The Lightning Bolt Yields to the Rainbow: Indigenous History and Colonial Semiosis in the Royal Commentaries of El Inca Garcilaso de la Vega

2020 ◽  
pp. 66-80
Author(s):  
Aurora Fiengo-Varn

Mi ensayo intenta demostrar que la producción literaria y el discurso histórico del siglo XVII se encuentran restringidos por la política imperial de expansión y conquista de España. La primera generación de escritores latinoamericanos representa un ejemplo evidente del acomodo del discurso mestizo, el cual tiene que circunscribirse de manera que pueda ser publicado y leído principalmente por un público europeo. Uno de los primeros escritores americanos que logra ser publicado y leído es el Inca Garcilaso de la Vega, hijo de una mujer indígena del Perú y de un conquistador español. Garcilaso escribe a una edad avanzada usando sus recuerdos de los hechos de la conquista del Perú. Su memoria nos narra la historia de la civilización de los Incas vista a través de las teorías neoplatónicas que exponen las ideas filosóficas de síntesis y armonía universal. Garcilaso evita confrontar y cuestionar las ideas imperialistas de España y, por consiguiente, el autor oscurece y silencia la gran catástrofe humana que impuso el dominio español a la población aborigen del Virreinato de Nueva Castiilla en Perú. Aunque las ideas neoplatónicas y el providencialismo católico le permitieron al Inca Garcilaso insertarse en el establecimiento literario europeo, el discurso garcilasiano


Author(s):  
Artem D. Morozov

The article considers the French novel “Letters from a Peruvian Woman&8j1; (Lettres d’une Péruvienne, 1747) by Françoise de Graffigny, as well as the “Historical introduction…&8j1; (Introduction historique aux lettres péruviennes), which was included into the novel in 1752, and where the Inca Empire is described in an idealized way. The main source of information for F. de Graffigny was “The Royal commentaries of the Incas&8j1; by Garcilaso de la Vega (1609) and other philosophical, critical and fictional publications on American natives: Michel de Montaigne’s essays, the tragedy “Alzira, or the Americans&8j1; by Voltaire, etc. The “Historical introduction...&8j1; praises the wealth and wisdom of the Incas, the merits of their state organization. This article claims that the “Historical introduction…&8j1; plays an important ideological and compositional role in F. de Graffigny’s book: a utopian description of the Inca Empire serves as a specific philosophical frame for the novel with a love story. Ideas concerning the empire of the ancient Incas, as reflected in the fictional “Letters from a Peruvian Woman&8j1;, are congenial with the Age of Enlightenment. 


1986 ◽  
Vol 18 (1) ◽  
pp. 1-23 ◽  
Author(s):  
D. A. Brading

In 1572 the Viceroy of Peru, Francisco de Toledo, despatched an expedition to the stronghold of Vilcabamba to capture the last claimant to the Inca throne, Tupac Amaru. The unfortunate prince was brought to Cuzco and there before the assembled population executed in the main square. Determined to provide an historical justification for his brutal eradication of the Inca dynasty, Toledo had already earlier in the same year summoned representatives of the Inca nobility to hear a public reading of Sarmiento de Gamboa's Historia Indica, a work written with the express intention of demonstrating that the Inca empire had been an unmitigated tyranny, created but recently by force of arms, and maintained through the merciless exploitation of its subjects. The auditors at this sinister farce were then called upon to sign a notarised declaration testifying to the accuracy of a text which stripped their ancestors of their status as rightful, sovereign lords of Peru.


1962 ◽  
Vol 42 (3) ◽  
pp. 422 ◽  
Author(s):  
Burr C. Brundage ◽  
Alain Gheerbrant ◽  
Maria Jolas

1966 ◽  
Vol 8 (4) ◽  
pp. 585-594
Author(s):  
Manuel D. Ramírez

Strange as it may seem, the theater is probably the least known of the cultural manifestations of Latin America, despite the fact that its history can be traced back to the pre-Columbian civilizations of the Maya, Aztecs, and Incas. The first references to an indigenous theater are found in the second and third Cartas de relación of Hernán Cortés and in the Royal Commentaries of the Inca Garcilaso de la Vega. Only fragmentary evidence is preserved, unfortunately, of the considerable dramatic activity that took place during the colonial period. A few of the plays are known by tide, and still fewer have survived in manuscript form, until we come to those of Fernán González de Eslava, Sor Juana Inés de la Cruz, and the Mexican playwright, Juan Ruiz de Alarcón (1580-1639), whose comedias were produced in Spain during the height of that country's Golden Age.


Author(s):  
Hadar Ram ◽  
Dieter Struyf ◽  
Bram Vervliet ◽  
Gal Menahem ◽  
Nira Liberman

Abstract. People apply what they learn from experience not only to the experienced stimuli, but also to novel stimuli. But what determines how widely people generalize what they have learned? Using a predictive learning paradigm, we examined the hypothesis that a low (vs. high) probability of an outcome following a predicting stimulus would widen generalization. In three experiments, participants learned which stimulus predicted an outcome (S+) and which stimulus did not (S−) and then indicated how much they expected the outcome after each of eight novel stimuli ranging in perceptual similarity to S+ and S−. The stimuli were rings of different sizes and the outcome was a picture of a lightning bolt. As hypothesized, a lower probability of the outcome widened generalization. That is, novel stimuli that were similar to S+ (but not to S−) produced expectations for the outcome that were as high as those associated with S+.


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