By Rolena Adorno
A bright account of the literary tradition of the Spanish-speaking Americas from the time of Columbus to Latin American Independence, this Very brief creation explores the origins of Latin American literature in Spanish and tells the tale of ways Spanish literary language constructed and flourished within the New global. a number one student of colonial Latin American literature, Rolena Adorno examines the writings that debated the justice of the Spanish conquests, defined the novelties of latest international nature, expressed the creativity of Hispanic baroque tradition in epic, lyric, and satirical poetry, and expected Latin American Independence. The works of Spanish, creole, and Amerindian authors highlighted right here, together with Bartolomé de las Casas, Felipe Guaman Poma, Sor Juana Inés de los angeles Cruz, and Andrés Bello, were selected for the advantages in their writings, their participation within the better literary and cultural debates in their occasions, and their resonance between readers today.
"A fabulous and interesting review of colonial Latin American literature, replete with new insights and visions. Its brevity, readability, and wit should still make it the start line for any examine of the interval and of the polemics of possession." -Frederick A. de Armas, Andrew W. Mellon wonderful carrier Professor, college of Chicago
"Rolena Adorno has written the booklet that are meant to were written many years in the past. Her unequaled scholarship, her strength of synthesis, and her designated prose make this an advent to colonial Latin American literature that would turn into necessary to all scholars within the field." -Verónica Cortínez, professor of colonial stories, collage of California, l. a.; writer, Memoria unique de Bernal Díaz del Castillo
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Extra resources for Colonial Latin American Literature: A Very Short Introduction (Very Short Introductions)
15 First encounters, ﬁrst doubts Martire was the ﬁrst thinker to attempt to deal with the conundrums presented by the European encounter with these “new” lands and peoples. “New” was his choice of term (orbe novo), just as it was, around the same time, for Amerigo Vespucci (mundus novus). In contrast to Vespucci’s notion of variety contained in the idea of mundus, Martire’s “orb,” circle or sphere, implies the idea of unity, and it bespeaks the fundamental belief that the new lands are God’s creation and therefore that nature in all the world is one.
This was a novelty because at that time “Spain” as a legal or political entity did not exist, and—as Cortés well knew—the term “Spanish Empire” was a legal misnomer. The consummate mastery of Cortés’s narration is matched by the powerful graphic rendering of Mexico Tenochtitlan that appears in the Latin edition of his second and third letters published in Nuremberg in 1524. Like Cortés’s letters, it combines empirical data with interpretive panache. The island city ﬂoats in its lagoon, and its neatly arranged buildings and towers likely evoked images of Venice in the European reader’s eye.
Oviedo’s deep interest in the natural world is one with his interest in its usefulness to humanity. Two of his drawings illustrate basic principles of his work. The hammock makes his point about the happy convergence of the works of nature and those of man: Oviedo tells how the hammock is made and hung, describes the natural materials from which it is constructed, and recommends the hammock to his readers as an innovation in sleeping comfort. The other is the pineapple. Here appears another of Oviedo’s principles in his treatment of the natural world: averse to ascribing monstrousness to nature, Oviedo thus tempers the pineapple’s apparently off-putting or even repulsive aspect with the conviction à la Isidore of Seville, the early-seventh-century Christian thinker and encyclopedist, that monstrosities are part of the Creation and not contrary to nature’s design.
Colonial Latin American Literature: A Very Short Introduction (Very Short Introductions) by Rolena Adorno