Codex Boturini and ConquistaDora
Choose from one of the folders under Week 4’s Readings and Content and for your selected folder, complete the listed prompt (and be specific in pointing to the texts/videos):
1. Images (“Codex Boturini” and “ConquistaDora the Explorer”): (uses source that provide only in the attached files, named “images”)Begin your response by discussing the ways in which both Origin Stories are told.
Specifically, what elements do they contain or display that help to classify them as ‘origin stories?’
In the Commentaries of “Codex Boturini” (Mexica Aztecs), Jerome Rothenberg provides:
“‘the scribe [of Codex Boturini]…leaves generous areas of open space, at times suggesting a spaceless landscape, an open field in which persons, dates, and place names can interact in freedom and solitude. [And] despite the strong visual character of the codices, writing was an adjunct to speech in pre-Conquest Mexico and books were essentially tools of oral performance…[with] the placement of each block of type corresponding to the position on the page of the figure being interpreted…'” (Rothenberg 556)
How would you take this critical analysis and apply it to your own interpretation or reading of the Codex? Be specific in using parts of the quotation above as well as pointing to sections of the Codex.
What do you notice about the illustrations and the textual writings that follow in the “Codex Boturini?”
Discuss your reaction to this video, in depth. Touch on your initial expectations, what might have taken you by surprise, and which specific elements work to tell an ‘origin story’ here. Think also about why the creator uses Dora, of all characters, to tell this story.
What makes this ‘origin story’ different than most?
How does it address history, and the telling of history? Think about what is gained or lost.
Which parts of history does this video unearth or expose, and why? What is the authorial intention, here?
Point specifically to both the form and the content of the clip to help you formulate a response.
What is the format or style of this piece?
Do a close-reading of 4 or more lines from the work. Pay attention to voice, narrator, vocabulary, length and complexity of sentences (comparable in Spanish and then English), figurative language, or any other literary devices that you observe.
Then, explain why “translation” can be helpful and dangerous at the same time.
What is gained and what is lost when we translate a piece from one language into another? Specifically, into English?
Find a piece of writing/speech in another (non-English) language. This could be a song, holy scripture, a story, or poem (or anything else you manage to find). Aim to use a piece that is written or spoken in a language native to you.
Then, translate the piece–line by line–in the same format as “Raising the Mediating Center…”
Write a brief reflection on how the translation process went for you. Think again to what is gained or lost in this process.
3. Vernacular Language (uses the link in here – https://www.youtube.com/watch?v=qtOXiNx4jgQ&feature=youtu.bePart 1: ( (notice: I am Chinses, speaks Cantonese and Mandarine.)
Discuss your take on the idea of “vernacular language.” What does this phrase mean? Break it down, de-construct it, and explain it.
What constitutes vernacular tongue?
Choose one of the performative pieces in this section and discuss how it fits into vernacular study.
What do the performers do when they practice language?
How does dialect, accent, or non-standard English play a role in these performances?
What kinds of linguistic traits do they adopt and perform for their licences?Finally, provide an analysis of how cultural identity comes into play in your selected performance. What issues might the performer address by way of their performance?
Be specific, and point to specific parts of your selected performance.
Discuss how vernacular plays a role in your life.
For the remainder of this week, keep a “language log” that tracks how many different types of speech and writing you use in a day. Then, analyze your findings.