Thèses soutenues (2000-2017)

Répertoire de thèses et travaux académiques soutenus entre 2000 et 2017 portant pour tout ou partie sur les codex.

Si vous désirez y figurer, contactez-nous.

Malgré nos efforts constants, ce recensement ne peut pas être complet puisque les outils de signalement comme le Sudoc ( ou ( dépendent des signalements par les écoles doctorales et les bibliothèques dans l’application de signalement des thèses soutenues (application Star : C’est encore plus vrai pour l’auto-archivage par les docteurs sur le serveur TEL (thèses-en-ligne : ou les serveurs tels OpenThesis (, OATD – Open Access Theses and Dissertations ( ou PQDT Open (

Pour identifier et localiser des thèses plus anciennes, nous recommandons la consultation, toujours utile malgré sa date de parution, du guide rédigé par Christophe Langlois, du Département de recherche bibliographique de la Bibliothèque nationale de France, Thèses & autres écrits académiques, Paris : Bibliothèque nationale de France, 2005, 1 vol. (94 p.) ; 21 cm. Disponible en ligne, url : <>.

Si vous connaissez une thèse soutenue non listée ici se rapportant à la thématique du carnet, merci de nous en faire part : nous l’inclurons dans la page.



  • Becerra Hernández, Florencia ; Limón Olvera, Silvia (dir.), El temazcalle, los difrasismos gráficos, orales y sus ofrendas : códices del centro de México (Siglos XV y XVI) y comunidades náhuas actuales de la sierra norte de Puebla, México : Universidad Nacional Autónoma de México, 2016, 1 vol. (183 p.). Disponible en ligne, url : <>.
    Maestría en Estudios Mesoamericanos.
  • Berger, M.E. ; Jansen, Maarten E.R.G.N. (dir.) ; Van Broekhoven, Laura N.K. (dir.), From Ollamaliztli to Pelota mixteca and beyond : the role of globalization in the historical development of an indigenous Mexican ballgame, Leiden University, 2016. Disponible en ligne, url : <>.
    Résumé : This dissertation studies the indigenous Mexican game of pelota mixteca. In the first part, the possible pre-Columbian origins of the game are examined. The second part focuses on the ways in which 20th- and 21st-century globalization, labor migration and state politics of indigenism have influenced the way the game is represented and used in political discourse, both by the state and by the players itself.
    Doctoral Thesis.
  • Davis, Caitlin Reddington ; Jansen, Maarten E.R.G.N. (dir.), Ritualized Discourse in the Mesoamerican Codices: An Inquiry into Epigraphic Practice, Leiden : Faculty of Archaeology, 2016. Disponible en ligne, url : <>.
    Résumé : Despite the fact that the PostClassic Mesoamerican codices display a striking amount of similarity, academic studies of the discipline typically separate the Central Mexican and Mixtec manuscripts from those of the Maya, with the Maya receiving an epigraphic approach and the Mexican and Mixtec receiving an art historical approach. Many of these studies implicitly privilege phonetic writing systems, taking an evolutionary view of writing which devalues the pictographic. This privileging of the phonetic speaks to the more extensive devaluation of indigenous beliefs and practices on a wider scale. This thesis seeks to bridge the gap between the art historical and epigraphic by understanding the codices as products of the communities in which they were created, and thus fulfilling culturally-specific needs. Ritualized Discourse in the Mesoamerican Codices: An Inquiry into Epigraphic Practice accomplishes this through two case studies, one of which is based on the representation of the same subject matter, bloodletting, and one of which is based on the representation of the same linguistic practice, difrasismo. The results of the analysis indicate that while on a visual level the codices appear very different, on a phonological level there are many similarities in how they represent linguistic and phonetic elements. The Central Mexican and Maya codices in particular display a high degree of overlap, speaking to their shared scribal traditions. Approaching the codices as inventions designed to fulfill a purpose, interpretations of iconographic and phonetic elements are reached which speak to a pan-Mesoamerican experience of writing and highlight the benefits of alternative traditions of knowledge.
    Research master thesis.
  • Dimas, Roberto Miguel ; Sandoval, Tomas (dir.), Interpretation of folio 242r from the Historia de Tlaxcala, The Claremont Graduate University, 2016.
    Master : Religion
    Résumé : The purpose of this thesis is to evaluate Folio 242r from the Historia de Tlaxcala. The Historia de Tlaxcala is a collection of pictures and texts that documented the history of the Aztec people. It shows the destruction of the Aztec culture and forcing of religious and political ideologies upon the Aztecs people.
  • Garrido Velázquez, Arisbeth ; Amaya Ramírez, Miguel Ángel (dir.), La colección de códices en la biblioteca Juan Comas : propuesta de organización, México : Universidad Nacional Autónoma de México, 2016, 1 vol. (165 p.). Disponible en ligne, url : <>.
    Licenciatura en Bibliotecología.
  • Hulshoff, Amy Catherine ; Umberger, Emily (dir.), Aztec Stone Boxes: Myth, Metaphor, and History, The University of Arizona, 2016, 78 p.
    Master : Art History
    Résumé : This essay is study of Aztec stone boxes from the pre-conquest Aztec empire. My study focuses on the interpretation of carvings on the surfaces, as well as the interiors and lids when applicable. The study includes not only traditionally functional boxes, but also altars (blocks or basins) and offering chambers, as comparative examples.
    The thesis focuses on three specific stone boxes located in museums in Mexico, Germany, and Great Britain: the Islas y Bustamante Box (Museo Nacional de Anthropología, Mexico), the Hackmack Box (Museum fur Volkerkunde, Hamburg), and the Ahuitzotl Box (British Museum, London, and Museum fur Volkerkunde, Berlin). I am studying the iconographic programs, with a focus on themes of auto-sacrifice and creation, carved on the art objects themselves and their function as story-telling devices, with or without the contents that the box may have contained. In their forms, the objects themselves are metaphors for space, time, Aztec history, and Aztec creation myths.
    The Hackmack Box depicts the creation god, Quetzalcoatl (feathered serpent), and refers to the creation myth of mankind saved from the underworld and resurrected from the ashes of bones, using Quetzalcoatl’s own blood. The box bears Montezuma’s name glyph and is likely a tribute to his birth, his ascension and success as a ruler, and his piety. The Islas y Bustamante Box depicts the god of caves, Tepeyolotl, and refers to the myth that man ascended from caves, as all of life originated from the mouth of a cave that was also a natural spring. The box itself is a metaphor for this type of cave. The Ahuitzotl Box depicts the god of water Tlaloc, and refers to the myth of the tlaloques (helpers) discovery of “food-mountain”, in other words, the discovery of maize that nourished the Aztec people. It has been linked to the dedication of the aqueduct built under the Aztec ruler Ahuitzotl, and serves as a tribute to this historical event. The cosmic arrangement of the motifs on these boxes reveal the object as a metaphor for space and time itself as they comply with the Aztec’s earthly orientation of the heavens, the earth, an the underworld.
  • Martínez García, Raymundo César ; Noguez Ramírez, Francisco Javier, (dir.), Estudio comparativo de un subgrupo de los códices coloniales Techialoyan, México : Universidad Nacional Autónoma de México, 2016, 1 vol. (264 p.). Disponible en ligne, url : <>.
    Doctorado en Estudios Mesoamericanos.
  • Martínez Reyes, Fátima Irasema ; Fernández Christlieb, Federico (dir.), Lectura del paisaje de San Pedro Teozacoalco, Oaxaca, a partir del códice “Mapa de Teozacoalco” (1580) : un enfoque cultural, México : Universidad Nacional Autónoma de México, 2016, 1 vol. (131 p.). Disponible en ligne, url : <>.
    Licenciatura en Geografía.
  • Simmonds Caldas, Patricia Catalina ; Solanilla i Demestre, Victòria (dir.),  ¿Es necesario el mundo precolombino? Colombia, un ejemplo a tener en cuenta, [Barcelona] : Universitat Autònoma de Barcelona, 2016, 1 vol. (496 p.). Disponible en ligne, url : <>.
    Résumé : El mundo precolombino vinculado en el pasado con el Museo del Oro, interviene en el pensamiento académico, intelectual y artístico que se da en la segunda mitad del siglo XX en Colombia; en la actualidad continúa haciéndolo pero solo bajo los auspicios de entidades como los Museos Arqueológicos Musa o la Facultad de Artes de la Universidad Nacional. Situación que contrasta con su uso habitual como parte del lenguaje cotidiano, en el que se valora especialmente sus formas visuales. Descartado casi por completo por el pensamiento científico, que aboga por la necesidad de proteger y reconocer el patrimonio de la nación, su importancia se ve cuestionada; circunstancia que obliga a adentrarse en su identidad, en sus herencias y pertenencias, así como en sus significados y estéticas enraizados en la cultura y el pensamiento occidental. Frente al mundo precolombino, como bien patrimonial adquirido y producto social, este trabajo concluye que las razones visuales, artísticas y conceptuales de lo precolombino, son necesarias, crean y fomentan identidad. Por lo tanto ignorar el mundo precolombino es ignorar, entre muchos otros aspectos, una identidad universal que proporciona la Historia del Arte, lo que descartaría la posibilidad de una lectura enriquecedora sobre el pasado y presente del país.
    Abstract : The pre-Columbian world, linked in its past to Museo del Oro, has impacted academic, intellectual, and artistic thinking in Colombia since the second half of the Twentieth century. Even today, it continues to do so under the auspices of centers such as Musa Archeological Museum or the Arts Faculty at Universidad Nacional. This situation comes in contrast with its daily use as part of the common language, in which its visual forms are specially valued. Written off almost completely by scientific thinking, fixed on the necessity of protecting and acknowledging the patrimony of the nation, its importance is being questioned. This circumstance thus obliges to immerse in its identities, its heritages, and its belongings, as well as in its meanings and esthetics, which are intertwined in the thinking and culture of the Western World. Regarding the pre-Columbian world, an acquired heritage and social product, this work concludes that its visual, artistic, and conceptual reasons are necessary because they create and foment our identity. Therefore, ignoring the pre-Columbian world amount to ignoring, among many other aspects, a universal identity provided by the History of Art, thus missing an enriching reading in the country’s past and present.
    Doctorat. Universitat Autònoma de Barcelona. Departament d’Art i de Musicologia
  • Snijders, Ludo ; Jansen, Maarten E.R.G.N. (dir.), The Mesoamerican codex re-entangled :production, use, and re-use of precolonial documents, Leiden : Leiden University Press, 2016. Disponible en ligne, url : <>.
    Résumé : This thesis is concerned with the study of the less than twenty remaining precolonial Mesoamerican codices. By considering these rare and fragile pictographic and hieroglyphic books from the cultural biography perspective, many different aspects of these books can be studied. The biography of these books begins with their production and continues during their life as sacred objects within Mesoamerican cultures. From the perspective of the late medieval European conquerors, these books had a very different meaning, which caused the destruction or physical alteration of these sacred objects.
    The few codices still in existence were almost forgotten in the European institutes that kept them in their collections. Only after these documents had been multiplied through the production of facsimiles, could they be reinterpreted by researchers and regain some of their meaning. The biographies of these books co ntinue t o grow as they get increasingly entangled with modern technology. A clear example of this is seen in the study of the palimpsest of the codex Añute or codex Selden, which is included in this work.


  • Gutiérrez Arillo, Itzayana Arveth ; González Mello, Renato (dir.), El Códice Rivera : estéticas de la memoria revolucionaria en México, 1920-1940, México : Universidad Nacional Autónoma de México, 2015, 1 vol. (143 p.). Disponible en ligne, url : <>.
    Maestría en Historia.
    Résumé : porte sur la série d’aquarelles du célèbre muraliste mexicain Diego Rivera pour illustrer le livre sacré « Popol Vuh ».
  • Hatchondo Roux, Françoise Renée ; Escalante Gonzalbo, Pablo (dir.), El códice tlaxcalteca :  lienzo de San Sebastián : su tiempo, su circunstancia y la comunidad que lo creó : análisis del lenguaje pictórico y narrativo de un lienzo-mapa de la región de Guadalajara, Jalisco, México : Universidad Nacional Autónoma de México, 2015, 1 vol. (590 p.). Disponible en ligne, url : <>.
    Doctorado en Historia del Arte.
  • Jiménez Sánchez, Liliana ; Solé Zapatero, Francisco Javier (dir.), Dialogismo o intertextualidad en dos versiones de la leyenda de los soles : Códice Chimalpopoca, según Primo Feliciano, y La Historia de los mexicanos por sus pinturas, de Rafael Tena, México : Universidad Nacional Autónoma de México, 2015, 1 vol. (126 p.). Disponible en ligne, url : <>.
    Maestría en Estudios Mesoamericanos.
  • Lara Galicia, Aline ; Duverger, Christian (dir.) ; García G., María Teresa (dir.), Xiuhpoualli : el calendario mesoamericano en las manifestaciones rupestres del valle del Mezquital, Hidalgo, México = Xiuhpoualli : le calendrier mésoaméricain dans les manifestations rupestres de la vallée du Mezquital, Hidalgo, Mexique,  [S.l.] : [s.n.], 2015, 2 vol. (573 p., 41 f.).
    Résumé : La thèse vise à comprendre l’espace symbolique de la Vallée du Mezquital, Mexique, à partir de la distribution des ensembles de peintures rupestres qui s’y trouvent. Celles-ci sont interprétées comme étant une transcription du calendrier mésoaméricain aztèque et hñahñü-otomi préhispanique : le xiuhpohualli. Le corpus comprend 110 ensembles qui constituent une sorte d’écriture déployée dans l’espace et renvoient aux cosmovisions des groupes de l’époque préhispanique. La convention glyphique mise en œuvre a révélé deux aspects d’importance : premièrement, que les modèles qui figurent dans chaque ensemble sont ordonnés de façon à pouvoir être lus ; deuxièmement, qu’une icône peut représenter une action. La fonction des ensembles rupestres était de transmettre une information religieuse concernant une des activités les plus importantes de toute la Mésoamérique : l’activité rituelle. Les peintures rupestres fixent la géographie sacrée inscrite dans l’espace-temps symbolique ; les figures représentent les dieux, reconnaissables dans leur identité ; elles évoquent leurs fêtes ; elles construisent un modèle qui organise la rotation spatio-temporelle d’un univers en forme de quinconce : un centre et les quatre points cardinaux. Les peintures rupestres contiennent également des évocations qui renvoient au sacrifice et au nahualisme. Nous sommes manifestement en présence d’un système d’écriture fondé sur des icônes -ou glyphes-, de contenu conceptuel, pouvant être compris par tous les groupes de la région. Cette « écriture » rupestre de la Vallée du Mezquital constitue un langage politique, économique et cosmologique.
    Abstract : The work explains the understanding of the symbolic space of the Valley of Mezquital, Mexico, from the distribution of rock art sites. To this is interpreted that these paintings was a transcript of an Aztec and Hñähñü- Otomi Mesoamerican prehispanic calendar: The Xiuhpohualli. Includes a reading at 110 rock art sites. The glyph convention’s revealed two aspects of importance: first, that the ensembles can are ordered for to reading; second, an icon can represent an action. The function of rock art was to convey religious information about one of the most important activities throughout Mesoamerica. The emphasis on the characteristics of the Mesoamerican, such sacred geography inscribed in the symbolic space-time, the figures which represent the gods end emphasizing their identity, their festivals, but also a model that represents the universe as a kind of space-time clock or rotation, including the design of a cosmographic world with the figure of quinqunce, that is to say, the sacred space was divided by a center and four directions of the universe with their four corners. Also, the representation of the body, sacrifice, nahualism, it is represents in the writing system based on icons or glyphs as conceptual aspect that could be understood by all groups and that this writing allowed political language, economic and sacred.
    Thèse de doctorat : Histoire et civilisations : Paris, EHESS : 2015 ; Thèse de doctorat : Histoire et civilisations : Mexico, Institut National d’anthropologie et d’histoire : 2015.
  • Macquoy, Sander, Jansen, M.E.R.G.N. (dir.), Sounding Images: The auditive dimensions of pre-colonial Mixtec pictorial manuscripts from Mexico, Leiden : Leiden university, 2015. Disponible en ligne, url : <>.
    Résumé : Pre-colonial Mixtec codices vividly and colourfully tell about the history and religion of Mixtec polities and have, since the beginning of the 20th century, attracted the interest of many scholars. Indeed, these historical narratives provide a unique window into ancient Mesoamerican concepts of time, history, drama, worldview and memory. Incorporated in these codices are numerous auditive scenes: events in the story line in which musical behaviour plays an important role. The present thesis examines these scenes, aiming to get a more comprehensive and arguably more full-fledged understanding of musical behaviour in pre-colonial Mixtec society. Since musical behaviour plays an important role in the formation of personal as well as social identities, research into musical behaviour of past cultures can contribute significantly to the knowledge about the worldviews of these cultures. Mixtec codices provide excellent means for this, since the stories in these manuscripts not only tell about individual actions and events in a certain time period, but also include important information about how these events related to a wider, socio-cultural context. By means of a novel, comprehensive approach, consisting of an adapted variant of the Critical Discourse Analysis methodology, this thesis analyses auditive scenes from five Mixtec codices: the Codex Bodley, Codex Colombino-Becker I, Codex Selden, Codex Vindobonensis Mexicanus I & Codex Zouche-Nuttall. As such, this thesis examines the role of musical behaviour contained in auditive scenes of pre-colonial Mixtec codices on the levels of the text, their conveyance and their socio-cultural context. The results of these analyses show that musical behaviour played an important role in codices at a variety of levels. Indeed, this thesis shows that, on the basis of a bi-directional relationship, textual analyses of auditive scenes in Mixtec codices can provide important tools for understanding the role musical behaviour played vis-à-vis socio-cultural and ideological dynamics. The oral performance (discursive practice) through which the codices’ stories were reproduced, distributed and consumed was the binding element between the codices’ text and the socio-cultural context. On the basis of these findings, recommendations for further research are provided.
    Research master thesis
  • Reyes García, Israel ; Garone Gravier, Marina (dir.), Diseño y configuración en el códice borbónico : la estructura gráfica de un documento pictográfico mexica, México : Universidad Nacional Autónoma de México, 2015, 1 vol. (240 p.). Disponible en ligne, url : <>.
    Maestría en Diseño y Comunicación Visual.
  • Yanagisawa, Saeko ; Escalante Gonzalbo, Pablo (dir.), Análisis estilístico de un códice mixteco : el reverso del Códice vindobonensis, México : Universidad Nacional Autónoma de México, 2015, 1 vol. (308 p.). Disponible en ligne, url : <>.
    Doctorado en Historia del Arte.
  • Yunes Vincke, E, Books and codices : transculturation, language dissemination and education in the works of friar Pedro de Gante, London : University College London, 2015. Disponible en ligne, url : <>.
    Résumé : The present study analyses the work of Flemish Franciscan missionary fray Pedro de Gante (1480-1572) against the background of the early stages of the evangelization in New Spain, modern-day Mexico. By means of his works the Catecismo en Pictogramas [ca.1527], the Doctrina Christiana en Lengua Mexicana [1547] and the Cartilla para enseñar a leer [1569] Gante played a fundamental role in the processes of transculturation playing out between European missionaries and the Nahua populations of the Valley of Mexico. The role of Gante as a transcendental figure of cultural contact has been often neglected; previous studies on the subject have only focused on general aspects of Gante’s biography. A thorough, comparative study of Gante’s works that ingrains them in the wider context of the early years of the evangelization (1524-1572) has never been done before. The present work aims to fill this void. The important role Gante and his works played in the process of transculturation is demonstrated through an interdisciplinary contextual framework that employs agency theory, New Philology, Colonial semiosis and annales theory. This study shows that Gante’s works represent the initial stages of a translation process in which Christian doctrine was converted into Nahuatl. This process was by no means straightforward and involved the translation of an entire set of cultural and cosmological referents from one system of beliefs to another. Gante’s works are at the forefront of this development and this research demonstrates clearly how Gante developed, drawing on his unique cultural and social background, novel evangelical strategies which involved the active participation of both missionaries and the Nahuas themselves. The significance of this, cannot be overlooked, with the translation Gante started an open-dialogue with the Nahuas. Showing that the evangelization of Mexico was not a simple process of imposition, but a complex process in which the different elements of society had a voice and accommodated and negated the influence of the other while constructing new cultural categories.
    Thesis (Ph.D.)


  • Álvarez Icaza Longoria, María Isabel ; Escalante Gonzalbo, Pablo (dir.), El códice Laud, su tradición, su escuela, sus artistas, México : Universidad Nacional Autónoma de México, 2014, 1 vol. (518 p.). Disponible en ligne, url : <>.
    Doctorado en Historia del Arte.
  • Domínguez Agüero, Saúl, El Teatro quechua de la oralidad y su vigencia en las ciudades de Pomabamba y Piscobamba (Ancash-Perú), Universidad Nacional Mayor de San Marcos, 2014. Disponible en ligne, url : <>.
    Résumé : A propósito de la adquisición de una copia mecanografiada del texto que le sirvió para realizar la edición crítica de La muerte de Atahualpa, drama quechua de Autor Anónimo (1987), Meneses relata una curiosa odisea que no deja de tener interés por lo menos para comprender los avatares de la crítica filológica, cuyos afanes se orientaban a encontrar “códices” venerables que pudieran confirmar la existencia y la antigüedad del teatro quechua. En efecto, nos informa que el texto de su edición corresponde a una copia mecanografiada que le fuera proporcionada por el Sr. Juvenal Romero, quien habría hecho sacar una copia de este texto en 1943 de una copia manuscrita hecha por Pedro Almendras, quien a su vez lo habría trascrito de un “libro antiguo” que su papá, el Sr. Aurelio Almendras, se había prestado de un señor llamado Manuel Chávez, residente del pueblo de Tauca con miras a hacer una cierta representación en Lima el año de 1932, representación que finalmente no se habría llevado a cabo. Constataba Meneses que al momento de emprender la edición crítica, ni el libro de Manuel Chávez ni la copia manuscrita de Pedro Almendras –bautizado como “Códice de Almendras”– estaban al alcance del público ni de la crítica. La muerte del señor Juvenal Romero habría segado la posibilidad de acceder al manuscrito original. Con la esperanza que algún otro estudioso pudiera persistir en su búsqueda, nuestro crítico se acomedía a dejar el siguiente dato: “tal vez un señor Crivillero del negocio de transportes, común amigo del señor Romero y del Sr. Almendras, y comprovinciano del último pudiera conservar datos acerca de estas copias” (6).6 Por otro lado, enunciando como objetivo final y último de su crucero investigativo remontarse hasta el autor mismo del “ológrafo primigenio”, introduce sin más el concepto del “definitivo retocador colonial”. Al respecto, dice: 6 Esta y las siguetes citas corresponde a la edición crítica de Meneses de La muerte de Atahualpa, drama quechua de Autor Anónimo” (Lima: Universidad nacional Mayor de San Marcos, 1987). [N]o conocemos el destino del ológrafo del autor o del definitivo retocador colonial; sólo una copia de ésta es el que aparece en posesión de un señor Manuel Chávez de Tauca hacia comienzos del presente siglo XX. Y sirve de patrón para la copia de Pedro Almendras hacia 1932, del cual procede nuestra copia mandada hacer por el señor Juvenal Romero en 1943 (33, 34).
    Doctorado Facultad de Letras y Ciencias Humanas.
  • Salcedo Gómez, Ángel Iván ; López Monroy, Manuel (dir.), La humanidad como un árbol en el mundo : una interpretación a partir del Códice Borgia, México : Universidad Nacional Autónoma de México, 2014, 1 vol. (494 p.). Disponible en ligne, url : <>.
    Maestría en Artes Visuales.
  • Woolston, Winter ; Smith, Fred (dir.), Year Burning Iconography In Post Classic Mesoamerican Divinatory Codices, Kent State University, 2014. Disponible en ligne, url : <>.
    Résumé : This thesis focuses on the practices and beliefs concerning temporal rituals recorded in extant Post Classic Mesoamerican codices (950-1521 A.D.) in pictographic and hieroglyphic form. Year burning iconography in Post Classic manuscripts is indicative of aspects of Mesoamerican beliefs and customs with greater zones of influence than other, more distinctive ritual prescriptions and regional cultural knowledge, also present in the illuminations. Examining pages in these manuscripts which describe comparable periods of transition common throughout Mesoamerica provides valuable insight into how beliefs and practices described in each manuscript group conform to established regional trends, and how and where they depart from the calendrical conventions and the temporal ritual organization of contemporaneous civilizations. Iconography related to celebrations designed to renew time are investigated within the context of Post classic Mesoamerican art and culture.


  •  Alarcon, Marjorie ; Meyran, Daniel (dir.) ; Ramouche, Marie-Pierre (dir.), Du codex préhispanique au codex colonial, [S.l.] : [s.n.], 2013, 1 vol. (86 f.).
    Mémoire de master recherche 2e année : Espagnol : Perpignan : 2013.
  • Bérénice Gaillemin ; Danièle Dehouve (dir.), L’art ingénieux de peindre la parole et de parler aux yeux : élaboration et usages des catéchismes en images du Mexique (XVIe-XIXe siècles), [S.l.] : [s.n.], 2013, 1 vol. (743 p.) : ill. en coul. ; 29 cm. Thèse de doctorat : Ethnologie : Paris 10 : 2013.
    Jury : Danièle Dehouve, directeur de la thèse, Philippe Erikson, William Hanks, Sylvie Peperstraete, Jean-Claude Schmitt et Anne-Marie Vié-Wohrer.
    Résumé : Cette thèse examine un corpus de documents mexicains élaborés à partir du XVIe siècle dans lesquels sont transcrits, au moyen d’images, les textes fondamentaux du catéchisme catholique. Ces catéchismes « testériens », du nom du missionnaire franciscain Jacobo de Testera, sont communément décrits comme des outils originaux créés dès les premiers temps de la Conquête spirituelle de la Nouvelle Espagne pour permettre aux missionnaires franciscains de pallier leur méconnaissance des langues indigènes. Au regard d’éléments contextuels lacunaires, l’élaboration d’une méthodologie neuve est apparue nécessaire afin d’éclairer le fonctionnement sémiotique de ces textes pictographiques mais également leur contexte de création et d’usage. Cette enquête, articulée en quatre parties, débute par un examen critique des différentes méthodes appliquées à l’analyse de ces manuscrits. Une présentation du corpus testérien et des Doctrinas imprimées et traduites en nahuatl, langue véhiculaire de l’Ancien Mexique choisie pour l’évangélisation complète ce premier volet. La deuxième partie analyse les stratégies mises en œuvre dans les traductions des textes religieux en langue vernaculaire et définit les catégories scripturales auxquelles appartiennent les images correspondantes. Une base de données informatique relationnelle (support DVD) appuie ce deuxième volet. La troisième partie décrit le fonctionnement des signes de type morphogramme et phonogramme avant d’examiner les procédés de mémorisation et les gestes rituels suggérés par des images suppléant à la partie textuelle. Enfin, dans la quatrième partie, les indices historiques, linguistiques, stylistiques et iconographiques disponibles sont mobilisés afin de déterminer le contexte d’élaboration et d’usages des catéchismes testériens.
  • Camacho Ángeles, María Montserrat ; Solanilla i Demestre, Victòria (dir.) ; Espinosa Pineda, Gabriel (dir.), La Imagen bajo la perspectiva de la cosmovisión : cuatro cosmogramas precolombinos mesoamericanos, [Bellaterra] : Universitat Autònoma de Barcelona, 2013, 1 vol. (315 p.). Disponible en ligne, url : <>.
    Résumé : Esta investigación desarrolla la interpretación de cuatro imágenes de origen precolombino en la región conocida como Mesoamérica. Parte de la idea de que las diversas culturas de esta área comparten una misma cosmovisión (naturalmente divergente en los detalles, pero la misma en sus grandes rasgos), y de que, en esa cosmovisión existe un núcleo duro, resistente al cambio a lo largo del tiempo. La elección de estas imágenes obedece a la percepción de que se trata de cuatro representaciones esquemáticas de los rasgos básicos del cosmos. Es decir, cuatro cosmogramas. Fueron elegidas dos imágenes a primera vista semejantes, ambas sobre el mismo tipo de soporte, un códice, si bien, provenientes de culturas relativamente distantes (la maya y la mixteca). Los otros dos cosmogramas se eligieron a propósito contrastantes, tanto por el soporte material (un muro pintado y un monolito), como por su temporalidad, unos ocho o nueve siglos de distancia. Cada cosmograma fue objeto de un estudio específico, bastante exhaustivo, durante el cual se avanzó en la identificación de algunos de sus componentes, que hasta hoy no habían sido precisados, y en algunos casos se construyeron interpretaciones más generales; se problematizaron y discutieron las teorías actualmente en boga, y en todos casos se trató de delimitar con claridad aquello que permanece indeterminado. Aún en tales casos, avanzamos hipótesis de diversa envergadura. Más allá del avance logrado en cada estudio particular, hicimos uso de la comparación entre los cuatro cosmogramas. Conforme más cosmogramas eran usados, constatamos una creciente potencialidad interpretativa. Se propone este tipo de comparación múltiple como un método para el estudio de los cosmogramas en general, pero incluso de otras representaciones importantes, que no han sido caracterizadas como un cosmograma y que sin embargo, obedecen a una necesidad cultural de guardar la semejanza con la estructura del cosmos. Los rasgos básicos del cosmos, parecen ser: la preeminencia de un eje central que contiene el desdoblamiento ulterior en una estructura cuadripartita; la existencia, como consecuencia, de cuatro ejes cósmicos, frecuentemente en la forma de árboles con una o varias aves celestes. Al plano terrestre así conformado, suele añadirse la representación del flujo del tiempo, de manera levógira (antihoraria) y a veces también distribuido en sus respectivas regiones cardinales de origen. Se añaden diversos símbolos, seres, animales o plantas, que enfatizan la naturaleza de cada rumbo cósmico. No obstante, nunca se representan todos estos rasgos a la vez, algunos quedan insinuados a través de diversos recursos.
    Abstract : This research develops the interpretation of four images of pre-Columbus time in the region known as Mesoamerica. It is based on the idea that various cultures in this area shared the same view of the world (there are, of course, differences in details, but generally it is the same), and that in this world view there is a hard nucleus, resistant to change throughout time. The choosing Image from the perspective of Cosmovision: Four Pre-Columbian cosmograms. of these images obeys the perception that it is about four schematic representations of the four basic world view characteristics. In other words, four cosmograms. Two images were chosen that appear to be similar, they both have the same base, a codex, which come from different relatively distant cultures (the Mayan and the Mixtec). The other two cosmograms were chosen with contrasts, the base material (a painted wall and a monolith), and the time gap, from 8 to 9 centuries. Each cosmogram was the object of a specific thorough investigation, in which some of the components that had not been yet specified, were identified here, and in some cases more general interpretations were built. Also, some of the theories that are currently in vogue were discussed and questioned, and in all cases those things that have not been determined, were tried to be determined with more clarity. In those cases, we advanced in hypothesis of different importance. More than wanting to advance in each particular investigation, we used the comparison of the four cosmograms. The more cosmograms were used, the greater interpretative potential was verified. This multiple comparison is suggested not only as a method for the study of cosmograms in general, but also of other important representations that may not be labeled as a cosmogram but that also have a need to keep the similarities with the structure of the cosmos. The basic characteristics of the cosmos seem to be: the preeminence of a central axis that has an ulterior unfolding in a four-part structure; as a consequence, the existence of four cosmic axes, frequently used as trees with various birds. To the earthly plane, there seems to be a representation of the flow of time, in a levorotatory (counterclockwise) manner and it is also sometimes distributed in its respective cardinal regions of origin. Diverse symbols are added, beings, animals or plants, that emphasize the nature of each cosmic area. However, these characteristics are never represented at the same time, some are insinuated through various resources.
    Tesi doctoral – Universitat Autònoma de Barcelona. Departament d’Art i de Musicologia, 2012.
  • Correa Valdivia, Paulo César ; Castañeda de la Paz, María (dir.), In toptli in petlacalli, in piyalli in nelpilli : contener y revelar el poder divino : los envoltorios sagrados en los códices del centro de Mexico, México : Universidad Nacional Autónoma de México, 2013, 1 vol. (136 p.). Disponible en ligne, url : <>.
    Maestría en Antropología.
  • Granados Canseco, Ernesto ; Šégota, Dúrdica (dir.) ; Carreón Blaine, Emilie (dir.) ; Savckic, Sanja (dir.), Los mitos de creación dentro del Códice Vindobonesis, México : Universidad Nacional Autónoma de México, 2013, 1 vol. (64 p.). Disponible en ligne, url : <>.
    Maestría en Historia del Arte.
  • Rivas, Carlos Anilber ; Black, Charlene Villasenor (dir.), Fabricating History: “The Codex Mendoza” and Manuscript Production during the Founding of New Spain, Los Angeles : University of California, 2013, 61 p.
    Master : Art History
    Résumé : This thesis examines the historiography of the Codex Mendoza, one of the earliest surviving and most important manuscripts produced in Mexico after the conquest. In particular, I examine its provenance and evaluate its known documented history. How did this manuscript, produced in 1540 in Mexico by native artists and scribes, reach Europe and when? This reexamination highlights the absence of documentation supporting the widely-held belief that the Codex Mendoza reached France and not Spain, its intended destination, after the ship carrying it to Europe was plundered by pirates. After closely examining what is known of the manuscript’s provenance and suggesting a complete rethinking of what we know about the Codex Mendoza, this thesis demonstrates the interpretive side-effects of current assumptions about the manuscript’s provenance and dependence on out of date historiography. The Codex Mendoza‘s assumed patronage and believed-intended audience has conditioned art historians to interpret the artistic style of the manuscript as containing European influence. However, a close re-examination of the codex in relation to other manuscripts produced in New Spain at the same time demonstrates that the Codex Mendoza ‘s content and visual style is effectively all from the pre-conquest period and therefore radically different from most manuscripts produced at the time. Significantly, almost no comparisons exist in the literature on the topic making this comparison one of the first such contextual stylistic analyses of the Codex Mendoza. In addition, the methodologies employed by art historians in their study of the style of sixteenth-century manuscripts from New Spain have proved problematic, and in the case of the Codex Mendoza specifically, its believed European patronage has preconditioned interpretations of its artistic style. To address this problem I compare the Codex Mendoza with a contemporaneous manuscript of similar provenance. The comparison reveals that the existence and circulation of multiple visual styles and narrative strategies in manuscripts during the 1540s in New Spain was directly related to the intended purpose of the manuscript itself. This comparison also allows for the Codex Mendoza‘s proper placement within its art historical context and the broader context of manuscript production in New Spain.
    The thesis begins with a close examination of the manuscript and the currently accepted history associated with it. I then trace the documentation concerning the origin of this believed history and challenge early historians’ assertions about the Codex Mendoza, which I will argue are fabrications intended to please seventeenth-century audiences. Having determined that we know nothing about the manuscript’s patronage, I end with a reexamination of the manuscript’s artistic style by contextualizing it with the Relación de Michoacán, a manuscript also from New Spain produced virtually at the same time.
  • Viezca Vizuet, José Arturo ; Uriarte, María Teresa (dir.) ;  Limón, Silvia (dir.) ;  Magaloni Kerpel, Diana (dir.) ;  Sotelo, Laura (dir.) ;
    Valverde, Carmen (dir.), El árbol y su iconografía : simbolismo y significación en el Códice Borgia, México : Universidad Nacional Autónoma de México, 2013, 1 vol. (209 p.). Disponible en ligne, url : <>.
    Maestro en Estudios Mesoamericanos.


  • Alberú Gómez, María del Carmen ; Ruiz-Domènec, José Enrique (dir.), Relación de Michoacán y Códice Florentino: la huella medieval en dos códices del siglo XVI, Barcelona : Universitat Autònoma de Barcelona, 2012, 1 vol. (197 p.). Disponible en ligne, url : <>.
    Résumé : El análisis de una selección de imágenes de la Relación de Michoacán (1541) y del Códice Florentino (1579) llevó a esta autora a sumarse a la opinión académica que valora como medieval el legado español a México en el siglo XVI. El objetivo del estudio se desprendió de la dicotomía historiográfica entre los estudiosos del descubrimiento, conquista y colonización de América consistente en considerar aquel decisivo episodio como la continuidad lógica de la época renacentista o bien, ver en él la proyección todavía medieval de la visión española del mundo, aunque estos acontecimientos se produjeran a partir de 1492, época ya moderna. Los frailes responsables de la elaboración de ambos manuscritos, Jerónimo de Alcalá y Bernardino de Sahagún, declararon como propósito principal de su tarea el conocimiento de estas culturas prehispánicas, la purépecha y la mexica, a partir de la memoria, las declaraciones y participación de los indígenas en cada uno de los libros, con la idea de detectar y erradicar las creencias autóctonas e implantar eficazmente el cristianismo. La interpretación de los registros cognitivos que detentan las imágenes demuestra por el contrario la supremacía de la mentalidad del medievo occidental allí donde se pretendía encontrar la mexicana. Las imágenes y la retórica que ilustran hablan tanto de la cultura colonizadora como de la colonizada. Ordené las reflexiones en cuatro capítulos en los se que precisa la filiación medieval de los dos códices y se sugiere sobre qué aspectos se puede continuar trabajando en futuras investigaciones. El capítulo primero es una síntesis de las cualidades culturales de signo medieval que aparecen en estos dos libros como el privilegio de la memoria sobre la observación; la verdad es tal en tanto fuese sancionada por la memoria a diferencia de la práctica renacentista de llegar a ella empíricamente. En el segundo capítulo me ocupé de la descripción de ambos manuscritos destacando sus diferencias y la identidad de ambos con la tradición libresca medieval con el objeto de revisar la manera en que la imaginería participa del legado pictórico usual en la ilustración de manuscritos durante la Edad Media. Mucho se ha escrito de la pervivencia de los denominados códices prehispánicos como una de las pocas manifestaciones que remontaron la conquista; aquí analicé las razones por las cuales ni la Relación de Michoacán ni el Códice Florentino forman parte de esa continuidad y, en cambio, se alinean con la tradición franciscana medieval de la elaboración de obras de carácter etnohistórico, didáctico y erudito. El capítulo tercero recoge una selección de los análisis iconográficos de ambas obras que resultaron más relevantes para esta tesis cuyos autores utilizaron diferentes aproximaciones metodológicas. Por último, el capítulo cuarto, lo dediqué al análisis de una selección de imágenes que explican el final de las dos culturas estudiadas y, más sorprendente, la asimilación de los nuevos esquemas impuestos para explicar gráficamente sus historias y el ocaso de las mismas. La idea fue poner de relieve la capacidad cognitiva de la imagen que demuestra que España y México en el siglo XVI no manifiestan la misma experiencia artística en la ilustración de libros. Palabras clave: historia social del arte, códices coloniales, códices medievales, arte medieval, iconografía, iconología.
    Abstract : This study establishes that while the discovery, conquest and colonization of México occurred in from 1492 onward (i. e. , modern historical times), the sixteenth-century Spanish legacy there, was in fact medieval. I reach this conclusion through the analysis of images contained in the Relación de Michoacán (1541) and the Florentine Codex (1579). This supports the view that considers this decisive event as a medieval extension of the Spanish understanding of the world, as different to the logical approach of modern renaissance times. The friars responsible of the manuscripts elaboration Jerónimo de Alcalá and Bernardino de Sahagún declared that their projects main purpose was the knowledge of both Purépecha and Mexica pre Hispanic cultures based on the indians’ declarations, their memories of the events before and during the conquest and their involvement in the writing of the manuscripts. In doing so the friars would also be able to detect and eradicate idolatry in order to effectively establish Christianity. Nevertheless images interpretation in both manuscripts shows the supremacy of medieval mentality upon indigenous world view so that these books reflect the profound and quick acculturation lived in México as much as the lost vanquished cultures. The ideas are developed in four chapters. Chapter I summarizes medieval cultural signs that are to be found in both manuscripts as is the privilege of memory over observation: the truth is so as long as it exists in the memory not as a result of empirical verification. Chapter two deals with the description of the studied manuscripts in terms of their medieval codices strong similarities in structure and characteristics, specifically with Franciscan tradition manuscript making. Next chapter is a review of five iconographic analysis of these codices illustrations. The specialists approached their analysis from different methodologies useful to contrast the present thesis results. The fourth chapter is dedicated to the inquiry of an image selection that explains the end of both studied cultures, interestingly enough, through the assimilation of the new imposed paradigms: forms, significance and values of medieval image making. Key words: social history of art, colonial codices, medieval codices, medieval art, iconography, iconology.
    Tesi doctoral – Universitat Autònoma de Barcelona. Departament de Ciències de l’Antiguitat i de l’Edat Mitjana, 2012.
  • Díaz Vázquez, Lucía ; Navarijo Órnelas, María de Lourdes (dir.), Estudio Etnozoológico e Iconográfico de los reptiles en el códice Borgia, México : Universidad Nacional Autónoma de México, 2012, 1 vol. (175 p.). Disponible en ligne, url : <>.
    Licenciatura en Biología.
  • Martínez Martínez, Lucero Mayte ; Escalona López, Alfonso (dir.), Diseño de CD interactivo de la exposición “códice AQ Abel Quezada” presentada durante diciembre 2010 a abril 2011, en el Museo de la Ciudad de México, México : Universidad Nacional Autónoma de México, 2012, 1 vol. (105 p.). Disponible en ligne, url : <>.
    Licenciado en Diseño y Comunicación Visual.
  • Rojas Martínez Gracida, Araceli ; Jansen, M.E.R.G.N. (dir.) ; Grube, N. (dir.), El tiempo y la sabiduría en Poxoyëm. Un calendario sagrado entre los Ayook de Oaxaca, Leiden : Leinden university, 2012. Disponible en ligne, url : <> et <>.
    Résumé :
    The specific time-count made up of the combination of 20 signs and 13 numbers (260 days), was one of the essential traits of ancient Mesoamerican civilisations. Interestingly, this calendar system persists in some contemporary communities of Southern Mexico and Guatemala, where “daykeepers”, specialists in traditional healing and divination, still utilize it. The present study comprises a documentation of one of these calendars, among the Ayook people of Oaxaca, Mexico. The aim was to record the sacred count of the days, still managed effectively by women, along with its relationship to other culturally significant symbolism, for instance in the realm of ritual, divination, world vision perceptions, and origin narratives. This work expects to shed light on Mesoamerican calendars research, but also provide a respectful and dignified description of Ayook People’s heritage.
    Doctoral Thesis
  • Román Pacheco, Fabiola ; López Veneroni, Felipe (dir.), La imagen simbólica en el códice prehispánico y su mediación en el proceso comunicativo, México : Universidad Nacional Autónoma de México, 2012, 1 vol. (140 p.). Disponible en ligne, url : <>.
    Maestría en Comunicación.


  • Dávila Montoya, Alejandra ; Navarrete Linares, Federico (dir.), Estudio historiográfico e iconográfico de las representaciones de la imagen de Axayacatl en el Códice Cozcatzin, México : Universidad Nacional Autónoma de México, 2011, 1 vol. (196 p.). Disponible en ligne, url : <>.
    Maestro en Estudios Mesoamericanos.
  • Flores Olmedo, Diego Jesús ; Johansson, Patrick (dir.), La imagen prehispánica como documento historiográfico : el caso de la lámina 56 del Códice Borgia, México : Universidad Nacional Autónoma de México, 2011, 1 vol. (155 p.). Disponible en ligne, url : <>.
    Licenciado en Historia.
  • Grippon, Stéphanie ; Tardieu, Jean-Pierre (dir.), Visión de la religión incaica por el P. Bernabe Cobo a través de su historia del nuevo mundo, libro XIII, [S.l.] : [s.n.], 2011, 1 vol. (81 p.).
    Mémoire de master recherche 2e année : Lettres et langues. Monde hispanique : La Réunion : 2011.
  • Maya Moreno, Rubén ; López-Soldado y Mato, Francisco (dir.), El papel amate, soporte y recurso plástico en la pintura indígena del centro de México, Madrid : Universidad Complutense, 2011. Disponible en ligne, url : <>.
    Tesis de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, soutenue le 15-02-2011
    Résumé : Lo que propone esta investigación de tesis, es destacar la trascendencia del papel amate dentro de la producción artística contemporánea en México y de manera específica analizar su relación con la práctica pictórica de los nahuas y su incorporación como recurso plástico (de origen indígena y tradición milenaria) de innumerables propuestas visuales.Plantea también un estudio técnico-historiográfico del antiguo amatl, abordando su empleo como soporte para la escritura pictográfica en los códices prehispánicos y su conservación en algunos documentos coloniales, fungiendo ambas producciones plástico-pictóricas como antecedente visual de la reciente “pintura sobre amate” creada por los nahuas de Guerrero a mediados del siglo XX, la cual se ha convertido en una manifestación importante de arte popular mexicano. Dicha práctica artesanal representa la unión de dos tradiciones: la pintura nahua y la producción de papel amate conservada por los otomíes de San Pablito, Puebla, hasta pleno siglo XXI.Asimismo, se desarrolla el proceso de elaboración de papel, desde la extracción de corteza hasta la construcción de las hojas; además se analizan aspectos formales y temáticos desarrollados en la pintura nahua, relacionándolos con la práctica pictórica de tradición occidental, subrayando que se trata de un planteamiento plástico propio, cuya capacidad de adaptación y evolución ha propiciado el intercambio de conceptos y modos de representación.Dada la trascendencia histórica del amate en México y sus amplias cualidades estéticas, este papel ha sido incorporado a propuestas artísticas actuales, activándolo como un elemento plástico-conceptual de identidad cultural pero al mismo tiempo como vehículo de significados personales que lo convierten en un detonante de procesos creativos y por ello objeto de estudio desde el campo del arte plástico-visual.
  • Soler Bistué, Maximiliano A. ; Funes, Leonardo R. (dir.), Edición y estudio de un códice de materia legal en el marco de la contienda político-cultura del siglo XIV (Ms BNM 431), Universidad de Buenos Aires, Facultad de Filosofía y Letras, 2011, 2 vol. Disponible en ligne, url : <> et <>.
    Doctorado en Letras.


  • Bejarano Almada, María de Lourdes ; Mohar, Luz María (dir.), El cacicazgo de Itzcuinatoyac. : tres fuentes, una sola historia : relación entre documentos de tierras del AGN con el Códice Veinte Mazorcas y el Lienzo de Tlapa, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (646 p.). Disponible en ligne, url : <>.
    Doctor en Estudios Mesoamericanos.
  • Beristain Ocampo, Sergio ; Armenta Ortiz, Miguel (dir.), La semiótica de Mictlantecuhtli dentro de los códices del grupo Borgia, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (416, [13] p.). Disponible en ligne, url : <>.
    Maestría en Artes Visuales.
  • Birman Furman, Raquel ; Viesca Treviño, Carlos (dir.), Los códices como instrumentos de la clase dominante para mantener el poder en la cultura de Mesoamérica, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (172 p.). Disponible en ligne, url : <>.
    Maestro en Historia.
  • Calderón Bony, Marcela ; Martínez Álvarez, José de Jesús (dir.), Un estudio comparativo de la iconografía animal en los códices preshispánicos y bestiarios medievales, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (224 p.). Disponible en ligne, url : <>.
    Licenciado en Artes Visuales.
  • Delgado Arteaga, Miriam Lidiett ; Escalante Gonzalbo, Pablo (dir.), La representación de la palabra en los códices mesoamericanos, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (78 p.). Disponible en ligne, url : <>.
    Licenciado en Historia.
  • Delgado Becerril, Edgar Martín Alberto ; Escalante Gonzalbo, Pablo (dir.), Las hachas mesoamericanas del posclásico y su representación en los códices, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (88 p.). Disponible en ligne, url : <>.
    Licenciado en Historia.
  • Enriquez, Alejandro ; Spadaccini, Nicholas (dir.), Theaters of rule, theaters of resistance: Franciscan discourses of spiritual conquest in colonial Yucatán, 1541–1688, University of Minnesota, 2010, 1 vol. (309 p.).
    Abstract : This dissertation examines issues of power and representation in colonial Yucatán, primarily as expressed through the writings of Franciscan missionaries. My thesis is two-fold: first, I will show that the Spanish conquest of Maya society in the colonial outpost of the Yucatán yields distinct power relations among the conquistadors, the encomenderos (the Spanish settlers given large tracts of lands to be worked by the indigenous), and the Franciscan missionaries sent to convert the native population to Christianity; second, I will examine how missionary texts reveal an image of what I will call the friar-conquistador and how the writing itself belies what I term colonial anxiety, i.e. gestures within the text that seek to eliminate by any and all means necessary the perceived threat posed by the other (in this case, the Maya) to the identity of the friars and the truths (religious and political) that they held sacred. My approach is interdisciplinary, draws on Mayanist and colonial history and ethnography, but it is grounded in a discourse analysis of literary texts that at once places them in their context of production and circulation and reads them both for their explicit meanings and their ideological underpinnings. The first part of the dissertation details the historical context of the Yucatán and the theoretical debates in colonial studies that will be in play; the second part delves into a textual analysis of three Franciscan missionaries, Diego de Landa, Bernardo de Lizana, and Diego López de Cogulludo.
    Thèse de doctorat :philosophie : University of Minnesota : 2010.
  • Hatchondo Roux, Françoise Renée ; Escalante Gonzalbo, Pablo (dir.), Mirada descriptiva, mirada anacrónica : la arquitectura pública y doméstica en el Códice Tlaxcalteca – Lienzo de San Sebastián, México : Universidad Nacional Autónoma de México, 2010, 1 vol. (112, [1] p.). Disponible en ligne, url : <>.
    Maestría en Historia del Arte.
  • Schorsch, Stéphanie ; Lévine, Daniel (dir.), La Région du Cuzco : du formatif à l’arrivée des Espagnols, [S.l.] : [s.n.],  2010.
    Résumé : Cuzco est aujourd’hui connue comme l’ancienne capitale des Incas. Carrefour entre différents étages écologiques et régions du Pérou, la Région du Cuzco recèle de nombreuses et diverses ressources, qui attirèrent des populations dès l’Epoque Précéramique. La première culture attestée, Marcavalle, mit en place des traditions culturelles qui aboutiront, près de 2400 ans plus tard, au grand empire inca.Cette thèse consiste à redéfinir la chronologie de la région en se fondant sur les diverses sources mises à notre disposition. Cette étude tente de redéfinir la carte de la région grâce aux nombreux vestiges et aux quelques sources écrites et ce, afin de retracer le parcours des ethnies ancêtres des Incas.
    Abstract : Cuzco is now known as the ancient Inca capital. Crossroads between different regions and ecological levels of Peru, Cuzco Region contains many different resources, which attracted people since the Preceramic Period. The first culture confirmed, Marcavalle, set up cultural traditions that will lead, almost 2400 years later, the great Inca Empire.This thesis consists to redefine the chronology of the region based on various sources available to us. This study attempts to redefine the map of the region thanks to the many ruins and the few written sources and, in order to trace the course of the ethnic ancestors of the Incas.
    Thèse de doctorat : Archéologie de l’Amérique préhispanique : Paris 4 : 2010.


  • Bassett, Molly ; Busto, Rudy V. (dir.) ; Peterson, Jeanette F. (dir.), The fate of earthly things: Mexica-Aztec deities and their representation, Santa Barbara : University of California, 2009, 1 vol. (245 p.).
    Ph.D. : Religious Studies
    Résumé : The Mexica-Aztec conceived of their world as animate. Early postcontact witnesses of the surviving Mexica-Aztec and their culture described the many Central Mexican gods and goddesses with fascination but limited clarity. Similarly compelled to describe with the proliferation of Mexica-Aztec images and effigies, recent scholarship describes manifestations of this cosmic animation gods, deities, supernaturals, spirits and forces. These terms may approach how the Mexica-Aztec and other Central Mexicans spoke of the cosmic animation they divined and venerated, but these approximations have outlived their usefulness in the study of Mexica-Aztec religion.This dissertation re-examines two fundamental components of Mexica-Aztec religion: teotl (pl. teteo) and ixiptla. These terms revolve around concepts of deities and their manifestation, and they have evaded easy transcription. However, an examination of their concurrence in older Nahuatl descriptions of Mexica-Aztec rituals confirms the importance of their cultural specificity. Teteo, traditionally “deities,” function together with ixiptla, “impersonators, representations or likenesses.” Teteo exist in the physical world through their embodiment in ixiptla, which include media as diverse as clay figurines, elements of the natural environment, stone monoliths and humans.
    The central thesis of this study is that a better understanding of how teteo and ixiptla function together in language and in ritual contexts will enable a more informed discussion of the nature of teteo, their representation, identification and classification. A comprehensive examination of the concurrences of teotl and teixiptla (and their many derivations) in Bernardino de Sahagún’s mid-sixteenth century masterpiece The General History of the Things of New Spain serves as the basis for comparisons I draw between older Nahuatl and modern Nahuatl cosmovisions. These comparisons illustrate the extent to which the specific characteristics of Mexica-Aztec religious beliefs and practices has been overlooked in scholars’ efforts to identify and classify Aztec deities. Additionally, they provide insights into how the Mexica-Aztec might have animated ixiptla, the localized embodiments of their teteo.
    As a result of this dissertation, I hope to make a meaningful contribution to the understanding of Mexica-Aztec religion by clarifying the ways in which the Mexica-Aztec conceived of teteo, defined their attributes and animated them as ixiptla.
  • Bribiesca Nieto, Georgina Alicia ; Escalante Gonzalbo, Pablo (dir.) ;  Ruiz Gallut, María Elena (dir.) ;  Velásquez García, Erick (dir.), La representación de la luna en los códices de la tradición mixteca-Puebla, México : Universidad Nacional Autónoma de México, 2009, 1 vol. (46, [16] p.). Disponible en ligne, url : <>.
    Maestría en Historia del Arte.
  • Márquez Huitzil, Ofelia ; Sotelo, Laura (dir.), Espacio y forma en el universo semiótico del Códice Borgia, a partir de la lámina 56, México : Universidad Nacional Autónoma de México, 2009, 2 vol. (184 ; 248 p.). Disponible en ligne, url : <>.
    Doctor en Estudios Mesoamericanos.
  • Nava Román, María del Rosario ; Escalante Gonzalbo, Pablo (dir.), El color negro en la piel y su poder político-religioso en el mundo mesoamericano : del Altiplano Central a la Mixteca, México : Universidad Nacional Autónoma de México, 2009, 1 vol. (135 p.). Disponible en ligne, url : <>.
    Maestría en Historia del Arte.
    Résumé : Aborde les Códice Nuttall et Códice Borgia.
  • Rodríguez Pérez, José Manuel ; Vargas Alarcón, Gilberto (dir.), Participación del polimorfismo de los genes HLA, TNF alfa y HSP70 en la susceptibilidad al desarrollo a la cardiomiopatía dilatada en la población mexicana, México : Universidad Nacional Autónoma de México, 2009, 1 vol. (91, [4] p.). Disponible en ligne, url : <>.
    Résumé : Aborde le Códice Borgia.
    Doctorado en Ciencias Biomédicas.
  • Williams, Robert Lloyd ; Stross, Brian (dir.), Codex Zouche-Nuttall, pages 1-41: Narrative structure, contents, and chronologies, The University of Texas at Austin, 2009, 2013 p. Disponible en ligne, url : <>.
    Ph.D : Latin American Studies
    Résumé : This dissertation is a concise examination of the complete obverse manuscript (document 1) of the pre-Hispanic pictogram screen-fold painted by the Mixtec Indians of Oaxaca. The study begins with the historiography of Native American Mexican screen-fold books as related by the first historian of the New World, Peter Martyr d’Anghera, in his De Orbe Novo and proceeds through major authors from the early twentieth century to present day. The nature of “native” history is explored as is the nature of pictogram narrative history. The superficial narrative structure of Codex Zouche-Nuttall, document 1 is then defined and interpretative reading techniques employed in this dissertation are applied to it.
    The codex document 1 contents (pages 1-41) are then listed in detail by section, structure, personnel, events, and native dates corresponded with the European calendar, this latter in so far as is possible. This definition explicates each of three bifurcated sections of the document, each section consisting of a story plus genealogy or genealogies. Additionally, essays on codex contents are provided to further elaborate these divisions of study within Codex Zouche-Nuttall document 1. These essays explore certain mysterious parts of the stories, as in the case of the Ladies Three Flint and the Four Lords from Apoala.
    Inferences are made from codex text regarding Postclassic Period Mixtec social organization via both political structure and religion. The end result is a concise elaboration and explanation of the entire document.


  • Baena Ramírez, Angélica ; Nagel Bielicke, Federico Beals (dir.), El significado del oriente en los códices del grupo Borgia y otras fuentes escritas, México : Universidad Nacional Autónoma de México, 2008, 1 vol. (92 p.). Disponible en ligne, url : <>.
    Licenciatura en Historia.
  • Bastardín Candón, Teresa ; Franco Figueroa, Mariano (dir.), Estudio léxico de la “historia general de las cosas nuevas de España”, Cádiz : Universidad de Cádiz, 2008.
    Résumé : Se trata de un estudio léxico, de carácter diacrónico y claro contenido documental, sobre el español de América, que pretende dar pistas esclarecedoras del grado de criollización que alcanza nuestra lengua en el nuevo continente y, más específicamente, en la obra de fray Bernardino de Sahagún, cronista e historiador de indias, con una convivencia prolongada en la nueva sociedad colonial. El proyecto asume la concepción y el método de estudio propios de la perspectiva histórica, con una consideración amplia del fenómeno dialectal, que agrupa a las variedades geolectales y también a las diferencias sociolingilísticas, sin olvidar las cuestiones relativas a la tipología textual y a los registros usados en la escritura. En esta línea, se pretende mostrar los usos léxicos de nuestro franciscano, con presencia de las distintas variantes de norma del español del siglo XVI, de acuerdo con su carácter de autor culto, y con su origen norteño, pero con asimilación de otros regionalismos, así como de un vocabulario ya claramente adaptado a la vida colonial. Para ello se somete a análisis el texto paleográfico castellano de la edición facsímil del Códice Florentino, manuscrito bilingüe que permite el cotejo con el texto náhuat y que, además, se considera como la versión más acabada de la obra. El trabajo se estructura en dos grandes bloques. En el primero se repasa el contexto histórico y cultural en el que se desenvuelve el autor, con especial atención a su formación humanística y a la labor franciscana en América, y se enmarca la obra en una tradición indigenista, en clara relación con la necesidad evangélica de las órdenes religiosas en el Nuevo Mundo. Asimismo se repasa el conjunto de los escritos de nuestro fraile, y en particular de su “Historia General”, con la descripción de manuscritos y ediciones y de su proceso de elaboración, con el fin de establecer sus posibles conexiones y de determinar su importancia lingüística. El segundo bloque se centra en el estudio léxico de la obra con la intención de observar la acomodación y reestructuración de nuestro vocabulario patrimonial en su trasvase americano, así como el grado de aindiamiento del mismo, a través de la incorporación de indigenismos. En este sentido, el capítulo dedicado al léxico patrimonial destaca las variantes diacrónicas, diatópicas y diastráticas más relevantes en la configuración del nuevo dialecto e insiste en su carácter innovador, fundamentalmente, a partir de la adaptación y de la creación léxica como mecanismos de captación de la realidad americana. El capítulo destinado al léxico indígena, el más importante desde un punto de vista cuantitativo, recoge los indigenismos de la obra, en su mayor parte nahuatlismos, con un análisis de la vitalidad y extensión de estas voces desde una perspectiva histórica y actual. El estudio finaliza con un capitulo de conclusiones, que recogen los resultados de los distintos apartados; con una bibliografía, que se ha estructurado en cuatro secciones para dar cabida a los estudios más generales sobre el español de América y a otros de carácter más especializado sobre la obra, a las distintas ediciones de la misma, ordenadas cronológicamente, a los diferentes textos históricos que sirven como base documental, y, por último, a los atlas y diccionarios que se citan: el trabajo se cierra con un anexo de gráficos comparativos.
  • Birman Furman, Raquel, Los códices como instrumentos de la clase dominante. Para mantener el poder en la cultura de Mesoamérica, México : Universidad Nacional Autónoma de México, Facultad de Filosofía y Letras, 2008.
    Maestría en Historia
  • De Leon, Ann E. ; Castro-Klaren, Sara (dir.), The production and reproduction of “Aztec” bodies: Translating pictorial and textual discourses on the human body from Sahagún’s “Florentine Codex” (1579) to Antonio Peñafiel’s “Indumentaria Antigua Mexicana” (1903), The Johns Hopkins University, 2008, 453 p.
    Ph. D.
    Résumé : This dissertation studies the various interpretations performed on the iconography of the “Aztec” human body in Sahagún’s Florentine Codex (1579), and explores how Mexican and European intellectuals from the sixteenth to the nineteenth centuries were equipped to decode the iconography of “Aztec” bodies. The first part of this thesis engages the problem of cultural translation on the iconography of the human body. Here (1) I provide a new reading of the iconography of Malinche and Cortés in the Florentine Codex informed by Aztec Cosmovision and (2) develop a cultural and intellectual history of the diverse iconographic readings carried out on the sculpture of the Aztec goddess Coatlicue. By appropriating European iconography and alphabetic texts into Amerindian Cosmovision, the tlacuilos chose to represent their colonial present not as the demise of their world, but as a continuation of it (within their cyclical view of time). The second part of this thesis investigates the deployment of Aztec bodies by the nineteenth-century scholar, surgeon, and military man Antonio Peñafiel in his Indumentaria Antigua (1903). I investigate how projects, such as those of Peñafiel, relied on the emergence of the discipline of Archeology and the formation of national museums, where Aztec material culture could be displayed and read using a Eurocentric apparatus of knowledge. This section also examines how the nineteenth century writes itself onto colonial spaces by reproducing the iconography of “Aztec” bodies as European bodies. This “Aztec Palimpsest,” persisted from the sixteenth century until the subsequent categorization of Aztec cultural productions into the language based categories of Western literature by Garibay and León-Portilla in the twentieth century. This type of iconographic interpretation was further reinforced by two of Mexico’s most renowned literary figures: Octavio Paz and Carlos Fuentes.
  • Echeverría Callejas, Martín ; Escalante Gonzalbo, Pablo (dir.), Análisis del tocado de Ehécatl Quetzalcóatl en los códices mesoamericanos, México : Universidad Nacional Autónoma de México, 2008, 1 vol. (146 p.). Disponible en ligne, url : <>.
    Maestría en Historia del Arte.
  • Juárez Servín, Mauricio de Jesús ; Gómez Romero, Gerardo (dir.), El diseño de la comunicación visual en el méxico prehispánico : petroglifos, pinturas rupestres, sellos y códices : un acercamiento a los antecedentes del diseño gráfico en México, México : Universidad Nacional Autónoma de México, 2008, 1 vol. (262, [4] p.). Disponible en ligne, url : <>.
    Maestría en Artes Visuales.
  • Leysinger, Claudine ; Piccato, Pablo (dir.), Collecting images of Mexico: A polychromatic view through the lens of Teobert Maler, 1860–1910, Columbia University, 2008, 1 vol. (408 p.).
    Abstract : This dissertation centers on the life and work of Teobert Maler (1842-1917), a nineteenth-century German expeditionary photographer in Mexico, who thanks to his multifaceted work and interests allows to straddle the history of archaeology and photography in nineteenth-century Mexico, as well as examine these disciplines within a transnational context, as they were both influenced by European trends. It thus traces the development of Mexican anthropology—used in its broadest definition referring to all the anthropological disciplines—and its study by foreign explorers and antiquarians in the second half of the nineteenth century (1860s to 1910).Drawing on a variety of sources—photographs, drawings, letters, diaries, travel reports, archaeological treaties, and Mexican and German government records—this study challenges postcolonial theories, which equate foreign archaeologists and photographers active in colonized or formerly colonized countries to imperial agents. The work of Teobert Maler shows that even though foreigners asserted themselves in the field in more than one way, Mexican elites nevertheless found means to use the oeuvre of foreigners for their own goals, thus complicating the idea of Western dominance. Mexican politicians and intellectuals of the Porfiriato (rule of Porfirio Díaz, 1876-1911) found Western interest and involvement in Mexico’s pre-Hispanic past useful in more than one way. Not only did they increasingly view their country’s ancient history as a means to promote a cohesive national narrative, but they also saw the science of archaeology as a chance to propel their country into the ranks of modern nations. They understood foreign interest in Mexico’s pre-Columbian past as a way to foster progress by welcoming this new science and the men (and less often the women) who carried out and shaped this new discipline. This dissertation thus traces the development of Mexican anthropology during a time when Porfirian elites pursued nationalist and cosmopolitan aims—two forces that pulled in opposite directions. The outcome was a marked Eurocentrism, which was not so much the natural conclusion of the development of anthropology in Mexico, but rather a consequence of multiple factors and circumstances.
    Thèse de doctorat : philosophie : Graduate School of Arts and Sciences : Columbia University : 2008.
  • Montoro, Glaucia Cristiani ; Karnal, Leandro (dir.), Memorias fragmentadas : novos aportes a historia de confecção e formação do Codice Telleriano Remensis. Estudo codicologico = Fragmented memories : a novel contribution to the history of the creation and development of the Codex Telleriano Remensis. A codicological study, 2008. Disponible en ligne, url : <>.Résumé : Este trabalho enfoca um manuscrito de tradição indígena, chamado Códice Telleriano Remensis, confeccionado em meados do século XVI na região central do México. Trata-se de um documento de patronagem européia composto por um sistema de notação indígena basicamente pictográfico e por textos em caracteres latinos. Foram realizadas análises do documento original com o auxílio da Codicologia, uma disciplina especializada no estudo dos manuscritos do ponto de vista material, e um estudo pormenorizado dos escribas/ pintores ou tlacuilos. O trabalho é focado, portanto, nas características materiais do códice (suporte, organização material, encadernações, restaurações, etc), visando à reconstrução de sua história de confecção, com enfoque no conteúdo imagético. A pesquisa trouxe dados importantes sobre a confecção e formação do manuscrito, que foi realizado por vários tlacuilos, os quais se vinculam estilisticamente a distintas tradições do México Central e mostram diversas formas de adaptar os conteúdos tradicionais indígenas ao papel e formato de livro europeu e às necessidades dos novos usuários. O códice é um material fascinante, de grande heterogeneidade, e as análises permitiram demonstrar suas diversidades internas, que refletem a complexidade e pluralidade das tradições indígenas e algumas formas de adaptá-las a materiais, convenções e concepções ocidentais. Abstract : The present work focuses on a manuscript of indigenous tradition called Codex Telleriano Remensis, created in the mid sixteenth-century in the central region of Mexico. It is a work of European sponsorship which is composed of a native notation system, basically pictographic, and through texts in latin characters. An analysis of the original manuscript was carried out with the help of Codicology, a discipline that specialises on the study of manuscripts from a material perspective, as well as a detailed study of the scribes/ painters, the so-called tlacuilos. The research is hence focused on the material characteristics of the Codex (support, material organization, binding, restorations, etc). The main objective of this analysis was to re-construct the history of its creation, with special emphasis on its pictographic content. The work developed brought important data into light regarding the history of the creation and development of the manuscript. The task was undertaken by several tlacuilos, which a related to different style traditions of Central Mexico and who show various forms of adapting the traditional indigenous contents to European paper and book formats, as well as to the needs of the new users. The Codex itself is a fascinating working material, with a great level of heterogeneity and, the analysis undertaken gave the opportunity to demonstrate its internal diversity, reflecting the complexity and pluralism of indigenous traditions and some of the forms used to adapt them to Western materials, conventions and concepts.
  • Rojas Herrera, María Mercedes ; Magaloni Kerpel, Diana (dir.), El huipil y su representación en el Códice Florentino, México : Universidad Nacional Autónoma de México, 2008, 1 vol. (91 p.). Disponible en ligne, url : <>.
    Maestro en Historia del Arte.
  • Ruz Barrio, Miguel Angel ; Batalla Rosado, Juan José (dir.), Un conjunto de documentos inéditos de los siglos XVI y XVII sobre Cholula: el “legajo Chimaltecuhtli-Casco”, presentación, autenticación y estudio, Madrid : Universidad Complutense de Madrid, 2008.
    Résumé :  Esta Tesis Doctoral pretende dar a conocer un legajo inédito que actualmente se encuentra en una colección privada. Dentro de este, encontramos diversos documentos de los siglos XVI y XVII, entre ellos varias pinturas que merecen el calificativo de códices mesoamericanos coloniales. Como ya hemos dicho, dos de estas pinturas las analizamos de manera independiente en nuestra Memoria de Licenciatura dirigida por el Dr. Juan José Batalla Rosado: Un códice cholulteca de mediados del siglo XVI: El Pleito entre Isabel Eçitzin y Mateo Chimaltecuhtli. Análisis de sus pinturas (Ruz 2006a). Son las que hemos denominado como: Pintura de las Posesiones de Mateo Chimaltecuhtli y Luisa Yectzin y Pintura de la Genealogía de Isabel Eçitzin. En dicho trabajo, únicamente estudiamos estos dos documentos. Ahora, sin embargo, vamos a presentar el conjunto completo donde se encuentran, incluyéndolas también y por tanto mejorando su estudio al ampliar su contextualización. La peculiaridad de este Legajo es que se encuentra actualmente en manos de un coleccionista privado y no se conocía su existencia hasta el momento. Nosotros hemos podido tener acceso al original para proceder a su estudio gracias a la colaboración por parte de su propietario, que nos ha dado muchas facilidades para el desarrollo de nuestra investigación. Esta característica va a ser lo que defina nuestro presente trabajo, tanto en lo que respecta a los objetivos como a los medios empleados. Por un lado, lo primordial es presentar la autenticación, la datación y el contenido. Por otro, debemos tener presente que la investigación se ha visto sometida a unas normas distintas al trabajo en un archivo público. Hemos decidido nombrar a este corpus documental como Legajo Chimaltecuhtli-Casco, debido a que la documentación que contiene se refiere a personajes relacionados con estos dos apellidos. Aparecen en él testamentos, ventas de tierras y pleitos, además de varias pinturas. Sus fechas abarcan desde mediados del siglo XVI hasta el siglo XVII. La mayor parte del texto está escrito en castellano, aunque hay algunos fragmentos en náhuatl. El total de folios que lo componen son ochenta y tres, más dos bifolios cosidos entre sí sueltos, donde se encuentra el fragmento de una pintura, de difícil interpretación por la escasa información que aporta.
  • Suárez Pascal, María Cipactli ; Arzápalo Marín, Ramón (dir.), Estudios estructurales entre los códices mayas prehispánicos y los coloniales, México : Universidad Nacional Autónoma de México, 2008, 1 vol. (104 p.). Disponible en ligne, url : <>.
    Licenciado en Estudios Latinoamericanos.


  • Amaya Alcazar, Imelda ; Navarijo Ornelas, Maria de Lourdes (dir.), El ave del cuarto dia del Calendario Ritual del Codice Borbonico : su identidad y contexto cultural, México : Universidad Nacional Autónoma de México, 2007, 1 vol. ([1], 50 p.). Disponible en ligne, url : <>.
    Especialista en Historia del Arte.
  • Briseño Senosiain, Ana Maria Elena ; Šégota, Dúrdica (dir.) ;  Romero Galván, José Rubén (dir.), In cihuatl, in cihuapilli, la mujer y la señora segun sus imagenes en el Códice Borgia, México : Universidad Nacional Autónoma de México, 2007, 1 vol. (104 p.). Disponible en ligne, url : <>.
    Maestro en Historia del Arte.
  • Colin Miranda, Minerva ; Navarrete Linares, Federico (dir.), Un tiempo, un espacio, un pueblo : los mexicas : análisis del Codice Aubin, México : Universidad Nacional Autónoma de México, 2007, 1 vol. ([1], 221 p.). Disponible en ligne, url : <>.
    Licenciado en Historia.
  • Dias Alvarez, Ana Guadalupe ; Magaloni Kerpel, Diana (dir.) ;  Olivier Durand, Guilhem (dir.) ;  Galindo Trejo, Jesús (dir.), La imagen del tiempo en la primera pagina del Codice Fejervary-Mayer, un modelo de la configuracion cosmica basado en la estructura calendarica mesoamericana en el area central de Mexico, México : Universidad Nacional Autónoma de México, 2007, 1 vol. (83, [50] p.). Disponible en ligne, url : <>.
    Maestro en Historia del Arte.
  • Hajovsky, Patrick Thomas ; Cummins, Thomas B. F. (dir.), On the lips of others: Fame and the transformation of Moctezuma’s image, The University of Chicago, 2007, 387 p.
    Ph.D. : Philosophy
    Résumé : This study compares the portraits and portrayals of the fame of the Aztec king Montezuma. European discourse about Montezuma distinguished Montezuma’s historical and political persona from his religious one, even though these were inseparable aspects of Aztec divine kingship. European portraits of him revolved around the political desire to portray an individual personality and situate that personality in a historical context, especially in contexts meant to justify Spain’s right to rule in the New World. In so doing, early colonial-period histories written about Montezuma from either side of the Atlantic efface how the divine king was portrayed in a series of Aztec stone sculptures during the eighteen years of his role (1502-20).
    Montezuma’s name hieroglyph appears on no less than eight Aztec stone sculptures. This hieroglyph and the king’s portrait identified his body at the center of ritual transformations of his fame on a calendrical basis. Montezuma was depicted at the center of all fame, and he occupied the central role to mete out fame to others. Montezuma’s name hieroglyph innovated on traditional Aztec representations of power as invested in the Great Speaker (the Aztec term analogous to king). It also employed ancient symbols of Toltec nobility to center the legitimacy of that power. Montezuma controlled the speech and appearance of nobility in Tenochtitlan, the Aztec capital, and he orchestrated performances that highlighted the fame of socially mobile individuals—warriors and merchants—as part of divine service to the king and the sun.
    The study concludes with a comparative analysis of a portrait of Montezuma that remains in situ (although badly damaged) in Chapultepec Park in Mexico City. I compare the remains of the portrait with other Aztec portraits that were produced by indigenous kings and described in sixteenth century histories, and conclude that although these colonial-period sources are essential to our understanding of the Aztec past through the figures of famous men like Montezuma, the fame they cast is of a different order than that which existed in Montezuma’s time.
  • Linares Aguirre, Victor Angel ; López Austin, Alfredo (dir.), La serpiente. De lo cultural a lo biologico : un estudio linguistico y etnozoologico del Libro XI del Codice Florentino de Fray Bernardino de Sahagun, México : Universidad Nacional Autónoma de México, 2007, 1 vol. (138 p.). Disponible en ligne, url : <>.
    Maestro en Estudios Mesoamericanos.
  • López García, Ubaldo ; Jansen, Maarten R.E.G.N. (dir.); Bartolomé, Miguel A. (dir.), Sa’vi: Discursos ceremoniales de Yutsa To’on (Apoala), Leiden : Archaeology and History of Native American Peoples, Faculty of Archaeology, Leiden University, 2007. Disponible en ligne, url : <Title page_Indice_Introducción> ; <Chapter 1> ; <Chapter 2> ; <Chapter 3> ; <Chapter 4> ; <Chapter 5> ; <Chapter 6> ; <Chapter 7> ; <Annex> ; <Essential vocabulary> ; <Summary in English> ; <Illustrations> ; <Curriculum vita … sh_Propositions in English>.
    Résumé : interventions in village life. Doing all this work for the community has also schooled them in the use and meaning of Sa‟vi. For those who do not know how to read and write, the process starts with the office of Mayor de Vara del Ayuntamiento. For those who do, with that of Síndico Municipal. In these offices they start speaking the Sa’vi, when delivering messages to the citizens. If one does not have the necessary experience or knowledge of this special way of oral expression, one asks the immediate superior in the same line of duty to help out and teach it. If that is not sufficient, one goes to a trusted experienced and respected elder in the community to learn from him the usages, times and places of this discourse. The apprenticeship commences with short messages, e.g. thanks for an invitation.The central question of this study is: How are the ideas and values of a culture, specifically of the culture of Ñuu Savi (the Mixtec people in Southern Mexico), transmitted and perpetuated? This prompts exploration of a specific genre of oral literature, the Sa’vi or “ceremonial discourse”, which plays a prominent part in the construction of community and cultural memory. Although this genre is obviously important for many studies of Mesoamerica, it has so far received little attention. Consequently our first task was an adequate representative documentation, both of the texts and of their contexts, with their linguistic and anthropological dimensions. With the help of many local people a corpus of discourses (“parangones”) from Yutsa To‟on (Apoala), situated in the Mixtec Highlands in the Mexican State of Oaxaca, was taped, transcribed, translated and commented upon. An important aspect of this research is the historical dimension, because from the same region a number of precolonial pictorial manuscripts has been preserved, in which Yutsa To‟on also appears prominently. As these manuscripts must also have functioned as a basis for public discourses and performances within a ceremonial context, the question arises whether there is a relation and continuity between the pictographic scenes in those codices and the Sa’vi of today, in composition, style, contents and social function. The ceremonial language is employed in solemn acts of family or community life – such as baptism, compadrazgo, asking the hand of a woman, traditional weddings, the receiving and honouring of municipal authorities, thanksgiving for the harvest to Mother Earth, healing ceremonies, mayordomías etc. In all of these events the discourse invites reflection through counselling and exhorting respect and mutual support among the individuals, searching for solutions to problems by making explicit or implicit references to the ancestors and their norms of conduct and living together. The Sa’vi is also the language in which to address the gods, and to refer to different sacred symbols, such as the Tukukua, Itakutsa, staff of office, mat and throne (el Yuhuitayu analyzed by Kevin Terraciano and Angeles Romero), the Rosary, and the authorities themselves (Tade’e), as those who carry the responsibility for the well-being of the people. Thus the discourses fulfill several objectives at the same time, expressing normative and explicatory ideas about nature, religion, history, politics, morality etc., and exposing the knowledge of earlier generations and different segments of society. The Sa’vi is interactive: on the one hand it may be an opening discourse or a responding one , on the other there is always the relation between the canonical message and the specific moment in which it is pronounced (cf. RAPPAPORT 1999). Susana Cumming y Tsuyoshi Ono stress that discourse and context generate and limit each other (van DIJK 2001:174). As a specialized speech genre Sa’vi is the reserved domain and competence of a the group of elders known as Tanisa’nu, who have accumulated social prestige and moral authority because of their community services, i.e. by passing through the hierarchy of social, communitarian municipal and ecclesiastic offices (cargos), which has provided them with a detailed knowledge of customs and prestige because of their positiveFrom the familial and personal environment we move on to the social and political life of the town, focusing on the discourses pronounced at the occasion of the change of municipal authorities and discussing the meaning of the symbols used and referred to in this context, e.g. the bush of flowers (Chapter V). We pay attention to the complex social organisation, which is connected to the worldview, rooted in the precolonial period but remodelled later under Catholic influence. This aspect of syncretism is even more present in the religious festivities with their corresponding mayordomías (Chapter VI). All these activities imply also the participation of family members, compadres, authorities, neighbours and other helpers, which has to be solicited and for which thanks is given for by a Tanisa’nu with adequuate phrases. Obviously the Sa’vi is also used during ceremonies that clearly have a precolonial background, such as the celebration of the Days of the Dead. The abovementioned social contexts, with their corresponding symbolisms, are, indeed, also present in the Mixtec codices. With a deeper understanding of the form, function and contents, we may achieve a more adequate reading of the pictorial scenes and propose new interpretations of specific elements. In Chapter VII the following important examples are analysed: – the staff of office as symbol of power, – the throne and the mat as signs of the unity of the community and civil authority recognising the seated couple as Tade’e, “father and mother of the people”, – the flint knife as symbol of justice, – the processions of protagonists as an expression of social organisation, comparable with the contemporary authorities lined up with their staffs, – the symbolism of the four directions that is manifest in the so-called Venus Staff, corresponding to the contemporary wooden frame known as Tukukua, – the bush of flowers (Itakutsa) as part of the public recognition of power, – the Sacred Bundle as a container of abstract force and luck, – elements of the sacred landscape of Apoala itself, which appear in the codices, – the symbolic meaning and ritual use of maize, epitome of the Mesoamerican cosmos. Each of the chapters of this dissertation moves us to reflect on the use of the language: this analysis makes us understand its grammatical richness, but the focus on ceremonial speech is especially significant as it makes us aware of the persistence and continued transmission of cultural memory and philosophy among our peoples. Observing that this is the very language which our ancestors used to express their thoughts in the different codices they painted before the Spanish conquest, we not only discover that through the surviving manifestations of this special language, Sa’vi, we understand better several important passages of those ancient books, but also the continuity of that ancient thought and worldview in our present-day perspectives and identity. On the other hand, this language is dwindling: the new generations generally do not know and do not want to speak the common Mixtec language, much less the Sa’vi. Among the causes we may point to poverty (exploitation), discrimination, migration, alienating education with its modernisation „Western‟ style, the mass media, acculturation to „Western‟ thought, the lack of transmission and teaching of our own language and otherfactors that together provoke the displacement and extermination of the Mesoamerican languages, and in fact endanger the languages of all indigenous peoples of the planet. In this context we may understand the lack of consciousness and even apathy among the cultural descendants, which contributes to the further erosion of forms of knowledge, meanings, historical and philosophical values still existent in indigenous communities. To confront this problem, the challenge is that those of us who are conscious of our culture take an active approach, creating more reflection and understanding of this matter and of our cultural heritage. It is with that aim in mind that this dissertation was written.
    Doctoral Thesis.
  • Méndez Tamargo, Consuelo ; Molina y Vedia, Silvia (dir.), Proyecto de difusión de la colección de códices mexicanos de la BNAH : serie de videos, México : Universidad Nacional Autónoma de México, 2007, 1 vol. (100, [22] p.). Disponible en ligne, url : <>.
    Licenciado en Ciencias de la Comunicación.
  • Savkic, Sanja ; Šégota, Dúrdica (dir.), El color en el Codice de Dresde : segun la informacion de las fuentes escritas y de las linguisticas, México : Universidad Nacional Autónoma de México, 2007, 1 vol. (209 p.). Disponible en ligne, url : <>.
    Maestro en Estudios Mesoamericanos.



  • Briseño Senosiain, Ana Maria Elena ; Miaja de la Peña, Maria Teresa (dir.), Manifestaciones verbales sobre las diosas en el codice florentino, México : Universidad Nacional Autónoma de México, 2005, 1 vol. (306 p.). Disponible en ligne, url : <>.
    Licenciado en Lengua y Literaturas Hispanicas.
  • Hermann Lejarazu, Manuel Alvaro ; León-Portilla, Ascensión H. de (Ascensión Hernández) (dir.), Codices y señorios : un análisis sobre los simbolos de poder en la Mixteca prehispánica, México : Universidad Nacional Autónoma de México, 2005, 2 vol. (405 p.). Disponible en ligne, url : <>.
    Doctor en Estudios Mesoamericanos.
  • Herren, Angela Marie ; Keber, Eloise Quinones (dir.), Portraying the Mexica past: A comparison of sixteenth-century pictorial accounts of origin in Codex Azcatitlan, Codex Boturini, and Codex Aubin, City University of New York, 2005, 263 p.
    Ph.D : Art History
    Résumé : In the decades following the Spanish conquest of Mexico (1519-1521), indigenous artists painted the codices Azcatitlan, Boturini, and Aubin. Produced in the colonial period but focusing on prehispanic events, they provide lengthy narrative accounts—in pictorial form—of the two-hundred-year Mexica (“Aztec”) peregrination from their ancestral homeland of Aztlan in the twelfth century to their new capital of Tenochtitlan in the fourteenth century.
    My dissertation provides a comparative study of these manuscripts. Three of the longest and most detailed of extant pictorial migrations, they exhibit strikingly similar narrative frameworks. Previous studies have concentrated on their historical content to extract information about prehispanic Mexica history. In contrast, my dissertation (Chapter 1) examines them as transcultural colonial art objects, whose shared and unique features can be revealed by scrutinizing their construction, materials, and stylistic features, as well as their content. While their exact origins are unknown, each manuscript possesses its own history and trajectory, circulating over centuries through private hands and government institutions (Chapter 2) after being made by its own artists-scribes (tlaquiloque), whose roles dramatically changed after the conquest (Chapter 3). The following chapters view these migration histories as case studies of changes in the native pictorial tradition that occurred during the sixteenth century. Slight narrative variation as well as differences in materials, construction, composition, and stylistic choices highlight the availability of new materials, means, and patronage (Chapter 4), changes in the representation of time, space, and place (Chapter 5), and shifting modes of communication (Chapter 6). Appendices 1 and 2 provide, respectively, English translations of the Nahuatl glosses of Codex Aubin and Codex Azcatitlan.
  • Juarez Flores, Rosa Yolanda ; Juárez Servín, Mauricio de Jesús (dir.), Antecedentes : compilación documental del acervo : códices heráldicas escudos y otras búsquedas de los antecedentes del diseño gráfico en México, México : Universidad Nacional Autónoma de México, 2005, 1 vol. (226 p.). Disponible en ligne, url : <>.
    Licenciado en Comunicacion Grafica.
  • Mihok, Lorena Diane, Cognitive dissonance in early Colonial pictorial manuscripts from Central Mexico [Master of Arts, Institute for the Study of Latin America and the Caribbean College of Arts and Sciences, University of South Florida], [Tampa, Fla.] : University of South Florida, 2005, 97 p. Disponible en ligne, url : <>.
    Mémoire de master : Arts : Tampa (Fla), University of South Florida : 2005.
    Résumé : This thesis examines the relationship between the imagery and glosses displayed on folios from the Codex Telleriano-Remensis, the Codex Magliabechiano, and the Codex Ixtlilxochitl through the application of Leon Festingers concept of cognitive dissonance in order to introduce an alternative approach to the study of codices as points of culture contact. The work analyzes the ways in which this psychological condition manifested itself in post-contact codex production as a result of sixteenth century political and social circumstances. Festinger (1957:14) identifies the existence of cultural mores as a source of potential dissonance between culturally specific consonant elements. According to this idea, a culture may dictate the acceptance of certain actions, ideas, or beliefs and the rejection of others. Thus, at places of cultural confrontation, dissonance may result as each group relies upon authorized referents to deal with the introduction of new information. Among surviving post-contact manuscripts, these three codices contain folios with both pictorial and textual descriptions of annual Nahua pre-contact festivals and their corresponding deities. This particular group of codices allows comparisons and cross-references to be made among three different interpretations of the same feasts. Each manuscript presents a unique visual and alphabetic explanation of each festivals deities and celebratory activities created at different points during the sixteenth century. According to Festingers concept, the divergent descriptions of the same festivals found among these folios illustrate my position that the discrepancies came from inclinations on both sides to reach levels of consonance despite the unfamiliar circumstances of culture contact. This thesis asserts that the imagery and annotations associated with each festival became outlets for expressions of familiar forms and ideas. By locating these codices within the dynamic atmosphere of the early post-contact period, based upon their estimated dates of production, the discrepancies between the imagery and glosses serve as examples of dissonance resulting from larger sixteenth-century cultural frameworks. The disruption and psychological discomfort experienced by natives and Europeans by Spains pressure to colonize and Christianize its new territory directly affected the visual organization of early colonial codices and the selective display of information presented in the folios

  • Robertson, Janice Lynn ; Brilliant, Richard (dir.), Aztec picture -writing: A critical study based on the Codex Mendoza’s place -name signs, Columbia University, 2005, 483 p.
    Ph. D.
    Résumé : The Spaniards who first disembarked on the shores of Veracruz were mistaken for gods, in part because they seemed to come out of nowhere. After two days of looking, a shaman began to see the massive galleons rising out of the ocean waves. They were real enough, but the material did not fit any preconceived pattern; they became visible to the community at large only after the language to communicate about them had been put in place.
    Modern investigators, intent on isolating objects and defining each in its own right, have arrived at mutually exclusive concepts of art and writing, when in fact each has contributed to the historical shaping of the other. Profound investigations of each entity become possible, but it’s virtually impossible to acknowledge the give and take between them. Aztec picture-writing falls between the disciplinary cracks of most present-day investigations, for it doesn’t fit well within either category. This dissertation begins with that problem and proceeds to loosen the knots of the print-oriented, text-based logic that anchors our categorical notions. This paves the way for not only a renewed understanding and investigation of Aztec picture-writing, but a history heretofore unforeseen.
    In a book review recently published in Art Bulletin (December 2001), Jeffrey Quilter, Director of Pre-Columbian Studies at Dumbarton Oaks, points to some present-day boundaries and challenges his colleagues to surmount them: “If Pre-Columbian art history is to take its rightful place in the halls of art history departments, it has to find ways to contribute something to the discipline that cannot be provided through the study of Renaissance art, the Impressionists, and the like.” This dissertation uses ‘New World’ material to reveal ‘Old World’ conceptual constructs and begins to make good on that challenge.
  • SANTOS, Eduardo Natalino dos, Calendário, cosmografía e cosmogonia nos códices e textos nahuas do século XVI, Universidade de São Paulo, 2005, 1 vol. (437 p.).
    Doctorado en Historia


  • Soliz, Cristine ; Searle, Leroy (dir.), The Oklahoma Codex: Spanish matters in Indian text. The history of the Indies up to the Conquest of Mexico taken from the library of this court Madrid in October of 1778. Book Two: Chapters 1–30, University of Washington, 2004, 397 p.
    Résumé : The Oklahoma Codex is an anonymous paleographic Spanish manuscript book at the Gilcrease Museum in Oklahoma. The Codex is similar in content to Juan Torquemada’s Los Veinte y Un Libros Rituales, y Monarquia Indiana (The 21 Ritual Books and Indian Monarchy) ostensibly first published in 1614/1615. Their comparative contents are narratives of indigenous kings and the Conquest of Mexico.
    Both the Monarquia and the anonymity of the Codex contest for authority over Indian history. They are nearly identical in content, but their separate entities compete for the territory of pristine Indian text. How this Native territory can be described in Indian terms and extricated from the interiority of European terms has been the main concern of this translation of the Codex.
    The Oklahoma Codex exists as both a museum object of 19th century Oklahoma, and as a product of European historiographical tradition. As part of a museum collection, the Codex resides at a place that claims intellectual and physical ownership of the material evidence of Native history. These objects are external to the invasions that confiscated them and so they conceal that indigenous American material and intellectual culture has been displaced to European discourse. But the Codex‘s link to Torquemada recontextualizes the narrative of kings in Oklahoma and opens up the diachronic text of the Conquest of America and the centrality of Spanish matters in discourses that continually inscribe Indian text.
    Although similar in content, the Monarquia and the Codex interpellate the reader in different ways. Whereas the Codex asks the reader to respond from the place of Nahuatl eytmology, the comparative added text of the Monarquia interpellates her at the site of morality, the concern of Lawrence Venuti in The Scandals of Translation. Towards an ethics of difference.
    The narrative of Mexican kings is unsupported as an indigenous narrative.



  • Daneri, Juan José, El agua a su molino : tres historiadores novohispanos y sus cronicas en castellano (Fernando De Alva Ixtlilxochitl, Hernando Alvarado Tezozomoc, Diego Muñoz Camargo), Washington : University of Washington, 2002, vol. (238 f.) : ill., carte ; 29 cm
    Ph. D. Washington University 2002. Dept. of Romance Languages and Literatures


  • Carbajal Cabrera, Rafael ; López Trujillo, Arlette (dir.), Elementos de flora y fauna del Codice Xolotl, México : Universidad Nacional Autónoma de México, 2001, 1 vol. (108 p.). Disponible en ligne, url : <>.
  • Cristiani Montoro, Glaucia ; Karnal, Leandro (dir.), Dos livros adivinhatorios aos codices coloniais : uma leitura de representações pictograficas mesoamericanas, Universidade Estadual de Campinas, 2001, 1 vol. (144 p.). Disponible en ligne, url : <>.
    Résumé : Como objetivo geral, nesta dissertação, analisamos documentos mexicanos de tradição indígena, os códices, enfocando um tipo específico destes manuscritos, os chamados Teoamoxtli. Centramos o estudo em dois documentos, selecionados em períodos distintos da história dessa região: um deles, o Códice Bórgia, foi confeccionado no período pré-hispânico e o outro, o Códice Telleriano Remensis, em meados do século XVI, ou seja, depois da invasão européia, durante o período colonial. Para que a análise fosse viável, pois se tratam de documentos extremamente complexos, delimitamos ainda, um assunto deste tipo de códice, o “capítulo” que se convencionou a chamar Trecenas, que são as subdivisões de um dos calendários mesoamericanos. Optamos por uma abordagem diferente daquelas comumente utilizadas, observando o que podemos chamar de características artísticas. Analisamos os códices individual e comparativamente, detectando elementos similares e distintos entre eles, sempre dialogando com a história dos povos em questão. Assim, a partir dos elementos observados, pudemos formular hipóteses e questionamentos sobre tais documentos, sua forma de confecção, aspectos sociais e as modificações sofridas. Partimos, primeiramente, de estudos bibliográficos, consultando cronistas e historiadores de forma a obter uma visão de conjunto daquelas sociedades e as modificações por que passaram ao longo do século XVI, assim como conhecer aspectos ligados aos códices. No primeiro capítulo desta dissertação o leitor é situado no contexto histórico, nos aspectos relevantes a esta pesquisa, enquanto no segundo capítulo expusemos alguns conhecimentos específicos destas sociedades, tais como os sistemas calendáricos, os livros e o sistema de escrita, apresentação dos códices estudados, do assunto analisado nos documentos e seus elementos constituintes, dentre outros pontos relevantes. No terceiro capítulo realizamos a análise, estruturada a partir de três aspectos gerais, selecionados na observação dos livros: o desenho, a ordem de leitura e a organização do espaço. Analisamos os documentos observando estes três aspectos e detectamos uma série de características, algumas comuns aos dois códices e outras particulares. Na análise do desenho encontramos diversas características comuns e outras tantas diferenciadoras. As características similares identificadas nos dois códices, tais como a elaboração coletiva e por tlacuiloque (pintores/escribas) com habilidades técnicas em formação, a existência de esboços, dentre outras, assinalam continuidades de vários dos procedimentos e técnicas de confecção do período pré-hispânico e caracterizam a permanência de aspectos da organização do trabalho e provavelmente de alguns métodos de aprendizagem. Entre as características diferenciadoras estão o desconhecimento do tonalamatl (livro dos destinos) por parte dos tlacuiloque que confeccionaram o Códice Telleriano Remensis, o que não devia ocorrer com os tlacuiloque do Códice Bórgia, a perda do monopólio sobre a atividade de tlacuiloque ou pintor por parte das elites indígenas durante o período colonial, assim como a queda de status sofrida pelos indivíduos que exerciam esta atividade depois da invasão européia. Nas análises do sentido de leitura e organização do espaço, verificamos principalmente, que o Códice Telleriano Remensis possui características que o diferencia enormemente do Códice Bórgia. Assim, observamos: que sua encadernação limita a visualização do assunto estudado, causando uma certa descontinuidade; que sua concepção visa promover uma valorização da imagem dos deuses em detrimento da mensagem que eles carregam; que sua confecção foi direcionada para atender a um usuário europeu ou, ao menos, tendo em vista características ocidentais; e que este códice desvinculou-se da função original destes manuscritos, passando a servir a outros propósitos. Desta forma, concluímos que as modificações ocorridas no Telleriano, e outros códices coloniais, não estão inseridos somente nos contextos estético e técnico, mas inclusive ligadas à função destes documentos na situação colonial.
    Abstract : During this Master work, the goal was the analysis of Mexican documents, made out from the indigenous tradition, the Codex. The work was focused on a specific kind of those documents, so called Teoamoxtli. Among the sources available, was chosen two documents from different periods of the history of this region, one of them was Codex Borgia, made during pre-hispanic period, and the other was the Codex Telleriano Remensis, made at the middle of XVI century, or after the European invasion during the colonial age. In order to make possible the analysis, facing the complexity of the documents, was chosen a sub section from one of the mesoamencans calendars as subject, named Trecenas, witch can be found in both Codex as a distinct chapter. In this work was made a choice for a different research approach, from the ones normally used, focusing in the artistic characteristics of the document. Each Codex was analyzed individually and in comparison between them, in a search for similar and/or distinct elements, always keeping in touch with the History of the people from the region. So, based on the elements highlighted, hypothesis and questioning could be formulated based on those documents, its manufacture process, social aspects and changes occurred. The starting point was a bibliographic study, consulting the (Cronistas) and Historians in order to have a understanding of those societies and the changes occurred with them during the XIV century, as well as a process in the search for relevant aspects related to the codex. In the first chapter of this thesis the idea was to situate the reader within the historical context, especially in the relevant aspects to this work. In the second chapter, was worked some specific aspects of those societies as calendaric systems, the books it self, the writing system, a presentation and description of the two codex studied, the subject of the documents studied and its elements, among other relevant notes. On the third chapter was conduced an analysis, structured from three general aspects, chosen during the observation of the documents: the drawing itself, reading order and layout organization. An analysis was made focusing on those three elements and was detected a series of some times common and others unique characteristics found in the handmade documents. During the analysis of the drawing itself, several common characteristics were found as well as some different. Among the common ones were: group elaboration done by tlacuiloque (painters/writers) under going a formation process, existence of sketches, and others characteristics. All point to a continuity on the basic elaboration procedures and techniques of the pre-hispanic period, and put in evidence some aspects of the labor organization and probably some teaching methods. On the divergent characteristics there was the lack of knowledge on the tonalamatl (Book of Destiny) among the workers of the Telleriano Remensis Codex, what was supposed not to happened in the case of the Borgia Codex; the end of the tlacuiloque, or painters, monopoly within the indigenously elite during the colonial period, as well as the lost of the social status held by the people that used to performer this kind of activity after the european invasion.
    Master Thesis.
  • Mercado Chávez, Maria del Carmen ; Aguila Manzano, Daniel (dir.), Libro didactico sobre codices prehispanicos para niños, México : Universidad Nacional Autónoma de México, 2001, 1 vol. (114, [5] p.). Disponible en ligne, url : <>.
    Licenciado en Diseño Grafico.


  • Claudia Resende Silva ; Goncalves Fontes Hargreaves, Lucy (dir.), Senado da Câmara da Vila de São João Del-Rei: da administração colonial á pesquisa histórica, Universidade Federal de Minas Gerais, 2000, 1 vol. (189 p.). Disponible en ligne, url : <>.
    Résumé : Este trabalho descreve os códices coloniais do Arquivo da Câmara Municipal de São João del-Rei, por meio de um levantamento tipológico. Através do entendimento da atuação administrativa do Senado da Câmara da Vila de São João del-Rei, no período colonial, buscou-se esclarecer sua produção documental. Seu principal objetivo é, portanto, apresentar os códices como fonte potencial para a pesquisa, principalmente acadêmica.
    Master Thesis = Dissertações de Mestrado.

Olivier Jacquot

Coordonnateur de la recherche > Délégation à la Stratégie et à la recherche > Bibliothèque nationale de France

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