Abstract
This paper discusses the Mayan Popol Vuh, Aztec Codex Mendoza, and Incan work of Felipe Guaman Poma de Ayala with respect to their political and cultural significances. The paper discusses their similarities and differences as well as each author's intentions to their audiences. Additionally, the paper identifies the target audience and discusses contrasting views.

From the Paper
"The Mayan Popol Vuh, Aztec Codex Mendoza, and Peruvian El Primer Nueva Coronica y Buen Gobierno in early Latin American history show three types of communication strategies to share their messages to the intended audiences. Popol Vuh is a creationist text that tries to describe the origin of man to its people while instilling pride in their heritage. The work most likely began as an oral narrative and is still considered an important part of the beliefs of the indigenous K'iche' people. The Codex Mendoza is a pictorial history of the Aztec people with information about the daily lives of the inhabitants. The format is more colorful and..."

Tags:mayan, aztec, incan

Abstract
This paper discusses how the art of the Mexican, Spanish and Aztec people often depicted animals. It further discusses how the cultures of these people were significantly different from modern society, and it was the Florentine Codex that was considered the authority that clarified this contention. The use of animals therefore within the art that existed during the time was a reflection of the cultures that lived in what was considered New Spain. The paper explains that the Florentine Codex is meticulous at providing examples of how animals existed in every day life for the natives of the region.

From the Paper
The art of the Mexican, Spanish and Aztec people often depicted animals. The cultures of these people were significantly different from modern society, and it was the Florentine Codex that was considered the authority that clarified this contention. The use of animals, therefore, within the art that existed during the time was a reflection of the cultures that lived in what was considered "New Spain". The Florentine Codex is meticulous at providing examples of how animals existed in every day life for the natives of the region. It is also concise in its descriptions of the inclusion of animals in the art of the period. Through the Florentine Codex it is possible to realize that the people of "New Spain" created images of animals as a reflection of their cultural beliefs.

Tags:art, mexico, codex

Abstract
This paper focuses on the various and varied sources used by Soustelle in his book in which the author provides a multi-perspective account into the daily life of the Aztecs. Soustelle draws upon original source documents from surviving texts and materials. He cites surviving Aztec documents such as the Codex Azcatitlan, Cronica Mexicayotl, and the Mapa Tlotzin; Soustelle also cites numerous Spanish sources written at the time of conquest.

From the Paper
"The Introduction to Daily Life of the Aztecs provides historical context and background to the ideas, issues, and facts Soustelle presents in the book. The author begins by reminding the reader that the Aztecs were only one of many Mexican civilizations that flowered since the third millennium, BCE. Furthermore, Soustelle notes that the Aztecs themselves conquered other cultures on Mexican soil to eventually attain dominance of the region. The area in question is Mexico-Tenochtitlan, or the valley now known as Mexico City. Because Aztec life during the fifteenth century was largely urban in nature, Soustelle is also able to hone in on the specifics of city life. This makes the material extremely accessible to modern readers, who can relate to many of the aspects of daily life depicted in Soustelle's book. The introduction also clarifies the source documents. The Aztecs were dedicated to chronicling their culture, as they were proud and self-conscious people. Their language was a sophisticated set of figurative and phonetic pictographs. Unfortunately, after conquest, most of the Aztec writings were destroyed. The Spaniards, when they first encountered the Aztec people, deemed them immoral savages incapable of producing anything of true worth. Soustelle does a great job of emphasizing the horrendous nature of the conquest, even as he is able to describe some of the more brutal activities the Aztecs themselves engaged in. Soustelle's account is honest but not without opinion"

Tags:Codex, Azcatitlan, Cronica, Mexicayotl, Mapa, Tlotzin

Abstract
This paper gives a brief history of the evolution of the European manuscript. The paper begins with the invention of the Roman codex, then describes the development of Merovingian and insular manuscripts. Next, it discusses the Carolingian Renaissance of the 8th to early 10th centuries. In the medieval period, the manuscript developed through Romanesque, Gothic, and High Gothic phases, and the quantity of books and genres greatly increased. By the Renaissance, England and France had passed their zenith as centers of illumination, but manuscript production in Italy and the Netherlands began to flourish. The final period discussed is the late Renaissance revival of Roman themes. By this time, movable type had overtaken manuscript creation as the primary form of bookmaking.

From the Paper
"After the Carolingian Renaissance came the Romanesque period, which many consider to be the "golden age of illuminated manuscripts." This period took place in the 11th and 12th centuries in England and France, but did not reach its height in Germany until the 13th century. All elements of the Romanesque manuscript were in harmony: the proportions of lettering and text, the page texture, and the polychromatic illumination. Pages were decorated with 'increased economy and concentration." Initials were the central feature and were decorated with foliage scrolls "inhabited by biting beats, birds, and climbing human figures." Word separation, which had begun in Ireland, was introduced on the continent. During the 12th century, books became larger and developed a two-column format. In this century, tables of contents and indices were added. Romanesque manuscripts showed a widening range of themes. There were more classical works, saints' lives, and chronicles; scientific, legal, and philosophical manuscripts also appeared."

Tags:art, Book, of, Hours, antiquity

Abstract
The reasons for and the nature of Constantine's commitment to Christianity is a complicated issue. By examining Eusebius's "Life of Constantine", his "Edict of Milan", the laws of Constantine as found in the Codex Theodosius, his architectural undertakings, and the coins he issued, this paper shows that Constantine devoted himself to Christianity because he believed the Christian god afforded his victory at Milvian Bridge. However, through these sources the writer also reveals that the nature of his commitment originally was not of a genuine belief in Christian theology, but rather more of a vague monotheism.

From the Paper
"When Constantine decided to march against Maxentius in Rome, Eusebius explains that Constantine sought the assistance from a god, knowing that he would need a "more powerful aid than an army can supply because of the mischievous magical devices practiced by" Maxentius. Eusebius then describes that Constantine had sworn an oath that he had seen a trophy in the shape of a cross resting above the sun with "By this conquer" attached to it. During the night, God had appeared in his dream with the same trophy, urging him to make a replica and use it as protection against the enemy. Baffled by these events, "those expert in his words," members of the clergy, enlightened him about the Christianity of his signs; so, Constantine became "determined to worship no other god than the one who had appeared." "

Tags:mithraism, monotheism, pagan, rome