HUM 2461 Humanities of Latin America Spring 2013

1. Day 22 12th of November HUM 2461Humanities of Latin AmericaSpring 2013 Attendance Renassaince and “lo barroco.” Inca Garcilaso de la Vega. SorJuana Inés de la Cruz.

2. Activity #1 • Students have to take notes from this presentation. • End of class student will take a quiz for EXTRA CREDIT in the MIDTERM exam.

3. What is Renaissance? • Age ofEnlightenmentorAge of Reason. • It’s the period of European history at the end of the Middle Ages and the rise of the modern world. • It’s a cultural rebirth from the 14th through the middle of the 17th centuries. • It’s the humanistic revival of classical forms such as art, architecture and music.

4. Characteristics of Renaissance • Growing split between secular and religious powers. • Knowledge began to be democratized. • Individuals began to assert their private right to seek and achieve personal glory and fame.

5. What is lo barroco? • It’s an artistic style encouraged by the Roman Catholic Church. • It should communicate religious themes in direct and emotional involvement. • It was characterized by new exploration of forms: light/shadow and dramatic intensity.

6. What is lo barroco? • Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. • As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring.

7. El incagarcilaso de la vega Inca Empire Tawantinsuyo Cusco

8. lo barroco in peru Cuzco School of Art: • Used bright colors and distorted (Mannerist style), dramatic images • Predominance of red, yellow and earth colors. • Remarkable for their lavish use of gold leaf, especially with images of the Virgin Mary. • Warrior angels became a popular motif in Cusqueña paintings.

9. characteristics of lo barroco in literature • Extreme decoration • Subtle conceits (clever plays on words): language is “slippery ground” • Maximum culture (knowledge, all the reading of humanities) • Extreme respect to the authority

10. Inca Garcilaso de la Vega(16th century) • Gómez Suárez de Figueroa • El Inca • Cusco, 12 April 1539 – Spain, 23 April 1616 • Chronicler and writer

11. The Dilemma in the incagarcilaso From two different worlds: • He was the illegitimate son of Spanish captain and conquistador Sebastián Garcilaso de la Vega y Vargas (d. 1559). • And Garcilaso's mother was the Inca princess Palla ChimpuOcllo(Isabel Suárez ChimpuOcllo), descended from Inca nobility, daughter of Túpac Huallpa and granddaughter of the powerful Inca Tupac Yupanqui.

12. His position in the new world (Spain) • First bilingual writer (Quechua & Spanish) • First educated indigenous, but he was “The Other” • Nobility did not help much in Spain. • Ambassador of the Inca Empire. • Need of teaching Spaniards about Inca culture throughout writing. • In spite of being a man, he did not have a position in the Spanish patriarchal society (just like women).

13. Why did he choose literature in stead of other artistic expression? • Because of his dilemma  heritage from two powerful worlds: • Inca Empire • The new country Spain. • Because of his participation in one of the many revolts against the Crown in Cusco: • His father (Spanish captain and conquistador SebastiánGarcilaso de la Vega y Vargas) was dishonorable discharged by the Crown.

14. His writings • La Florida del Inca (Lisbón, 1605) • It’s an account of Hernando de Soto's expedition and journey of Florida. • Comentariosreales de los Incas (Lisbón, 1609/1616) / The Royal Commentaries of the Incas (English translation, 1961) • It’s an account of the Inca culture (it’s history, arts and architecture, and religion)

15. La Florida del Inca (Lisbón, 1605) • El Inca Garcilaso gathered during various years information related to Sotos’s expedition to Florida. • In these writings El Inca Garcilaso defends the legitimacy of imposing the Spanish sovereignty in conquered territories and submit them to Christian jurisdiction. • But he also defends the dignity, courage and rationality of the Native Americans.

16. LIBRO I -- CAPITULO IIDescripción de la Florida, y el primer descubridordella, y el segundo y el tercero El primer españolquedescubrióla Florida fue Juan Ponce de León, caballero natural del reino de León, hombre noble, el cual, habiendosidogobernador de la isla de San Juan de Puerto Rico, comoentonces no entendiesen los españolessino en descubrirnuevastierras, armódos carabelas y fue en demanda de unaislaquellamaban Bimini y segúnotrosBuyoca, donde los indiosfabulosamentedecíanhabíaunafuentequeremozaba a los viejos, en demanda de la cualanduvomuchosdíasperdido, sin la hallar. Al cabo de ellos, con tormenta, dio en la costa al septentrión de la isla de Cuba, la cual costa, porserdía de Pascua de Resurreccióncuando la vio, la llamóla Florida, […]

17. LIBRO I -- CHAPTER IIITHOSE WHO HAVE ATTEMPTED THE CONQUEST OF FLORIDA. JUAN PONCE DE LEON Was the first who discovered Florida. Ile was a gentleman, born in the kingdom of Leon, and had been governor of the island of Porto Rico. As the Spaniards then thought only of making new discoveries, he equipped two caravels, and endeavored by every means to discover the island of Bimini, on account of the report that there was there a fountain which restored youth to old men. But after having searched in vain for this island, a tempest cast him upon the coast which is opposite the north part of Cuba; and he named this continent Florida, and without considering whether it was an island or the mainland, he proceeded to Spain to ask permission to conquer it, and obtained it.

18. Comentariosreales de los Incas (Lisbón, 1609) • The book is a relación,a letter of appeal to the Council of the Indies to have his father’s name cleared and Garcialso’s petition granted. • It’s an exemplary history of the two sides of his family. • Divided in two parts: • 1st part tells the story of the Inca emperors from he claims descend on his mother’s side. Published 1609. • 2nd part narrates the history of the conquest of Perú by the Spaniards. Published 1616.

19. Comentariosreales de los Incas (Lisbón, 1609) • Employs the high Renaissance style, but the reality of the Inca situation imposed on him “compliance with the discourse of the State.” • It’s “barroco” because he gives details account of names and dates that in the end it is the legal rhetoric that dismantles the other and predominate the Inca’s discourse. • It’s a text divided by his mestizo identity, and appealing for truth.

20. Comentariosreales de los Incas (Lisbón, 1609) • SPANISH VERSION: • Libro I – Capítulo XV “El orígen de los Incas reyes del Perú” (p47) • ENGLISH VERSION: • Book I -- Chapter VII “The Original of the Incas, Who Were Kings of Perú” (p11)

21. Libro I – Capítulo XV“El orígen de los Incas reyes del Perú” Viviendo o muriendoaquellasgentes de la maneraquehemosvisto, permitió Dios NuestroSeñorque de ellosmismossaliese un lucero del alba que en aquellasoscurísimastinieblas les diesealgunanoticia de la ley natural y de la urbanidad y respetosque los hombres debíantenerseunos a otros, y que los descendientes de aquél, procediendo de bien en mejorcultivasenaquellasfieras y lasconvirtiesen en hombres, haciéndolescapaces de razón y de cualquierabuenadoctrina, paraquecuandoesemismo Dios, sol de justicia, tuvieseporbien de enviar la luz de susdivinosrayos a aquellosidólatras, los hallase, no tan salvajes, sinomásdócilespararecibir la fecatólica y la enseñanza y doctrina de nuestra Santa Madre IglesiaRomana,[…]

22. Pop QUIZ • What is Renaissance? • What is Baroque? • What is “lo barroco” in Perú? • Who is the maximum exponent in literature? • What does he represent? • What did he write?

23. See you Tuesday Hasta el martes Àmardi AtéterÇa-feira

24. Day 223 12th of November HUM 2461Humanities of Latin AmericaSpring 2013 Attendance Renassaince and “lo barroco” in SorJuana Inés de la Cruz. POP QUIZ

25. Activity #1 • Students have to take notes from this presentation. • End of class student will take a quiz for EXTRA CREDIT in the MIDTERM exam.

26. Sorjuaninés de la cruz Aztec Empire Mesoamérica México

27. lo barroco in mexico • A profusion of adornment in all the arts, and • A complicated façades, abundant foliage, plaster darts, crossings, coiling, scrolls, and conical shapes mixed with traditional shapes in sculpture and architecture.

28. characteristics of lo barroco in literature • Extreme decoration • Subtle conceits (clever plays on words): language is “slippery ground” • Maximum culture (knowledge, all the reading of humanities) • Pessimism • Metaphor “a sea of troubles” • Stark opposites (light//dark) • Veras and burlas

29. METAPHOR • A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison, as in "a sea of troubles" or "All the world's a stage" (Shakespeare). • Which is your?, get a piece of paper and write down a metaphor!

30. Sorjuanainés de la cruz(17th century) • Juana de Asbaje y Ramírez • Sor Juana • México, nov. 12th, 1651-April 17th, 1695 • Writer and poet.

31. 1651 - 1695 / San Miguel Nepantla / Mexico

32. Two main contributions • Against the role of church. Expressed in prose, mainly. • Against patriarchal societies. Expressed in poetry.

33. Most important literary work • Sor Juana Inés de la Cruz was an exceptional XVII-century nun who set precedents for feminism long before the term or concept existed. • Her defense (letter) "Respuesta a SorFilotea” (Reply to Sister Philothea) is a maverick work outlining the logical sense of women’s education more than 200 years before Virginia Woolf’s “A Room of One’s Own.” • Her poetry, meanwhile, states in bold language the potency of the feminine in both love and religion. • Poems such as “You Men” and “First Dream” pointed out how women were mistreated by men and society.

34. 1) Against the role of church:“Respuesta a sorfilotea” It is an answer to Francisco Aguiar y Seijas, Archbishop of Mexico, defending herself. What is “Respuesta a SorFilotea”?

35. respuestaa sorfilotea • Gives a critique of Padre Antonio de Vieira’s famous sermon. • Bishop of Puebla publishes it as “Missive Worthy of Athena.” (1691) • Includes a letter of his own, admonishing Sor Juana for her “Intellectualism” under the pen name SorPhilothea de la Cruz.

36. Fragments of“respuesta a sorfilotea” • The publication of my work is a blessing which makes me feel unworthy. • I can’t thank you because I don’t know how, not because I’m ungrateful. I want to benefit more from your goodness; you can help to shape my intellect. • Butyour kindness does prompt me to answer, and I understand your warning to be against my secular writings. But how should I write of sacred things if I might misunderstand them? I don’t study to write or teach but to be less ignorant.

37. Fragments of“respuesta a sorfilotea” • How much harm would be avoided in our country if older women were as learned as Laeta and knew how to teach in the way Saint Paul and my Father Saint Jerome direct! • Instead of which, if fathers wish to educate their daughters beyond what is customary, for want of trained older women and on account of the extreme negligence which has become women's sad lot, since well-educated older women are unavailable, they are obliged to bring in men teachers to give instruction…

38. Fragments of“respuesta a sorfilotea” • As a result of this, many fathers prefer leaving their daughters in a barbaric, uncultivated state to exposing them to an evident danger such a familiarity with men breeds.

39. Some points • Laeta’s knowledge  Be able to learn (women can have knowledge as Laeta). • Saint Paul and Father Saint Jerome be able to teach (women can teach women). • Uneducated women Ignorance is dangerous. • Women become an easy prey  Opens discussion over rape.

40. Last lines of “respuesta…” • And if you say I shouldn’t write poetry because I am a woman, you are saying the evil is in my being a woman – because there is no evil in poetry. Besides, I’ve only written when begged to by others. Even the piece you respond to [the prose critique] was not written by my own volition and I did not intend someone like you to ever read it. It has been criticized, but I deem it better not to defend it, because the truth will speak for itself. Praise is more harmful than criticism, anyway, as it tempts one to pride. • I will ask your correction of any further writing I do. • I hope I have not been too familiar. • I request God’s blessings on you.

41. Conclusions for “RESPUESTA…” • Sor Juana turned around the logic used by the Church to justify her oppression and subverted it into a magnificent defense for women's intellectual rights and education. • Though the letter’s tone is superficially humble, Sor Juana forcefully insists that women have a natural right to the mind. Her use of biblical evidence to support her call for strong, educated women is downright clever -- and has earned her recognition for her rhetorical skills.

42. Conclusions for “RESPUESTA…” • “Respuesta a SorFilotea” brought indignation from the Church and unwanted attention from the Inquisition. • To save herself, Sor Juana was forced to stop writing and to give up her books.

43. Characteristics of baroque On her writing (?) On her life (?) On her attitude (?)

44. 2) Against patriarchal societies. through POETRY: “YOU men” Hombres neciosqueacusáisa la mujer sin razón,sin verquesois la ocasiónde lo mismoqueculpáis:si con ansia sin igualsolicitáissudesdén,¿porquéquereisqueobrenbiensilasincitáis al mal?Combatíssuresistenciay luego, con gravedad,decísquefueliviandadlo quehizo la diligencia. Silly, you men-so very adeptat wrongly faulting womankind,not seeing you're alone to blamefor faults you plant in woman's mind.   After you've won by urgent pleathe right to tarnish her good name,you still expect her to behave—you, that coaxed her into shame.   You batter her resistance downand then, all righteousness, proclaimthat feminine frivolity,not your persistence, is to blame.

45. “YOU men” Pues¿paraquéosespantáisde la culpa quetenéis?Queredlascuallashacéiso hacedlascuallasbuscáis.Dejad de solicitar,y después, con másrazón,acusaréis la aficiónde la queosfuere a rogar.   Bien con muchasarmasfundoquelidiavuestraarrogancia,pues en promesa e instanciajuntáisdiablo, carne y mundo. So why are you men all so stunnedat the thought you're all guilty alike?Either like them for what you've made themor make of them what you can like.   If you'd give up pursuing them,you'd discover, without a doubt,you've a stronger case to makeagainst those who seek you out.   I well know what powerful armsyou wield in pressing for evil:your arrogance is alliedwith the world, the flesh, and the devil!

46. Dream vision DREAM ALLEGORY • Emerged as a poetic genre in the Middle Ages. • Kind of narrative. • Narrator falls asleep and dreams the events of the tale. • The story is often a kind of allegory  a tour of some marvelous realm. • Dante Alighieri The Divine Comedy (c. 1320) • The dream vision was much favored by medieval poets, most of them influenced by the 13th‐century Roman de la rose by the French poets Guillaume de Lorris and Jean de Meung.

47. First Dream, 1692 Primero sueño • Her most celebrated work. • Silva(a poetic form combining verses of 7 and 11 syllables) • Describes through the form of a dream the soul's rising toward knowledge, employing extensively Sor Juana's knowledge of the sciences. • The poem is baroque style, yet seems to foreshadow the Enlightenment in its scientifically oriented worldview. • Interpretations of ”Primerosueño” are diverse. It has been variously described as metaphysical, as a defense of the private viewpoint, and as a work that in outlook foreshadows modern Mexican nihilism. • Regardless of interpretation, it is perhaps her most important piece, particularly because of her claim that it was the only work she composed on her own impulse rather than at the request of another.

48. Spanish poets leading topics similar to hers: death • Jorge Manrique (1440-1479) • “Coplaspor la muerte de supadre”/ “Stanzas on his father’s death” Recuerdeel alma dormida, avive el seso y despiertecontemplandocómo se pasa la vida, cómo se viene la muerte tan callando,cuán presto se va el placer, cómo, después de acordado, da dolor;cómo, a nuestroparecer, cualquieratiempopasadofuemejor.

49. Spanish poets leading topics similar to hers: death • “Stanzas on his father’s death” Let from its dream the soul awaken,     And reason mark with open eyes        The scene unfolding,— How lightly life away is taken,     How cometh Death in stealthy guise,—         At last beholding; What swiftness hath the flight of pleasure     That, once attained, seems nothing more         Than respite cold; How fain is memory to measure     Each latter day inferior         To those of old.

50. Spanish poets leading topics similar to hers: dream • *Luis de Góngora y Argote (1561-1627) • “A un sueño”/”A dream” Elsueño (autor de representaciones),En suteatro, sobre el vientoarmado,Sombrassuelevestir de bulto bello. Síguele; mostrárateel rostroamado,Y engañarán un ratotuspasionesDos bienes, queserándormir y vello.