Showing papers in "Hispanic Review in 2018"
TL;DR: The authors argued that the documentation produced by native elites related to the indigenous schools (colegios), convents, and seminaries during the eighteenth century provides an important context for understanding the ways in which knowledge circulated between natives, creoles, and Europeans.
Abstract: This article argues that eighteenth-century native elites played a significant role in the larger intellectual scene of colonial Mexico by participating in the same debates as their creole and European counterparts. I contend that the documentation produced by native elites related to the indigenous schools (colegios), convents, and seminaries during the eighteenth century provides an important context for understanding the ways in which knowledge circulated between natives, creoles, and Europeans. In addition, when this "indigenous archive" is read in tandem with more traditional historiographical native sources, we can better appreciate the indigenous roots of the dominant narrative of Mexican nationalism. To illustrate the state of fragmentation of what I call an indigenous archive, I discuss the state of the archives of the Jesuit Colegio de San Gregorio and the Franciscan Convent of Corpus Christi.
15 citations
TL;DR: In this paper, the authors devise the term Hispanic Black Atlantic as a critical tool and discursive geographical space to rethink and revisit Paul Gilroy's Black Atlantic model and use it to move the literary criticism of Sor Juana's poetic corpus toward a new conversation about colonial Spanish American literature and the multilingual world it reflects.
Abstract: In this essay, I devise the term Hispanic Black Atlantic as a critical tool and discursive geographical space to rethink and revisit Paul Gilroy's Black Atlantic model. I envision Sor Juana's colonial Mexican milieu as an integral part of the African diaspora and the Black Atlantic paradigm forged by Gilroy. To move the literary criticism of Sor Juana's poetic corpus toward a new conversation about colonial Spanish American literature and the multilingual world it reflects, I use Sor Juana's villancicos to trace her avowal of Blackness—in its ideological and racial dimensions—as a critical category that travels across space and time while simultaneously turning on their collective head altogether assumptions and claims about Blackness.
8 citations
TL;DR: The authors argue that the agonistic excesses in the work foster consideration of and encourage struggle over conceptions of gender roles, matrimony, and agency in Asuncion Izquierdo Albinana's 1938 novel.
Abstract: Focusing on melodramatic elements and female relationships in Asuncion Izquierdo Albinana's 1938 novel, this study argues that the agonistic excesses in the work foster consideration of and encourage struggle over conceptions of gender roles, matrimony, and agency. The title protagonist, Andreϊda, challenges a strict binary gender division through her dramatically portrayed mechanistic self-construction and in the way questions of desire relate to the control of that construction. Further, through both a brief, trenchant epilogue and a complementary plot arc that involves sensationalist portrayals of heterosexual relationships, the novel disrupts the narrative framing of marriage and imagines a more egalitarian arrangement. Finally, the homosocial relations between the female characters themselves also contribute to a conception of agency that seeps beyond the heroic individual to proffer a more diffuse, modest, and quotidian activism to achieve change. Theoretical work by Peter Brooks, Jesus MartinBarbero, Laura Podalsky, and Sharon Marcus informs this analysis.
7 citations
TL;DR: The relation between the life and writings of Garcilaso Inca de la Vega through an archival reconstruction of his post as sacristan at the Cathedral of Co´rdoba and its reflection in his books is explored in this article.
Abstract: This study addresses the relation between the life and writings of Garcilaso Inca de la Vega through an archival reconstruction of his post as sacristan at the Cathedral of Co´rdoba and its reflection in his books It shows that he was incorporated into the jurisdiction of Co´rdoba’s Cathedral Chapter, but that he was not immediately granted full possession of his office Confronted with ecclesiastical requirements for promotion to such a post, he carefully selected key autobiographical episodes to portray himself as well suited for promotion and responded to the mandatory purity-of-blood examination by displaying his genealogy and by construing a version of Inca history as a development of teachings and institutions that
created a pure, immemorial Christianity, despite its recent arrival in the Andes Garcilaso, though, hid these aspirations from the reader’s view This study brings to the forefront his covert engagement with the challenges of his ecclesiastical career
7 citations
TL;DR: In this paper, Dabove elige "discutir" el eje conceptual de a libro con un lector, a lector who was a specialist in the concept of banditry, gracias al análisis de diversos textos, autores and problemas que se han ido desplegando ante su mirada in los capı́tulos precedentes.
Abstract: esquema más tradicional, deberı́a funcionar como “Introducción”, esto es, un capı́tulo en el que se actualiza y discute, con erudita precisión, el concepto de “bandidismo” (banditry), pensado en relación tanto con el universo histórico, social y polı́tico, como con el literario y cultural. Con esta decisión Dabove elige “discutir” el eje conceptual de su libro con un lector ya a esa altura altamente “especializado” en el tema, gracias al análisis de los diversos textos, autores y problemas que se han ido desplegando ante su mirada en los capı́tulos precedentes. Despliegue que, en tanto lectores, nos permite no solo entender mejor, en esta instancia, la densidad y la dimensión del concepto que, una vez más, se problematiza, sino también, discutirlo imaginariamente con el autor, polemizando incluso con él —¿por qué no?— sobre el uso demasiado elástico, en un par de casos puntuales (cuando la ciudad es el escenario eventual de sus andanzas), del personaje del bandido y del concepto “bandidismo”, pero siempre con la certidumbre de que esa discusión (polémica incluida) es parte del juego que, generosamente, Dabove propicia.
4 citations
TL;DR: The first wide-ranging exploration of the emerging field of Digital Literary Studies and Digital Humanities in Mexican academia and cultural institutions is presented in this paper, with a focus on decolonial perspectives, community building and recovery, education and training.
Abstract: This article is the first wide-ranging exploration of the emerging field of Digital Literary Studies and Digital Humanities in Mexican academia and cultural institutions. Divided into three sections, it first surveys matters regarding the digital archive in general, examining the impact of the media on the institutional and cultural significance of archives, their scope and accessibility, the complexities of their preservation and, crucially, the scholarship produced in and around them. The second section explores how digital archives of both digitized materials and borndigital ones have intersected with the origin and consolidation of the Digital Humanities in the US, underscoring the way these intersections have fostered the development of suitable methodologies and vocabularies to examine digitized and born-digital cultural products. The third section explores a handful of Mexican projects developed in the last few years, and proposes that Mexican digital literary scholarship is unique in its emphasis on decolonial perspectives, community building and recovery, education and training, and new creative expressions.
4 citations
TL;DR: In this paper, the authors present a transnational translational study of the periodical Nitheroy and the poet Domingos Goncalves de Magalhaes (1811-1882) through the lens of transnational translation.
Abstract: This article situates Domingos Goncalves de Magalhaes (1811–1882) and Nitheroy, which he published in Paris in 1836, between languages, nationalist cultures, political beliefs, and economic models. My reading of the poet and the periodical as transnational translators complements existing studies that either emphasize their literary contributions of introducing Romanticism in Brazil or focus on their political relevance to Brazilian nationalism in comparison to Spanish American countries. I highlight how Nitheroy and its editors engaged in acts of translation by extending the reach of European and North American ideas, values, and practices to elite Brazilian readers through the periodical's content and circulation. By reading Goncalves de Magalhaes and Nitheroy through the lens of trans-national translation, I emphasize that Brazilian writers and artists did not copy European Romanticism and other foreign concepts, but rather, creatively transformed them for Brazil as part of the process of transatlantic transfer.
3 citations
TL;DR: After years of public hearings and months of heated debates between academics, civil servants, politicians, and members of NGOs and civil society, the Mexican Senate unanimously approved the Ley General de Archivos on December 13, 2017.
Abstract: After years of public hearings and months of heated debates between academics, civil servants, politicians, and members of NGOs and civil society, the Mexican Senate unanimously approved the Ley General de Archivos on December 13, 2017. According to the press release issued by the Senate, the new law “Fomenta el resguardo, difusión y acceso público de archivos privados de relevancia histórica, social, cultural, cientı́fica y técnica de la Nación” (“Aprueba”). Among the many issues that were at stake in the public discussions around the bill, the most important one dealt with how much the Mexican government would be able to intervene in the development and preservation of archives, and how much it could regulate access to them. The main fear, according to the Comité Mexicano de Ciencias Históricas (CMCH), a national association of academic institutions that advocated for a more comprehensive bill, was that the government would take control not only of the evaluation of what kinds of official documents would be moved to historical archives, but also about which already-archived documentation would be reevaluated and potentially removed from archives, and which documents would be labeled as classified materials. The possibility of having untrained people evaluating documents, along with a defunded Archivo General de la Nación that, as it looked in the first draft of the bill, would be directed and supervised by the Ministry of the Interior,
3 citations
TL;DR: This paper examined the relationship between the glosa and early modern concepts of authorship and poetic creativity, and found that the glosses were understood as an authorial, and marketable, print product, as well as a creative, and often ambiguous, process through which the medieval poets of the past were canonized and the glossator might fashion himself as a author.
Abstract: The verse glosa emerged in sixteenth-century Spain as an important means of shaping the Renaissance reception of late medieval poetry, with the composition and publication of glosas on ballads and can- cionero verse Building on recent scholarship, which has increasingly considered the verse glosa as an intertextual process, this article seeks to sketch out further lines of inquiry into the form's relationship with early modern concepts of authorship and poetic creativity An examination of the Renaissance glosses composed by Luis de Aranda on key works of cancionero verse, along with their print and manuscript transmission, reveals that the glosa was understood as an authorial, and marketable, print product, as well as a creative, and often ambiguous, process through which the medieval poets of the past were canonized and the glossator might fashion himself as an author The article concludes by considering how contemporary readers may have engaged with the glosa
2 citations
TL;DR: The authors examines two of the fundamental literary histories of 19th-century Mexico: Revistas literarias (1868-1883), by Ignacio Manuel Altamirano, and Historia critica de la literatura y las ciencias, desde la conquista hasta nuestros dias, by Francisco Pimentel, in order to understand not only the process of the Mexican literary system in pursuit of consistency and character, but also how the archives take form in these works.
Abstract: espanolEn este trabajo me propongo leer en contrapunto dos de las historias literarias fundamentales del siglo XIX mexicano: Revistas literarias de Mexico (1868 a 1883), de Ignacio Manuel Altamirano, e Historia critica de la literatura y las ciencias en Mexico, desde la conquista hasta nuestros dias (1883), de Francisco Pimentel, para alcanzar a vislumbrar la puesta en acto de su archivo, y, consecuentemente, el proceso que atraviesa el sistema literario mexicano del siglo XIX en busca de consistencia y caracter. Al tiempo que Altamirano habita el presente y ofrece una cronica lectora de la literatura del Mexico independiente, Pimentel trata con el "mundo muerto": en Pimentel, el gesto de posesion del archivo no es un imperativo, como si lo es su uso; contrariamente a Altamirano, quien se apropia del archivo en circulacion. Conceptos como vacio y exceso de archivo, borradura e inclusion, coleccion, coleccionista, y olvido y memoria sostienen la reflexion. EnglishThis work examines two of the fundamental literary histories of 19th-century Mexico: Revistas literarias (1868-1883), by Ignacio Manuel Altamirano, and Historia critica de la literatura y las ciencias, desde la conquista hasta nuestros dias (1883), by Francisco Pimentel, in order to understand not only the process of the Mexican literary system in pursuit of consistency and character, but also how the archives take form in these works. While Altamirano inhabits the present and offers a chronicle of the literature of an independent Mexico, Pimentel deals with the "dead world": in Pimentel, it is not the desire to possess the archive that is an imperative, but to use it. On the other hand, Altamirano owns an archive under construction. Concepts like emptiness and excess of the archive, erasure and incorporation, collection, collector, and oblivion and memory support the analysis.
2 citations
TL;DR: The authors examines the Portuguese pamphleteer Jose Freire Monterroio Mascarenhas's journalistic and literary endeavors as they illuminate an early-eighteenth-century intersection of imperial transformation and an expanding culture of print.
Abstract: This article examines the Portuguese pamphleteer Jose Freire Monterroio Mascarenhas's journalistic and literary endeavors as they illuminate an early-eighteenth-century intersection of imperial transformation and an expanding culture of print. Recent scholarship has analyzed Mascarenhas's work as editor of the Gazeta de Lisboa, as well as how his writings on monstrosity addressed a waning vision of disaster as divine intervention and newer scientific understandings of nature. This article turns to the less-studied ways in which Mascarenhas's prolific textual production also accounted for territories beyond Europe over which the Portuguese Crown claimed sovereignty. While Mascarenhas's historia presente reinforced the juxtaposition of an Asian military enterprise and its absence in America, his accounts of the empire also invited scrutiny of the scope of conquest and limits of bellicosity and suggested that in cultivating knowledge of the imperial present, readers needed to recognize the range of exchanges that generated Portuguese authority and wealth.
TL;DR: Garcia et al. as discussed by the authors built a paper museum inspired by Baroque logic: the painting within a painting; the exhibition of objects that question appearance; the promotion of an epistemological reflection of reality; and the presentation of a space of dialogue with a wide network of connections.
Abstract: espanolEn la novela grafica Las meninas (2014), Santiago Garcia y Javier Olivares—guionista y dibujante, respectivamente—cuentan en palabras y en imagenes la historia de un cuadro y de un pintor enigmaticos. Y, no solo eso; tambien construyen un museo de papel inspirado en la logica barroca: el cuadro dentro del cuadro, la exhibicion de objetos que cuestionan la apariencia, el fomento de una reflexion epistemologica de la realidad, y la presentacion de un espacio de dialoguismo con una amplia red de conexiones (combinaciones de formas, de colores, de luces y de sombras). La novela grafica—genero que se populariza a finales del siglo XX—permite amalgamarse a la perfeccion con un periodo—el Barroco—caracterizado por el sincretismo—convergencia de diferentes generos—, por el eclecticismo—multiples teorias, estilos o ideas—y por la decorazione assoluta. EnglishIn the graphic novel Las meninas (2014), Santiago Garcia and Javier Olivares—writer and artist, respectively—tell, in words and images, the story of an enigmatic painting and painter. Moreover, Garcia and Olivares build a paper museum inspired by Baroque logic: the painting within a painting; the exhibition of objects that question appearance; the promotion of an epistemological reflection of reality; and the presentation of a space of dialogue with a wide network of connections: combinations of shapes, colors, lights, and shadows. The graphic novel—a genre that became popular at the end of the 20th century—blends perfectly with the Baroque period, characterized by syncretism (the convergence of different genres), eclecticism (multiple theories, styles, or ideas), and decorazione assoluta.
TL;DR: In this article, the authors reassess the ideological imprint of imperialism in late-nineteenth-century Spanish fiction through the analysis of two non-canonical novels: Eugenio Antonio Flores's Trata de blancas (1889) and Eduardo Lopez Bago's Carne importada (1891).
Abstract: The purpose of this paper is to reassess the ideological imprint of imperialism in late-nineteenth-century Spanish fiction through the analysis of two noncanonical novels: Eugenio Antonio Flores's Trata de blancas (1889) and Eduardo Lopez Bago's Carne importada (1891) Both novels feature female protagonists who become entangled in networks of international sex trafficking in their respective migrations to Cuba and Argentina Traditionally ascribed to Spanish "radical naturalist" fiction or simply dismissed as inconsequential instances of bordello literature, these texts are interpreted in this paper from the perspective of postcolonial criticism in order to reveal both the political significance of their transatlantic setting and the symbolic meaning that they assign to so-called white slavery and the figure of the prostitute Ultimately, these novels will be read as symptoms of a collective anxiety resulting from the downfall of the Spanish Empire on the verge of its collapse in 1898
TL;DR: In this article, the authors study the way in which Reyes used bibliophilia, philology, classicism and related practices to construct a public literary culture in Mexico, and discuss Reyes's representation of the materiality of the book and book culture, the construction of reader networks, the coining of ideas of the classic, both national and universal.
Abstract: espanolEste articulo estudia la manera en que Alfonso Reyes usa la bibliofilia, la filologia, el clasicismo y otras practicas relacionadas para construir una cultura literaria publica en Mexico. El articulo discute la representacion que Reyes hace de la materialidad del libro y la cultura libresca, la construccion de redes de lectores, el acunamiento de ideas del clasico, nacional y universal, y la manera en que conceptualiza colecciones literarias y series editoriales. En su conjunto, estos elementos proveen una mirada sobre la manera en que Reyes imagino el rol de la cultura literaria en el Mexico posrevolucionario. EnglishThis article studies the way in which Alfonso Reyes uses bibliophilia, philology, classicism and related practices to construct a public literary culture in Mexico. The article discusses Reyes's representation of the materiality of the book and book culture, the construction of reader networks, the coining of ideas of the classic, both national and universal, and the way in which he conceptualizes literary collections and editorial series. Taken together, these elements provide a view of the way Reyes imagined the role of literary culture in Postrevolutionary Mexico.
TL;DR: The authors analyzes the forging of this authority in the first two works published by Garcilaso: his translation of the Dialoghi d'amore by Leone Ebreo (1590) and his history of the expedition led by Hernando de Soto to La Florida (1605).
Abstract: A central feature of the narrative authority El Inca Garcilaso de la Vega constructs for himself in the Comentarios reales is his linguistic knowledge. As a native speaker of Quechua, Garcilaso is able to act as an interpreter—that is, a lengua—between the Andean and Spanish traditions to which he is heir. This article analyzes the forging of this authority in the first two works published by Garcilaso: his translation of the Dialoghi d'amore by Leone Ebreo (1590) and his history of the expedition led by Hernando de Soto to La Florida (1605). Although they pertain to very distinct genres, both of these works consider the nature and capacities of lenguas (the tongue, the interpreter), especially in relation to the eye. While in both philosophical and historiographical terms, the eye is the privileged organ, Garcilaso subtly refines this corporeal hierarchy and begins to shape the authoritative tongue that will become crucial in his later works.
TL;DR: In this paper, Isaacs argues that Maria (1867) can be read as a novel narrating the changes spurred by liberal reform in Colombia (1849) and that Efrain, the novel's protagonist, and son of a Jewish emigre, embodies these changes.
Abstract: espanolEste ensayo propone leer a Maria (1867) como una novela sobre los cambios suscitados por las reformas liberales en Colombia (1849). Argumenta que su protagonista, Efrain, le da cuerpo a ese momento de cambio. A diferencia de patricios hispanos como su amigo, Carlos M***, Efrain realiza alianzas basado en afinidades etnicas con campesinos migrantes. A traves de la relacion entre estos amigos, la novela narra las fricciones entre patriciados. Estas fricciones se evidencian tambien en el pro logo de la novela y en la historia editorial del texto. Mientras la novela es ficcionalmente controlada por un editor amigo que sobrevive a Efrain, Maria fue revisada por los miembros del patriciado hispanocolombiano. Al constatar esto, el articulo propone que Isaacs, a traves del episodio de la perdida de una hacienda, da cuenta de la crisis de conciencia que asedio a la clase terrateniente caucana; pero tambien abrio las puertas para imaginar relaciones entre nacion y territorio que no pasaran por una narrativa hispana. EnglishThis article argues that Maria (1867) can be read as a novel narrating the changes spurred by liberal reform in Colombia (1849). I contend that Efrain, the novel's protagonist, and son of a Jewish emigre, embodies these changes. In contrast to Spanish American Catholic patricians, like his friend, Carlos M***, Efrain enters into ethnic alliances with Antioquian peasants migrating to the Cauca region. By narrating the frictions between Efrain and Carlos, the novel also underlines the clash between traditional Spanish American patricians and a new idea of the patrician made possible by liberal reform. Finally, by telling the story of a forfeited hacienda, Isaacs proposes to imagine relations between nation and territory not necessarily linked to a Spanish American identity.
TL;DR: In this article, Agudo et al. propose dilucidar los modos con los que estos filmes logran, mediante distintas estrategias narrativas and desde una clara perspectiva de genero, vindicar, dar voz and dignificar a unas mujeres que en otro tiempo fueron brutalmente deshumanizadas.
Abstract: Durante la Guerra Civil espanola, los sublevados convirtieron el cuerpo de las mujeres republicanas en un espacio de represion. Uno de los castigos que mejor simboliza el caracter sexuado de esta violencia fue el de raparles la cabeza y obligarlas luego a pasear por el espacio publico. La humillacion a la que se vieron sometidas se acentuaba con las fotografias que los represores tomaban y difundian despues de trasquilarlas, a modo de trofeos de guerra. Sin embargo, estas imagenes han sido resignificadas en las peliculas de ficcion Pelonas (Ramon de Fontecha y Laly Zambrano, 2003) y De tu ventana a la mia (Paula Ortiz, 2011), y en los documentales Gerrako garrak Onatin (colectivo Gogoratu Guran Taldea, 2011) y Guillena 1937 (Mariano Agudo, 2013). El articulo se propone dilucidar los modos con los que estos filmes logran, mediante distintas estrategias narrativas y desde una clara perspectiva de genero, vindicar, dar voz y dignificar a unas mujeres que en otro tiempo fueron brutalmente deshumanizadas.
TL;DR: In early modern Spain, women formed alliances among themselves and materialized female communities through which they could have an active political life as discussed by the authors, and the case of Maria de Agreda (1604-1665) and the communities of letters that she built around a regular correspondence with religious, non-religious, noble, and royal women, is particularly interesting for the analysis of female political alliances.
Abstract: In early modern Spain, women formed alliances among themselves and materialized female communities through which they could have an active political life. Studying these communities of and for women allows us to revise the narrative of power at the time, traditionally presented in male terms. The case of Maria de Agreda (1604-1665) and the communities of letters that she built around a regular correspondence with religious, nonreligious, noble, and royal women, is particularly interesting for the analysis of female political alliances, since she established well-known ties with important figures across the country, and mobilized significant networks of influence throughout her life. This analysis will help us redefine what female political agency means in early modern Spain and reconstruct its history.
TL;DR: In this paper, the authors examine the complex relationship between renegades and the power of images, focusing principally on the renegade in Miguel de Cervantes's Don Quixote, as well as other real and fictional examples, such as Guillen de Castro's El renegado arrepentido.
Abstract: espanolA pesar de que en anos recientes los renegados han sido objeto de rigurosos estudios, todavia no se han contrastado completamente los efectos y significados que las imagenes religiosas provocan en manos de estas figuras fronterizas. La interaccion de estos individuos con un simbolo tan distintivo y asociado a una religion como pudiera ser el de la cruz anade nuevos matices a un icono que, en principio, fue concebido para tener un unico significado, pero que en manos del renegado parece lucir distintos usos dependiendo de como y para que se utilice. En este articulo examino la compleja relacion de los renegados y el poder de las imagenes, enfocandome principalmente en el renegado de Murcia en el Quijote de Miguel de Cervantes, ademas de otros casos reales y de ficcio n, como El renegado arrepentido de Guillen de Castro. EnglishEven though in recent years renegades have been the object of many rigorous studies, the effects and meanings that religious images incite in the hands of these frontier figures have not yet been taken into full consideration. The interaction of these individuals with a symbol as distinctive and intimately tied to Christianity as that of the cross adds new subtleties to an icon that was originally conceived to have a single and common meaning, but in the hands of renegades, it takes on different uses depending on how and for what it is used. In this article, I examine the complex relationship between renegades and the power of images, focusing principally on the Murcian renegade in Miguel de Cervantes's Don Quixote, as well as other real and fictional examples, such as Guillen de Castro's El renegado arrepentido.
TL;DR: In the early years of Franco's dictatorship, a production directed by Cayetano Luca de Tena at the Teatro Espanol in 1944 represented the culmination of the right's struggle to regenerate the theater as mentioned in this paper.
Abstract: Emboldened by their success in the Spanish Civil War (1936–1939), Nationalist ideologues sought to revitalize the stagnant Spanish theater and promote values associated with the newly formed authoritarian regime. The memory and restaging of seventeenth-century comedias became a crucial part of this project that focused particularly on Lope de Vega's Fuente Ovejuna, a history play that dramatizes a village's fifteenth-century rebellion against a tyrannical overlord. The definitive performance of Fuente Ovejuna during the early years of Franco's dictatorship, a production directed by Cayetano Luca de Tena at the Teatro Espanol in 1944, represented the culmination of the right's struggle to regenerate the theater. By adopting a fascist aesthetic and reinforcing the regime's political legitimacy through history, Luca de Tena's production captured its contemporary moment and signaled a possible solution to the theatrical crisis, one that blended historiography, aesthetics, and politics.
TL;DR: The authors explored the circulation and utilization of colonial-era Mexican manuscripts outside of Mexico and explored the distinct archival moments the manuscripts embody as they were read, understood, and signified in various ways outside of the place and context of their production.
Abstract: This article explores the circulation and utilization of colonial-era Mexican manuscripts outside of Mexico. With a focus on a nineteenth-century US history book, William H. Prescott's History of the Conquest of Mexico (1843), and a novel, Lew Wallace's The Fair God, or the Last of the 'Tzins: A Tale of the Conquest of Mexico (1873), this article illuminates the distinct archival moments the manuscripts embody as they were read, understood, and signified in various ways outside of the place and context of their production. Conquest of Mexico and The Fair God, it is argued, engage with materials from the Colonial Mexican Archive as parts of projects that are circumscribed by nineteenth-century US exceptionalism and expansionism. The article concludes with a consideration of the Archive and the Internet.
TL;DR: In this article, the authors explore the economic passions that animate Juana Manuela Gorriti's Andean legends "La quena" (1851), "El tesoro de los incas" ( 1865), and "El chifle del indio"(1878), placing the tales within the context of Peru's export boom in guano, they argue that the colonial romance grapple with the promise and peril of natural resource wealth in the nineteenth century.
Abstract: This essay explores the economic passions that animate Juana Manuela Gorriti's Andean legends "La quena" (1851), "El tesoro de los incas" (1865), and "El chifle del indio" (1878). Placing the tales within the context of Peru's export boom in guano, I argue that Gorriti's colonial romances grapple with the promise and peril of natural resource wealth in the nineteenth century. By analyzing the transformation of Gorriti's tales as the guano boom turns to bust, I trace a growing fear that an economy based on the extraction of a finite natural resource may represent a repetition of Spanish colonialism, which is imagined as a curse in which greed, debt, and resource depletion supplant work-based economic production.