aztec accounts. This book provides a stimulating new look at the exchange of ideas across Mesoamerica, and will certainly lead scholars to reexamine the often-claimed link between the Popol Vuh and Classic Maya iconography.—Dr. Susan Milbrath, Emeritus Curator of Latin American Art and Archaeology Florida Museum of Natural History, University of Florida, GainesvilleThis is an extraordinary book. Only Victoria Bricker–with her mastery of Maya linguistics, hieroglyphics, and colonial sources, and her knowledge of Aztec texts–could have compared Aztec and Maya creation literature in the probing and thoughtful way she has. The short chapters, each with its clear focus, carry her analysis naturally forward to a deeper understanding of the Popol Vuh and, indeed, much migration and creation literature in Mesoamerica.—Dr. Elizabeth Hill Boone, Professor Emerita, Tulane University

This volume offers new calendrical models and methodologies for reading, dating, and interpreting the general significance of the Madrid Codex. The longest of the surviving Maya codices, this manuscript includes texts and images painted by scribes conversant in Maya hieroglyphic writing, a written means of communication practiced by Maya elites from the second to the fifteenth centuries A.D. Some scholars have recently argued that the Madrid Codex originated in the Petén region of Guatemala and postdates European contact. The contributors to this volume challenge that view by demonstrating convincingly that it originated in northern Yucatán and was painted in the Pre-Columbian era. In addition, several contributors reveal provocative connections among the Madrid and Borgia group of codices from Central Mexico.Contributors include: Harvey M. Bricker, Victoria R. Bricker, John F. Chuchiak IV, Christine L. Hernández, Bryan R. Just, Merideth Paxton, and John Pohl. Additional support for this publication was generously provided by the Eugene M. Kayden Fund at the University of Colorado.