Professional Documents
Culture Documents
Instructor:
Dr. Alexandre Tokovinine, Department of Anthropology
Office: Peabody Museum 35C
Phone & email: 617.496.2059, tokovin@fas.harvard.edu
Office hours: Thursday 2-4pm or by appointment
Course Description
Learn to read and write in Maya glyphs to discover the most spectacular civilization in the Americas in its
own words! This course covers the basics of Maya writing and art using the outstanding visual and
material collections of the Corpus of Maya Hieroglyphic Inscriptions and Peabody Museum of
Archaeology and Ethnology. It explores the indigenous Maya myths, histories, and stories of life at the
ancient courts of lords and nobles.
The course begins with an overview of Classic Maya writing and its historical and cultural contexts. After
the introductory section on the fundamentals of Maya glyphs, each week will combine a discussion of
the grammar of the Hieroglyphic Mayan with thematic lectures on a range of topics from tags and texts
on drinking cups to parallels between Pre-Columbian, Colonial, and present-day Maya literatures. The
lectures are accompanied by practical translation exercises and quizzes.
The course does not require any prior knowledge of Mayan languages or glyphs. No training in drawing
or epigraphy is necessary.
Course Requirements:
Readings, in-class discussions, and translation exercises are an integral part of the course. Attendance
and active participation are required. There is no midterm and no final exam. Twelve weekly quizzes will
contribute to the final grade. Students will also have an option of completing an extra-credit written
assignment by the end of the reading period (late submissions will be marked down one-half grade per
day late).
Academic Integrity
1
The rules of academic integrity apply to all exams and assignments for this course, as outlined in the
Handbook for students:
http://isites.harvard.edu/icb/icb.do?keyword=k69286&pageid=icb.page355695
Papers and other work should be created for and submitted to only this course. Any student who wishes
to submit work used in a previous course must obtain the prior written permission of the instructor. If a
student wishes to submit the same or similar work to more than one course during the same term, the
prior written permission of all of the instructors involved must be obtained. A student who submits the
same or similar work to more than one course without such prior permission will ordinarily be required
to withdraw from the College or from GSAS. Collaboration in the completion of assignments is
prohibited unless explicitly permitted by the instructor.
Class Schedule
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(1) Houston, S. D., 2000, Into the minds of ancients: advances in glyph studies. Journal of World Prehistory 14:121-
201, pp. 122-142 (only part of the article)
(2) B. Fash, 2012, Beyond the Naked Eye: Multidimensionality of Sculpture in Archaeological Illustration. In
Pillsbury, J., ed., Past Presented: Archaeological Illustration and the Ancient Americas. Washington, D.C.:
Dumbarton Oaks Research Library and Collection, pp. 449–470
February 12 (TH) Peabody Museum Maya tour (meet in the lobby of the Peabody Museum)
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(1) Grube, N., 1990, Primary standard sequence in Chochola style ceramics. In The Maya Vase Book. J. Kerr, ed. Pp.
320-330. New York: Kerr Associates
(2) Houston, S., D. Stuart, and K. A. Taube, 1989, Folk classification of Classic Maya pottery. American
Anthropologist 91(3):720-726
(2) Beliaev, D. D., A. Davletshin and A. Tokovinine, 2009, Sweet Cacao and Sour Atole: Mixed Drinks on Classic
Maya Ceramic Vases. In Pre-Columbian Foodways: Interdisciplinary Approaches to Food, Culture, and Markets in
Ancient Mesoamerica, edited by J. E. Staller and M. Carrasco, pp. 257-273. Springer Science and Business Media,
New York
Week 9
March 31 (T) Grammar: intransitive verbs (continued) (Q8)
(1) Stuart, 2005, pp. 63-74
(2) Lacadena and Davletshin, 2013, pp. 37-45
(3) Zender, M., 2010, Baj “Hammer” and related affective verbs in Classic Mayan. The PARI Journal 9(2):1-16.
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April 2 (TH) Built environment in Maya art and writing
(1) Stuart, D., 1998, "The Fire Enters His House": Architecture and Ritual in Classic Maya Texts. In Function and
meaning in classic Maya architecture, edited by S. D. Houston, pp. 373-425. Dumbarton Oaks Research Library and
Collection, Washington, D.C.
(2) Houston, S. D., 1998, Classic Maya depictions of the built environment. In Function and Meaning in Classic
Maya Architecture, edited by S. D. Houston, pp. 333-372. Dumbarton Oaks Research Library and Collection,
Washington, D.C.
(3) Stone, A. and M. Zender, 2011, Reading Maya art: a hieroglyphic guide to ancient Maya painting and sculpture,
New York, N.Y. Thames & Hudson, pp. 100-109
Week 11
April 14 (T) Grammar: relational nouns and adverbs (Q10)
(1) Stuart, 2005, pp. 56-57
(2) Lacadena and Davletshin, 2013, pp. 54-59
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(1) Houston, Stephen, and David Stuart 2001 Peopling the Classic Maya Court. In Royal Courts of the Ancient Maya,
Volume 1: Theory, Comparison, and Synthesis. T. Inomata and S.D. Houston, eds. Pp. 54-83. Boulder: Westview
Press
(2) Tokovinine, Alexandre 2007 Art of the Maya epitaph: the genre of posthumous biographies in the Late Classic
Maya inscriptions. In Sacred books, sacred languages: two thousand years of religious and ritual Mayan literature.
R. Valencia Rivera and G. Le Fort, eds. Pp. 1-20. Acta Mesoamericana, 18. Markt Schwaben: Verlag Anton Saurwein