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Journal articles on the topic 'Peruvian essays'
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1
Saramago, Victoria. "The Rights of Nature, the Rights of Fiction: Mario Vargas Llosa and the Amazon." Novel 54, no. 1 (May 1, 2021): 19–42. http://dx.doi.org/10.1215/00295132-8868761.
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Abstract The Amazonian region occupies a singular place in the fiction and nonfiction of the Peruvian writer Mario Vargas Llosa. Author of paradigmatic novels on the Peruvian Amazon, Vargas Llosa nevertheless has repeatedly defended extensive exploitation of Amazonian natural resources—at the expense of Indigenous rights and environmental conservation—in his essays and political activities. This article discusses this conflict between Vargas Llosa's fictional and nonfictional work on the Amazon through the lens of a theory of fiction that emerges from his essays across decades and that suggests that the fictional text is independent from the referential reality it represents. By revisiting his novels and writings about fiction, this article argues that Vargas Llosa's belief in the autonomy of fiction from its referential reality explains, to a certain extent, how the fascination with the Amazon present in the author's novels coexists with his defense of drastic changes in the region through environmental exploitation and the acculturation of Indigenous populations. While Vargas Llosa's work enjoyed a positive reception in the 1960s, the nontransitive notion of mimesis he proposed has gradually taken on reactionary undertones in the context of changing expectations since the 1980s and 1990s.
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Urbancová, Linda. "Emilio Adolfo Westphalen, un surrealista a medias." Studia Romanistica 21, no. 2 (December 2021): 61–68. http://dx.doi.org/10.15452/sr.2021.21.0010.
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Emilio Adolfo Westphalen, a Semi-Surrealist. This work aims to establish similarities between surrealist poetry and the poetry of the Peruvian poet Emilio Adolfo Westphalen. The first part of the text is aiming to outline main characteristics of avant-garde literature in Peru between the years 1920 and 1930 and the process of implantation of a surrealist movement born in Europe. The mentioned process of implantation was hard and complex, especially, because it clashed with the local political system and partial renunciation of the previous movements such as Modernism, Symbolism, and Romanticism. Also, French surrealism had to face literary Peruvian critics who were not ready for the arrival of something new. Consequently, Emilio Adolfo Westphalen expressed his discontent over the fossilized literary critic and his poet friends in his correspondence and essays. Westphalen was not only interested in the surrealism of others, but he was also interested in surrealism for his poetry. Our study is based particularly on the following sources: the essays of Emilio Adolfo Westphalen, the surrealist theory included in the Manifestoes of Surrealism, and the critical works by Mirko Lauer, Américo Ferrari, etc.
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Carrillo, Germán D. "Essays on Alfredo Bryce Echenique, Peruvian Literature and Culture (review)." Hispania 95, no. 4 (2012): 754–55. http://dx.doi.org/10.1353/hpn.2012.0142.
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Zevallos-Aguilar, Ulises Juan. "Essays on Alfredo Bryce Echenique, Peruvian Literature and Culture (review)." Revista de Estudios Hispánicos 46, no. 3 (2012): 588–90. http://dx.doi.org/10.1353/rvs.2012.0060.
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Arista Montoya, Luis Alberto. "Jorge Basadre, filósofo de la historia." Tradición, segunda época, no. 18 (January 9, 2020): 111–16. http://dx.doi.org/10.31381/tradicion.v0i18.2664.
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ResumenToda la obra historiográfica republicana del intelectual peruano Jorge Basadre Grohmann (1903-1980) se sustenta en una rica filosofía de la historia que parte de su opción por la filosofía clásica griega, así como de la filosofía alemana moderna; sus ensayos socio-históricos son los que mejor interpretan filosóficamente la actualidad peruana, clave para comprender su vigencia y trascendencia intelectual. De cara a la conmemoración del Bicentenario de la Independencia, con el presente estudio iniciamos la exploración de esa veta filosófica que aparece, permanece yfluye en toda su obra.Palabras clave: Identidad, proyecto, posibilidad, promesa, ser, Nación, Estado, peruanidad.
AbstractAll the republican historiographic research of the Peruvian intellectual Jorge Basadre Grohmann (1903-1980) is supported by a rich philosophy of history that emerges from his choice for classical Greek philosophy, as well as modern German philosophy; and his socio-historical essays remains as the best way to interpret Peru nowadays: is the key to understand its validity and intellectual transcendence. In the face of the commemoration of the Peruvian Independence Bicentennial, with this study we begin the exploration of that philosophical vein that appears and remains in all his works.Keywords: Identity, project, possibility, promise, being, Nation, State, Peruvian identity.
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Magomedov, R. M. "The Sendero Luminoso Phenomenon in the Research Field of the Peruvian Scientific Community." IZVESTIYA VUZOV SEVERO-KAVKAZSKII REGION SOCIAL SCIENCE, no. 3 (207) (October 19, 2020): 59–64. http://dx.doi.org/10.18522/2687-0770-2020-3-59-64.
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The article is devoted to the study of the phenomenon of the left-wing organization Sendero Luminoso. An integrated analysis and comprehensive review of the works presented by monographs, essays, materials of specially created commissions, where the formation of political, social, economic and spiritual foundations necessary for the Genesis of this group are considered. Significant attention is paid to the discourse that has emerged in the Peruvian academic space on the issue of social support for Senderists. The author analyzes the concepts put forward and presented by Peruvian researchers regarding the nature of the occurrence of large-scale violence in Peru in the 80s of the twentieth century. The conclusion emphasizes the role of the state as an institution designed to prevent social contradictions that take place in society from escalating into a full-scale bloody conflict.
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Grijalva, Juan Carlos. "Paradoxes of the Inka Utopianism of José Carlos Mariátegui'sSeven Interpretative Essays on Peruvian Reality." Journal of Latin American Cultural Studies 19, no. 3 (December 2010): 317–34. http://dx.doi.org/10.1080/13569325.2010.528897.
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Morozov, Artem D. "The “Inca Utopia” in the Novel “Letters from a Peruvian Woman” by F. De Graffigny." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 80, no. 4 (2021): 54. http://dx.doi.org/10.31857/s241377150016295-7.
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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.
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López-Calvo, Ignacio. "Essays on Alfredo Bryce Echenique, Peruvian Literature and Culture - by Hart, Stephen M. and Wood, David." Bulletin of Latin American Research 31, no. 4 (September 4, 2012): 519–20. http://dx.doi.org/10.1111/j.1470-9856.2012.00766.x.
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Gandarilla Salgado, José Guadalupe, María Haydeé García-Bravo, and Daniele Benzi. "Two Decades of Aníbal Quijano’s Coloniality of Power, Eurocentrism and Latin America." Contexto Internacional 43, no. 1 (April 2021): 199–222. http://dx.doi.org/10.1590/s0102-8529.2019430100009.
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Abstract Aníbal Quijano has been one of the most astute and purposeful Latin American social theorists of the second half of the 20th century. His pioneering essays on the ‘Coloniality of Power’ not only inspired the project of Modernity/Coloniality/Decoloniality, but have also influenced countless intellectuals and activists who were not necessarily involved in the so-called ‘Decolonial Turn.’ While Quijano has not left behind a text in which all of the characteristics of his theory on ‘Coloniality’ are systematised, it can be argued that the lengthy essay ‘Coloniality of Power, Eurocentrism and Latin America,’ published for the first time twenty years ago, was intended to provide such an overview of his thought. The purpose of this forum is to critically debate the legacy of the Peruvian sociologist during a period which Quijano himself later described as the ‘Root Crisis of the Coloniality of Global Power.’ In the first section, José Gandarilla presents the Latin American antecedents and precursors of the use of the term ‘Coloniality.’ Next, Haydeé García reflects on the interdisciplinary perspective in Aníbal Quijano, the weight of totality, and its historical articulations. Finally, Daniele Benzi opens up and addresses some queries regarding ‘colonial/modern and Eurocentered capitalism,’ from the perspective of macro-historical sociology.
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Paitan Leonardo, Diego. "¡Adiós, melancolía! Relatos sobre la crítica y la institucionalidad artística en los ensayos En viaje. Del Rímac al Plata (1917-1918) de Teófilo Castillo." Illapa Mana Tukukuq, no. 15 (February 7, 2019): 24–33. http://dx.doi.org/10.31381/illapa.v0i15.1839.
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La serie de ensayos En viaje. Del Rímac al Plata (1917-1918) de Teófilo Castillo revelaron un balance de la realidad artístico-cultural peruana en el concierto sudamericano. Al detectar que la institucionalidad era responsable de las insuficiencias estatales, trató de configurarla como herramienta de restructuración de los museos y academia nacionales, además de funcionar –ligado al concepto de patriotismo– como ente protector del artista nacional.
Palabras clave: crítica de arte, institucionalidad, patriotismo, viaje.
AbstractThe series of essays En viaje. Del Rímac al Plata (1917-1918) by Teófilo Castillo revealed a balance of the Peruvian artistic-cultural reality in the South American consensus. When detecting that the institutionality was responsible for the state deficiencies, he tried to configure it as a restructuring tool the national museums and academy, as well as its functions, linked to the concept of patriotism, as a protective entity of the national artist.
Keywords: art criticism, institutionality, patriotism, travel.
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Rodríguez, Josué. "Convulsive Transfers in the Work of César Moro." Romanic Review 115, no. 1 (May 1, 2024): 115–33. http://dx.doi.org/10.1215/00358118-11012051.
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Abstract This article explores the poetry and essays of Peruvian surrealist poet César Moro (1903–56) in relation to the French surrealist aesthetic of convulsive beauty as defined by André Breton (1896–1966). By examining Moro’s textual construction of a speaker who privileges nature as a poetic agent, the author argues that his historical role as an agent of cultural transfer emerges. Using the aesthetic of convulsive beauty as a case study, the author shows how Moro’s poetic mythification of Peru’s colonial legacy creates a hybrid surrealist canon through metonymic techniques that reflect Amerindian notions of animism. In particular, Moro’s renditions of diamonds, precious stones, animals, plants, and other natural forms challenge the subject-object divide that limits the European modernist aesthetic. What emerges in this global process of cultural transfer is a translational poetics that avoids the binaries of source and target audiences, thereby allowing the emergence of nonlinear and dynamic modes of contact.
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Nunn, Frederick M. "“Mendacious Inventions”, Veracious Perceptions: “The Peruvian Reality of Vargas Llosa's La Ciudad Y Los Perros”." Americas 43, no. 4 (April 1987): 453–66. http://dx.doi.org/10.2307/1007189.
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“The interpretation of our reality through patterns not our own serves only to make us more unknown, ever less free, ever more solitary.”Gabriel García Márquez, Nobel Lecture, 1982In the second half of this century, we have been told, the Latin American novel came of age. Authors no longer felt constrained to subject indigenous contents to alien forms. Instead contents suggested forms truly representative of societies, polities, and cultures in search of identity and struggling with numerous historic problems, some not even of their own region's making.Although Latin American novels have long been recognized as important to the area's cultural development, as indicators of literary achievement, and as valuable sources for scholars, few works published between Machado de Assis's Dom Casmuro (1900) and Miguel Angel Asturias's Men of Corn (Hombres de maiz, 1949) could be described as aesthetic magna opera. In the long hiatus essayists took up the task of portraying reality, producing such classics as Euclides da Cunha's Rebellion in the Backlands (Os Sertões, 1902), José Vasconcelos's The Cosmic Race (La raza cósmica, 1925), José Carlos Mariátegui's Seven Interpretive Essays on Peruvian Reality (Siete ensayos de interpretación de la realidad peruana, 1927), Alberto Edwards Vives's The Aristocratic Fronde (La fronda aristocrática, 1927), and Ezequiel Martínez Estrada's X-Ray of the Pampa (Radiografía de la pampa, 1933).
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Carey, Mark. "Mountaineers and Engineers: The Politics of International Science, Recreation, and Environmental Change in Twentieth-Century Peru." Hispanic American Historical Review 92, no. 1 (February 1, 2012): 107–41. http://dx.doi.org/10.1215/00182168-1470986.
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Abstract During the 1930s, the German and Austrian Alpine Society sponsored three mountaineering-scientific expeditions to the Peruvian Andes, focusing especially on the Cordillera Blanca and adjacent valley known as the Callejón de Huaylas. They climbed mountains, conducted scientific studies, produced detailed maps, explored the highlands, and interacted with Peruvian intellectuals. Similar German expeditions went to Asia, Africa, and elsewhere in South America during this decisive period for the Nazi empire. This essay analyzes the writings and publications of the German and Austrian mountaineer-scientists who went to Peru, especially the Austrian leader Hans Kinzl, as well as examining government documents, technical reports, tourism publicity, diplomatic correspondence, and travel accounts to understand how Peruvian policy makers, engineers, scientists, intellectuals, tourism boosters, regional authorities, urban-based ruling classes, and rural residents in the mountains interacted with the European mountaineer-scientists during and after their expeditions. Most Peruvian groups initially welcomed the foreign mountaineer-scientists, using their activities to pursue their own agendas during the 1930s and 1940s. By the 1960s, however, many had become opposed to foreign mountaineers and scientists “intervening” in the Andes. World War II, natural disasters, the weak nation-state, coast-sierra divisions, growing Peruvian expertise in science and engineering, and the rise of an Andean tourism economy influenced how Peruvians perceived and interacted not only with the foreign mountaineer-scientists, but also with the Andean alpine landscape. Moreover, the dynamic physical environment also shaped historical processes: from science and engineering to landscape perceptions, tourism economies, national development, and international relations.
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González Prada, Manuel, Cathleen Carris, and Thomas Ward. "The Slaves of the Church." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 765–77. http://dx.doi.org/10.1632/pmla.2013.128.3.765.
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Manuel GonzÁlez prada (1844-1918), like inca garcilaso de la vega, César vallejo, josé marÍa arguedas, and mario vargas llosa, ranks among the top Peruvian literary figures, but only in Peru, where his work is hotly debated by literati, social scientists, historians, politicians, and journalists. Outside Peru he rates no more than the inclusion in anthologies of one of his poems; his most famous essay, “Nuestros indios” (“Our Indians”); or the occasional critical article on his work. However, with the Cuban José Martí (1853-95), González Prada is a founder of Latin American modernism, a movement that critics generally accept as running roughly from the publication of Rubén Darío's Azul, in 1888, to Darío's death, in 1916. Gordon Brotherston notes that Darío coined the term modernismo the same year he published Azul (vii). There are many reasons there has been less interest in González Prada than in Martí and other modernists. To begin with, Darío, in an 1888 visit to Peru, met with Ricardo Palma but not González Prada (Castro). Palma, writing in a more traditional style—even though he invented a genre, tradiciones—was the establishment's literary darling, while González Prada, always the innovator in style and an agitator in subject matter, remained largely unknown outside his native land. Thus, it made perfect sense that the maker of literary movements would visit the internationally known Palma but not González Prada, who could not add to his fame and expanding literary networks. Furthermore, when Darío later went to New York he turned his epistolary relationship with Martí into a personal friendship (Henríquez Ureña 93). In the United States there is much more interest in Martí, who lived here, than in González Prada, who did not. Hispanic modernism is typically understood to include the like-minded people whom Darío knew personally, such as Martí, Julián del Casal (Cuba), Manuel Gutiérrez Nájera (Mexico), Ricardo Jaimes Freyre (Bolivia), and Juan Ramón Jiménez (Spain), and to exclude those whom he did not, such as Adela Zamudio (Bolivia) and González Prada. Finally, González Prada's anarchism, his feminism, and his tell-it-like-it-is essays did not endear him to many people.
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Cavagnaro Farfán, Franco. "MÁS ALLÁ DE LA ESTÉTICA: JORGE EDUARDO EIELSON FRENTE AL LEGADO PREHISPÁNICO." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 7 (January 18, 2018): 101. http://dx.doi.org/10.21754/devenir.v4i7.138.
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Realizando un recorrido por sus ensayos y su propia obra literaria, en este artículo se analiza y establece el contexto básico que lleva a Jorge Eduardo Eielson a la comprensión del legado. Para ello se hace una breve exposición de aspectos legales del patrimonio y la intuición poética del mismo a través de las ideas de otros escritores y artistas. Esta conciencia a su vez se contrapone con la posición tomada por Eielson en los años 80 a favor de una posición curatorial frente al patrimonio mueble. Adicionalmente, se hace evidente el entendimiento que el artista establecía con el pasado prehispánico. Para ello desde un enfoque multidisciplinario se analiza la iconografía y la arquitectura andina sobre las que el poeta escribía en sus ensayos; de este modo en el artículo se establece la intuición que Eielson había desarrollado desde su exilio, como una inversión de la monumentalidad italiana que se recrea en su poesía escrita en ese país. Es decir, a través de su acercamiento al pasado prehispánico, desconocido y/o despreciado, durante su vida en Lima, el artista realiza una revalorización espectacular desde el exilio. Palabras clave.-Patrimonio inmueble, arte prehispánico, poesía peruana. ABSTRACTThrough a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry he wrote in that country. That is, through his approach to the Pre-Hispanic past, unknown and/or unappreciated, during his life in Lima, the artist puts forward a spectacular revaluation from exile. Keywords.-Property heritage, pre-Hispanic art, Peruvian poetry.
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GOOTENBERG, PAUL. "Fishing for Leviathans? Shifting Views on the Liberal State and Development in Peruvian History." Journal of Latin American Studies 45, no. 1 (February 2013): 121–41. http://dx.doi.org/10.1017/s0022216x12001204.
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AbstractThis essay examines the shifting conceptions of the state and development through recent waves of Peruvian historiography. The broad structuralist-dependency interpretations of the 1970s and 1980s gave way to a more diffuse and creative ‘political turn’ during and after the 1990s. These changing historical ideas, which still defy synthesis, relate to distinctive global conceptions and phases of economic liberalism, the changing perceived role of states in development, and the integration and social disciplining of a vastly unequal Peruvian nation. Aspects of these Peruvian historical debates may help to shed light on similar controversies through much of the region.
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Turino, Thomas, Cesar Bolanos, Carpio Munoz, Juan Guillermo, Gloria Escobar, Gabriel Escobar, Instituto Americano de Arte, et al. "Review Essay: Recent Publications on Peruvian Music (1981-1985)." Latin American Music Review / Revista de Música Latinoamericana 7, no. 2 (1986): 361. http://dx.doi.org/10.2307/780224.
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Germana, Gabriela, and Amy Bowman-McElhone. "Asserting the Vernacular: Contested Musealities and Contemporary Art in Lima, Peru." Arts 9, no. 1 (February 7, 2020): 17. http://dx.doi.org/10.3390/arts9010017.
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This essay examines three museums of contemporary art in Lima, Peru: MAC (Museum of Contemporary Art), MALI (Lima Art Museum), and MASM (San Marcos Art Museum). As framed through curatorial studies and cultural politics, we argue that the curatorial practices of these institutions are embedded with tensions linked to the negotiation of regional, national, and international identities, coloniality, and alternate modernities between Western paradigms of contemporary art and contemporary vernacular art in Peru. Peruvian national institutions have not engaged in the collection of contemporary art, leaving these practices to private entities such as the MAC, MALI, and MASM. However, these three institutions have not, until recently, actively collected contemporary vernacular Peruvian art and its by-products, thus inscribing this work as “non-Western” through curatorial practices and creating competing conceptions of the contemporary. The curatorial practices of the MAC, MALI, and MASM reflect the complex and contested musealities and conceptions of the contemporary that co-exist in Lima. This essay will address this environment and the emergence of alternative forms of museality, curatorial practices, and indigenous artist’s strategies that continually construct and disrupt different modernities and create spaces for questioning constructs of contemporary art and Peruvian cultural identities.
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Hsia, Ronnie Po-chia. "Jesuit Foreign Missions. A Historiographical Essay." Journal of Jesuit Studies 1, no. 1 (2014): 47–65. http://dx.doi.org/10.1163/22141332-00101004.
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A review of recent scholarship on early modern Jesuit missions, this essay offers a reflection on the achievements and desiderata in current trends of research. The books discussed include studies on Jesuit missions in China (Matteo Ricci), on the finances of the eighteenth-century Madurai mission in India, the debates over indigenous missions in the Peruvian province in the sixteenth and early seventeenth century, on print and book culture in the Jesuits’ European missions, and finally a series of studies on German-speaking Jesuit missionaries in Brazil, Chile, and New Granada.
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Roldán, Verónica. "Immigration and Multiculturalism in Italy: The Religious Experience of the Peruvian Community in the Eternal City." Religions 10, no. 8 (August 14, 2019): 478. http://dx.doi.org/10.3390/rel10080478.
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The present study on the religious experience of the Peruvian community in Rome belongs to the area of studies on immigration, multiculturalism, and religion in Italy. In this article, I analyze the devotion of the Peruvian community in Rome to “the Lord of Miracles”. This pious tradition, which venerates the image of Christ crucified—painted by an Angolan slave—began in 1651 in Lima, during the Viceroyalty of Peru. Today, the sacred image is venerated in countries all over the world that host Peruvian immigrant communities that have set up branches of the Confraternity of the Lord of Miracles. I examine, in particular, the cult of el Señor de los Milagros in Rome in terms of Peruvian popular religiosity and national identity experienced within a transnational context. This essay serves two purposes: The first is to analyze the significance that this religious experience acquires in a foreign environment while maintaining links with its country of origin and its cultural traditions in a multilocal environment. The second aim is to examine the integration of the Peruvian community into Italian society, beginning with religious practice, in this case Roman Catholicism. This kind of religiosity seems not only to favor the encounter between the two cultures but also to render Italian Roman Catholicism multicultural.
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Lane, Kevin. "Prospects: archaeological research and practice in Peru." Antiquity 86, no. 331 (February 22, 2012): 221–27. http://dx.doi.org/10.1017/s0003598x00062578.
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The following comments reflect on the present state of Peruvian-led research archaeology and its prospects for the future, from the viewpoint of a friend, colleague but notably as an outsider. As such this piece is informed by both personal experience and the informed opinions of local Peruvian investigators who, for reasons that will become apparent, have opted for anonymity. The essential premise here is that the intellectual and financial basis of archaeology in Peru is at a critical stage, and a major part of this article is to see how the next generation can negotiate this quagmire; and believe me for all the myriad problems there are important rays of light that could significantly and positively alter the state of Peruvian archaeology. With this in mind, in this brief essay I consider the research environment, the theoretical basis, and the means by which research projects and resource mitigation are carried out, and summarise some of the challenges that archaeologists living and working in Peru now face. A recent, thorough treatise of the history and state of Peruvian archaeology can be found in Shimada and Vega-Centeno (2011).
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Chiri Jaime, Sandro. "Independencia del Perú en dos tradiciones de Ricardo Palma." Aula Palma, no. 20 (January 2, 2023): 199–228. http://dx.doi.org/10.31381/ap.v20i20.4454.
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El presente ensayo revisa el espíritu cívico con que Ricardo Palma escribe un conjunto de tradiciones ambientadas durante el proceso de la Independencia del Perú y, al hacerlo, privilegia el ánimo unitario de la nación sobre las rencillas políticas de entonces. Así mismo, el texto analiza dos relatos, «Con días y ollas venceremos» y «La tradición del Himno Nacional», con el propósito de valorar, en el primero, los riesgos que asumieron peruanos de diversa procedencia para conquistar la tan ansiada emancipación de la administración colonial; y, en el segundo, reconocer el mérito de la letra y música del Himno Nacional del Perú, así como su intangibilidad, en tanto que fue obra de los peruanos que fundaron la República.
Palabras clave: José de San Martín, Simón Bolívar, Francisco Javier Luna Pizarro, José Bernardo Alcedo, José de la Torre Ugarte, independencia, emancipación, República, patriotas, militarismo, música.
Abstract
This essay analyzes the civic spirit which Ricardo Palma used to write a set of traditions during the process of Peruvian Independence and, while doing so, he privileges the unitary spirit of the nation over the political conflicts of those times. Likewise, the text analyzes two stories, “Con días y ollas venceremos” and “La tradición del Himno Nacional”, with the purpose of valuing, in the first one, the risks that Peruvians of diverse origins assumed to conquer the so longed emancipation from the colonial administration; and, in the second one, to recognize the merit of the lyrics and music of the National Anthem of Peru, as well as its intangibility, as it was the work of the Peruvians who founded the Republic.
Keywords: José de San Martín, Simón Bolívar, Francisco Luna Pizarro, José Bernardo Alcedo, José de la Torre Ugarte, independence, emancipation, Republic, patriots, militarism, music.
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Arista Montoya, Luis Alberto. "Palma y la teoría de la mirada." Aula Palma, no. 20 (January 2, 2023): 229–48. http://dx.doi.org/10.31381/ap.v20i20.4455.
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En este ensayo, la tradición peruana «La conspiración de la saya y el manto» de Ricardo Palma es analizada a la luz de la teoría de la mirada expuesta por el filósofo francés Jean Paul Sartre en su obra El Ser y la Nada. Este análisis tiene como punto de partida reconocer el valor y la intencionalidad política de la mirada de las tapadas limeñas en el Perú pre-republicano.
Palabras clave: Tradición peruana, cuerpo, mirada, prójimo, poder, conspiración social.
Abstract
In this essay the Peruvian Tradition, by the Peruvian writer Ricardo Palma, entitled “La conspiración de la saya y el manto”, is analyzed in the light of the theory of the gaze exposed by the French philosopher Jean-Paul Sartre in his work “Being and Nothingness”; this analysis is based on the value and the political intentionality of the tapadas limeñas gaze, in the pre-republican Peru.
Keywords: Peruvian Tradition, body, gaze, neighbor, power, social conspiracy.
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Sucari, Henry César Rivas, José Luis Rodríguez Eguizabal, Ana María Flores Núñez, and Sandra Alicia Rivas Sucari. "Flora Tristán and María Nieves Y Bustamante, Two Moments In 19th Century Peruvian Literature." International Journal of Religion 5, no. 10 (July 15, 2024): 3931–37. http://dx.doi.org/10.61707/t69tt520.
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Peruvian literature of the 19th century has important representatives that have been studied by critics. Its contextual conditions are highlighted, especially with two transcendental historical events: the independence of Peru and the War of the Pacific. Flora Tristán published Peregrinaciones de una paria at a time when independence was being consolidated in Peru. Later, María Nieves y Bustamante published Jorge o el hijo del pueblo after the war with Chile. Both writers constitute two creative representations of historical moments of Peruvian society. The first based on a hybrid text: a mix of personal diary, travel chronicle and adventure novel; and the second, as a historical and romantic novel from the late 19th century in Peru. The objective of this essay is to explore the historical representation in the literature carried out by these two writers.
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Leão, Juraci Andrade de Oliveira. "VOICES FROM THE NINETEENTH-CENTURY: WOMEN TRAVELERS AND POLITICAL ACTIVISM." Em Tese 6 (August 31, 2003): 225. http://dx.doi.org/10.17851/1982-0739.6.0.225-232.
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This study aims at analyzing some aspects in the diaries: Journal of a Voyage to Brazil, by the British Maria Graham, and Peregrinations of a Pariah, by the French-Peruvian Flora Tristan. This essay discusses how these women travelers transgressed the role ascribed to them in society through their intervention in the political sphereand how such aspects contribute to the construction of anew female identity.
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Spangler, Ryan. "Cholo u hombre: Representation and Revolution in the Senderista Theater of Víctor Zavala Cataño." Journal of Latino/Latin American Studies 10, no. 2 (July 1, 2020): 66–77. http://dx.doi.org/10.18085/1549-9502.10.2.66.
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Abstract The development of campesino theater by the Peruvian playwright Víctor Zavala Cataño played a pivotal role in underscoring the intellectual and economic divide separating the upper class and the agrarian workers of the high Andean plateau regions of Peru. His theater, which sought to empower the previously dehumanized indigenous laborers from the regions surrounding Ayacucho, simultaneously incorporated the oppressed workers into his theatrical milieu and indoctrinate them into the incipient revolutionary Maoist uprising known as Sendero Luminoso. This essay highlights Zavala Cataño’s implementation and adaptation of Antonio Gramsci’s theories of cultural hegemony and Bertolt Brecht’s dialectal study of socialism and capitalism in his theater. Furthermore, it emphasizes the author’s endeavors to expand the theatrical mise-en-scène to include all of Peru and prepare the Andean campesino for a future role in Sendero’s struggle to overthrow Peruvian democracy.
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Vera Vera, Eland. "Estallido social en Puno. Entre la crisis política y el reconocimiento etnocultural." Discursos del Sur, revista de teoría crítica en Ciencias Sociales, no. 12 (December 31, 2023): 43–64. http://dx.doi.org/10.15381/dds.n12.27094.
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The essay describes and reflects on the Peruvian social outburst (2003), having the Puno region as place of reference. An historical setting of the Peruvian Andes where the cultural cradles of the indigenous Quechua and Aymara peoples merge. During the 2021 presidential elections, the citizens of Puno supported the candidacy of Pedro Castillo, finding once again the opportunity of a national government that would recognize and value their cultural space, as well as execute changes aimed at offering opportunities for the wellbeing of Andean populations. The presidential ousting of Castillo and president Boluarte subsequent decision of not calling for new elections lead to an outburst. The demonstrations in the south of the country were violently repressed by security forces. Puno became the region with the highest number of victims of the repression. As shown throughout national history, rejection to the protests of Andean citizen manifests in discriminatory actions by the State and other sectors of society.
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Sotomayor, Jorge. "On an encounter of two men of mathematics in Lima." Revista Brasileira de História da Matemática 20, no. 40 (October 22, 2020): 01–07. http://dx.doi.org/10.47976/rbhm2020v20n4001-07.
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This evocative essay focuses on the encounter of two eminent Men of Mathematics: José Tola Pasquel, Peruvian, and Maurício Matos Peixoto, Brazilian, in November of 1961 in Lima. It glimpses into the local meaning and later mathematical consequences of such apparently random event. Here are discussed its implications for the participation of the author in the starting steps of the Qualitative Theory of Differential Equations, earlier name for Dynamical Systems, as a research activity in Brazil.
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Zavaleta Balarezo, Jorge. "Imágenes de sobrevivencia: del realismo urbano del Grupo Chaski al Perú contemporáneo de Claudia Llosa." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 143–68. http://dx.doi.org/10.5195/ct/2017.245.
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The article analyzes the first films of the Grupo Chaski and Claudia Llosa, two strong references in the Peruvian cinema of the last thirty years. Through the critique of the ideas and characteristics of these movies, the essay tries to build a image of Peru, a country where democracy returned in 1980 and since then he has had presidents accused of corruption and abuse of power such as Alan García, Alberto Fujimori, Alejandro Toledo and Ollanta Humala. The works of Chaski focus on poverty and vulnerability of children in Lima, a big city, capital of the country, in the 1980s. In this sense, they are previous stories to “cine de la marginalidad” that in the 1990s featured movies so realistic like Pizza, birra, faso, La vendedora de rosas, Ciudad de Dios or Ratas, ratones, rateros. Claudia Llosa´s work, called international attention when her second film, La teta asustada, won the Golden Bear, the main prize at Berlin Festival. This film, that establishes a necessary continuity to her first film, Madeinusa, is a portrait of the postwar years in the Peruvian Andes, those of the violence of Sendero Luminoso and how the Army designed a destructive strategy. The article looks for an overview of Peruvian society of the last thirty years, characterized for the structural poverty, terrorism, the development of neoliberal reforms and the corruption of the State at different levels.
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Cahill, David. "New Viceroyalty, New Nation, New Empire: A Transnational Imaginary for Peruvian Independence." Hispanic American Historical Review 91, no. 2 (May 1, 2011): 203–35. http://dx.doi.org/10.1215/00182168-1165199.
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Abstract The independence process in Spanish America was accompanied by new imaginaries concerning the new political entities that would emerge from the breakdown of the old colonial jurisdictions. This essay explores an imaginary for Peruvian independence, Bolivarian in scope, which lay at the center of the Revolution of 1814–15 in the southern Andes. This “revolution of the patria” started in Cuzco in 1814 but soon captured Arequipa, Huamanga, and much of Charcas, until its military defeat by royalist forces in 1815. It not only proposed full independence from viceregal control but also aimed at completely severing American ties to the Spanish monarchy. Francisco Carrascón, a peninsular prebendary resident in Cuzco who became the movement’s leading ideologue, had in 1801 unsuccessfully proposed the creation of a new viceroyalty to the Council of the Indies. In 1814, however, he advocated the creation of a new and independent Peruvian empire stretching from Lima to the River Plate, from “Sun to Sun.” The cities of Buenos Aires, Lima, Montevideo, and Cuzco were equally to be the principal imperial cities, but Cuzco, because of its antiquity and central location, would be the seat of government or “national peak.” While there is a significant historiography on the Revolution of 1814–15, it has been largely overlooked in several key Latin American independence syntheses. This essay therefore also seeks to restore the movement to the center of wider historiographic debates on Latin American independence.
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Reynoso, Christian. "Las xilografías de Demetrio Peralta/Diego Kunurana en Boletín Titikaka y otras revistas." Tradición, segunda época, no. 18 (January 8, 2020): 20–25. http://dx.doi.org/10.31381/tradicion.v0i18.2650.
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ResumenEl presente ensayo forma parte del libro de próxima publicación El arte de Demetrio Peralta (Diego Kunurana) Vanguardia y modernidad de Christian Reynoso. El autor nos acerca a la primera etapa creativa de este artista puneño, marcada por las xilografías que publicó en el Boletín Titikaka (Puno: 1926-1930) y otras revistas de la época, y que pueden ser vistas como la representación y expresión de la estética pictórica del vanguardismo que se practicó en el sur peruano. En esa línea, resulta importante revalorar y rescatar el arte de Peralta/Kunurana, hasta hoy un artista poco conocido y valorado dentro de la pintura peruana pese a los diversos registros artísticos de los que nutrió su obra.Palabras clave: Demetrio Peralta, Diego Kunurana, Xilografía, Boletín Titikaka, Cunan, Pintura peruana, Puno
AbstractThe present essay is part of the unpublished book El arte de Demetrio Peralta (Diego Kunurana) Vanguardia y modernidad by Christian Reynoso. The author brings us closer to the first creative stage of this artist from Puno, marked by the woodcuts he published in the Boletín Titikaka (Puno: 1926-1930) and other magazines of the time, which can be seen as the representation and expression of the pictorial aesthetics of the avant-garde that was practiced in the Peruvian south. In this line, it is important to revalue and rescue the art of Peralta/Kunurana, until today an artist little known and valued in Peruvian painting despite the various artistic records that nurtured his work.Keywords: Demetrio Peralta, Diego Kunurana, Woodcut, Boletín Titikaka, Cunan, Peruvian painting, Puno
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Hampe-Martínez, Teodoro. "Recent Works on the Inquisition and Peruvian Colonial Society, 1570–1820." Latin American Research Review 31, no. 2 (1996): 43–65. http://dx.doi.org/10.1017/s0023879100017945.
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This essay seeks to categorize and assess works published since the 1950s on the activities of the tribunal of the Santo Oficio de la Inquisición of Lima and their repercussions on the social history of the viceroyalty of Peru. The studies made of the Inquisition in recent decades, in going beyond a merely descriptive focus or one biased by the old prejudices of the “Black Legend,” have highlighted the exceptional value of the records of the Lima Inquisition for acquainting researchers with interesting dimensions on the level of mentalities, ideas, attitudes, and behaviors—that is to say, in the expressions of the deepest impulses of the human soul. This trend has allowed historians to modify their image of the Inquisition in the Spanish metropolis and in its former colonies in America.
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Daly, Tara. "Claudia Coca’s Chola Power." Meridians 18, no. 2 (October 1, 2019): 414–44. http://dx.doi.org/10.1215/15366936-7775773.
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Abstract This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.
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Wolfgang, Aurora, and Sharon Diane Nell. "Lettres d'une Péruvienne : An Eighteenth-Century Fairy Tale?" Studies in Eighteenth-Century Culture 53, no. 1 (2024): 287–310. http://dx.doi.org/10.1353/sec.2024.a918572.
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Abstract: In this essay, we examine how the popular genres of the fairy tale and the merveilleux influenced Françoise de Graffigny's writing of Lettres d'une Péruvienne ( Letters from a Peruvian Woman ). We demonstrate how the author incorporates elements of the wonderous in her descriptions and themes, especially in Letter 35. In a comparison of the fairy tale that Graffigny herself wrote, La Princesse Azerolle, ou l'excès de la constance ( Princess Azerolle, or the Excess of Constancy ), to her famous novel, we uncover the thematic elements that appear in both. Finally, we speculate as to why scholars have overlooked the inspiration of the fairy tale in favor of the novel's Enlightenment associations.
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Villegas Torres, Fernado. "Recreando imaginarios: Del general José de San Martín a Augusto B. Leguía." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 58–67. http://dx.doi.org/10.31381/illapa.v0i12.1919.
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El presente ensayo aborda la iconografía de San Martín representada por pintores y escultores peruanos y extranjeros. Vemos como los artistas reconocieron en San Martin el haber sido quien proclamó la independencia del Perú. Este aspecto de orador fue la cualidad que lo distinguió y que fue apropiada por Leguía cuando este se asoció con la figura de San Martin y se proclamó como el fundador de la Patria nueva.
Palabras Clave: Iconografía de San Martin, Augusto B. Leguía, Daniel Hernández, arte y política, Carlos Baca Flor, pintura y escultura peruana en el oncenio
Abstract
This essay seeks to investigate the iconography of José de San Martín (1778-1850) as shown in his portrayal by Peruvian and foreign painters and sculptors. We see how these artists acknowledged San Martín as the one who proclaimed the independence of Peru. This rhetorical aspect was the key element that distinguished him and this same element would later be appropriated by Augusto B. Leguía (1863-1932), when the latter one associated himself with the figure of San Martín and proclaimed himself the founder of the “Patria Nueva”.
Keywords: Iconography of José de San Martín, Augusto B. Leguía, Daniel Hernández, art and politics, Carlos Baca Flor, Peruvian painting and sculpture during the Oncenio (1919-1930)
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Vittadini, Nicoletta. "Diete di consumo culturale e migranti." IKON, no. 56 (November 2009): 13–37. http://dx.doi.org/10.3280/ikr2008-056002.
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- The essay introduces a research aimed at describe the differences among entertainment and cultural activities attended by first and second generation migrants coming from different countries and living in the Milan county. In particular, the research has highlighted differences in the process of choice and valorization of outdoor cultural activities between first and second generation migrants belonging to the two widest communities in Milan: Egyptian and Peruvian. The research is based on 33 in deep interviews to migrants coming from Egypt and Perů. The sample has been divided in two parts: 18 people belonging to first generation and 15 to second generation. The research has been carried out from November 2008 and April 2009.
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Kingsbury, Donald V. "José Carlos Mariátegui: An Anthology, edited by Harry E. Vanden and Marc Becker, New York: Monthly Review Press, 2011." Historical Materialism 21, no. 4 (February 21, 2013): 257–72. http://dx.doi.org/10.1163/1569206x-12341332.
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Abstract Described as ‘the most original and innovative Latin American Marxist’ by Michael Löwy – a sentiment repeated by many others – the work of José Carlos Mariátegui remains a largely untapped resource in the Western Marxist tradition outside of specialist circles. This review essay considers the recent publication of a translation and anthology of Mariátegui’s work into English by Harry Vanden and Mark Becker as a first step towards correcting this trend. It highlights Mariátegui’s understanding of race, power, and identity; the combined and uneven development of capital; and the role of myth and voluntarism in revolutionary struggle as key points in which the early-twentieth-century Peruvian contributes to contemporary debates in Marxist praxis in Latin America and beyond.
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Ribeiro, Cláudia Silva da Costa, and Leonardo de Britto Giordano. "Método de obtenção de híbridos interespecíficos entre Lycopersicon esculentum e L. peruvianum." Pesquisa Agropecuária Brasileira 36, no. 5 (May 2001): 793–99. http://dx.doi.org/10.1590/s0100-204x2001000500009.
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A transferência de genes da espécie silvestre Lycopersicon peruvianum para a espécie L. esculentum por processo convencional de hibridação é limitada por incompatibilidade. O objetivo deste trabalho foi desenvolver um método de obtenção de híbridos entre essas duas espécies, mediante a técnica de cultura de óvulos, tendo em vista o interesse em transferir genes presentes em acessos de L. peruvianum que conferem resistência a Septoria lycopersici. Foram utilizados os acessos CNPH 946, CNPH 947 e CNPH 948 de L. peruvianum e as cultivares Floradade e Ipa-5 de L. esculentum. Sementes híbridas de frutos com 25-68 dias após a polinização foram colocadas para germinar inicialmente em meio de cultura Murashige & Skoog (MS), e posteriormente em meio HLH. As sementes foram incubadas no escuro a 25°C. Só foram regenerados os híbridos provenientes das sementes colocadas para germinar em meio HLH. Dezesseis híbridos foram obtidos de 1.573 óvulos, sendo de 1% a taxa de regeneração de plantas híbridas. As características morfológicas dos híbridos F1 quando comparadas com os dois genitores indicaram que as plantas eram realmente resultado da hibridação entre L. esculentum e L. peruvianum.
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Chance, Nuchelle. "Exploring the Disparity of Minority Women in Senior Leadership Positions in Higher Education in the United States and Peru." Journal of Comparative & International Higher Education 13, Summer (August 3, 2021): 206–25. http://dx.doi.org/10.32674/jcihe.v13isummer.3107.
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In this essay, the author compares and contrasts accessibility to higher education senior leadership for women in the United States and Peru. This paper addresses the disparity and challenges of women in higher education senior leadership focusing on minority women such as indigenous and Afro-Peruvian women in Peru and women of color in the United States. The author further calls for empirical research on the character traits, career path, motivations, definitions of success, and challenges of women who serve in executive higher education leadership positions. This paper further contributes to the field of comparative and international higher education, both domestically and abroad, while addressing demographic challenges such as sex and race for women in and seeking higher education administrative leadership career goals.
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Nickoloff, James B. "Gustavo Gutiérrez Meets Giuseppe Verdi: The Beauty of Liberation and the Liberation of Beauty." Religion and the Arts 17, no. 3 (2013): 203–21. http://dx.doi.org/10.1163/15685292-12341270.
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AbstractSome have criticized the theology of liberation, especially its Latin American form, for emphasizing ethical concerns while ignoring the aesthetic dimension of Christian faith. At the same time, many see the fine arts—and particularly opera—as unrelated and even opposed to the struggle for justice today. This essay considers the case of liberation theologian Gustavo Gutiérrez and his debt to fellow Peruvian and novelist José María Arguedas. It then examines the ethical import of one of Giuseppe Verdi’s most famous creations, the enslaved princess Aida. Both Gutiérrez and Verdi may be said to belong to what Arguedas called the “fraternity of the broken-hearted” whose members glimpse a new world coming into being in the very beauty of liberated humanity.
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Febles, Carmen Gabriela. "Alarcón’s Notion of Universalization in Lost City Radio." Pacific Coast Philology 57, no. 1 (April 2022): 42–61. http://dx.doi.org/10.5325/pacicoasphil.57.1.0042.
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Abstract In his debut novel, Lost City Radio (2007), Daniel Alarcón combines his passions for narrative, journalism, radio, and the city of Lima into a story arch that at once teaches and transcends modern Peruvian history. The novelist has used the word “universalization” in defining the theoretical underpinning of his novel, a theory he enacts in subsequent creative endeavors, which include the founding and production of two narrative journalistic podcasts that speak to and about a broad “regional” community that identifies with “América Latina” as a transnational, transcultural, translingual community. This essay explores Alarcón’s articulation and deployment of the concept of universalization as a transbordering strategy in Lost City Radio, and examines the enactment of transbordering as a guiding ethos in his multifaceted scholarly production to date.
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Rodrigues, Filipe Almendagna, Edwaldo dos Santos Penoni, Joyce Dória Rodrigues Soares, Renata Alves Lara Silva, and Moacir Pasqual. "Caracterização física, química e físico-química de physalis cultivada em casa de vegetação." Ciência Rural 44, no. 8 (2014): 1411–14. http://dx.doi.org/10.1590/0103-8478cr20130743.
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A physalis (Physalis peruviana L.) é uma frutífera, pertencente à família Solanaceae, muito difundida no mercado internacional, principalmente por seu sabor e suas características medicinais, tornando-a atrativa para o mercado e comercialização. Objetivou-se determinar e correlacionar as características biométricas apresentadas por frutos e sementes e caracterizar física, físico-química e quimicamente o fruto de physalis, cultivado em casa de vegetação em Lavras-MG. Avaliaram-se nos frutos de physalis os caracteres diâmetros transversal e longitudinal do fruto, massa do fruto, massa do fruto com cálice, massa de sementes por fruto, massa de 100 sementes, massa de 1000 sementes e número de sementes por fruto, sendo que essas características foram avaliadas quando o cálice estava no estádio amarelo. Também foram avaliados a firmeza, coloração dos frutos, sólidos solúveis, acidez titulável, pH, açúcares solúveis totais, pectina total e solúvel. O cultivo de physalis (P. peruviana L.) em casa de vegetação pode ser recomendado, pois essa condição possibilita a obtenção de frutos com características adequadas às normas de comercialização, tais como, conteúdo de sólidos solúveis de no mínimo 14ºBrix e ratio ≥ 6,0.
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Caselli, Marco. "Integrati.. Dove? Egiziani e Peruviani a Milano tra appartenenza locale e identitŕ etnica." IKON, no. 56 (November 2009): 39–73. http://dx.doi.org/10.3280/ikr2008-056003.
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- The migrants' practices of cultural consumption are crucial for the definition of their relationships with the two cultures they are in between: the culture of their birthplace (or of their family) and the culture of the country that hosts them. Cinema, theater, sports and ethnic events they can find in their living area, in fact, are a set of symbolic resources for entertainment everyone can go through starting from his needs, his biography and his social networks. The so called "cultural diet" of migrants responds to the kind of placement everyone choose in respect to his social context (the culture of the country that hosts him, but also its social networks) and to the two cultures hČs in between. This essay describes, starting from research results, differences among first and second generation migrants. The first ones constantly hang in the balance between two different cultures and habits, the second ones that perceive themselves as belonging to the country and culture they are birth in, but conserve, through familiar relationships, a tie with another culture. Starting from the analysis of the role that every entertainment occasion (cinema, theater, sports events and so on) has in the global "cultural diet" of the migrants the essay describes trends and differences between Egyptians and Peruvians characterizing this landscape.
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Intili, Ana María. "Lo impalpable en Blanca Varela." La Manzana de la Discordia 6, no. 1 (March 17, 2016): 81. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v6i1.1512.
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Resumen: En este ensayo se indaga sobre de dóndesurge el genio creador de la poeta peruana Blanca Varela,y se apela a las propias palabras de la autora y a los datosde otras investigadoras para encontrar las raíces de sulírica en sus juegos de palabras desde niña y en la genealogía:en su familia, encontramos una larga línea de mujeresescritoras, si bien no siempre conocidas. En el análisis desu obra, se propone lo visual/lo rítmico/lo impalpable,como tres ejes en la lírica de Blanca Varela. Se constatala tendencia a lo onírico, y la influencia del surrealismo,relacionando estas propensiones con las experienciasde la generación del 50, con su vivencia cercana de dosguerras mundiales. El resultado es la expresión irónica,en voz seca y austera, la desgarradora soledad, la náuseaexistencial. Blanca Varela, una de las figuras más importantesde la poética latinoamericana del siglo XX, empleafiguras literarias como el oxímoron, las aliteraciones, lasmetáforas, con osadía de terrible certeza.Palabras clave: Blanca Varela, poesía peruana, surrealismo,generación del 50The Impalpable in Blanca VarelaAbstract: This essay explores the origin of the creativegenius of the Peruvian poet Blanca Varela, y and herown words as well as the data from other researches areappealed to in order to find the roots of her lyricism in herchildhood word-games and in genealogy: in her family wefind a long line of women writers, although not alwaysknown. In the analysis of her work this essay proposes thevisual / the rhythmic, / the impalpable as three axes in herpoems. There is also trend to the oniric, and the influenceof surrealism. These traits are related to the experience ofthe poetic “Generation of the 50´s”, with their nearnessto two World Wars. The result is ironic expression, a dry,austere voice, the heart-rending solitude, the existentialnausea. Blanca Varela, one of the most important figuresof Latina American poetry in the XX century, uses literaryfigures such as the oxymoron, alliterations, metaphors,with the daring of a terrible certitude.Key Words: Blanca Varela, Peruvian poetry, surrealism,“Generation of the 50’s”
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Montes-Iturrizaga, Iván, Gloria María Zambrano Aranda, Yajaira Licet Pamplona-Ciro, and Klinge Orlando Villalba-Condori. "Perceptions about the Assessment in Emergency Virtual Education Due to COVID-19: A Study with University Students from Lima." Education Sciences 13, no. 4 (April 7, 2023): 378. http://dx.doi.org/10.3390/educsci13040378.
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The COVID-19 pandemic forced a large section of Peruvian universities to design systems for emergency virtual education. This required professors to quickly learn how to use teaching platforms, digital tools and a wide range of technological skills. In this context, it is remarkable that formative assessment may have been the pedagogical action with the greatest number of challenges, tensions and problems, due to the lack of preparation of many professors to apply performance tests and provide effective feedback. Given this, it is presumed that these insufficiencies (previously exhibited in face-to-face education) were transferred to virtual classrooms in the framework of the health emergency. A survey study was carried out on 240 students from a private university in Lima to find out their perceptions and preferences regarding the tests that their professors administered in the virtual classrooms. It was found that the students were assessed, for the most part, with multiple choice tests. In addition, it was found that the students recognized that the essay tests were the most important for their education, but they preferred multiple choice tests. Finally, it was found that law school students were mostly assessed with essay tests and psychology students with oral tests.
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Ward, Thomas. "«Sistema decimal entre los antiguos peruanos»: un ejemplo del género ensayístico poco estudiado en Ricardo Palma." Aula Palma, no. 20 (January 2, 2023): 425–47. http://dx.doi.org/10.31381/ap.v20i20.4464.
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Este artículo analizará «Sistema decimal entre los antiguos peruanos», el ensayo de Ricardo Palma en el que arguye que los inkas usaron el sistema decimal a partir de un análisis filológico de Ollantay y de los Comentarios reales del Inca Garcilaso de la Vega. Se examinará el por qué este escrito es ensayo y no tradición al cotejar sus elementos constituyentes con las características del ensayo tal como Gómez Martínez las teoriza, incluyendo la discursividad, la carencia de una estructura rígida, el incitar la reflexión, la digresión y la vaguedad en las citas. Si Palma logra un estudio filológico de Ollantay y los Comentarios reales, el presente artículo forjará un estudio filológico de «Sistema decimal» de Palma.
Palabras clave: Ricardo Palma, «Sistema decimal», ensayo, discursividad, Inca Garcilaso de la Vega, Ollantay, literatura peruana, Comentarios reales
Abstract
This article will examine “Sistema decimal entre los antiguos peruanos” by Ricardo Palma. Palma’s essay argues that the Inkas used the decimal system by departing from a philological analysis of Ollantay and the Royal Commentaries of Inca Garcilaso de la Vega. It will consider why this piece is an essay and not a tradición by comparing its constituent elements with the characteristics of the essay as Gómez Martínez theorizes them, including discursivity, lack of a rigid structure, inciting reflection, digression, and vagueness in quoting practices. If Palma does a philological study of Ollantay and the Royal Commentaries, the present article will complete a philological study of Palma’s “Sistema decimal”.
Keywords: Ricardo Palma, “Sistema decimal”, essay, discursivity, Inca Garcilaso de la Vega, Ollantay, Peruvian literature.
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Lindqvist, Ursula. "Roy Andersson’s Cinematic Poetry and the Spectre of César Vallejo." Scandinavian-Canadian Studies 19 (December 1, 2010): 200–229. http://dx.doi.org/10.29173/scancan57.
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ABSTRACT: Sånger från andra våningen [Songs from the Second Floor] was Roy Andersson’s first feature film in 25 years when it won the Special Jury Prize at the Cannes Film Festival in 2000. It exemplifies the maturation of a distinctive filmmaking style Andersson developed in two and half decades of making shorts and advertising films and testifies to his decades-long engagement with Peruvian modernist César Vallejo’s poetry. Andersson is known for his contentious relationship with Sweden’s film establishment, and his critiques of Nordic contemporary filmmakers parallel Vallejo’s similarly pointed critiques, in 1930s Paris, of the so-called “revolutionary” agenda of French Surrealists. The formal correspondences between Vallejo’s modernist poetry and Andersson’s “trivialist” cinema are likewise striking. In this essay, I argue that the spectre of Vallejo has so informed the development of Andersson’s distinctive vision and style as a filmmaker that an investigation of the interart correspondences between this unlikely pairing of avantgardists is overdue.
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Apffel-Marglin, Frédérique. "Post-Materialist Integral Ecology." Worldviews 22, no. 1 (March 12, 2018): 56–83. http://dx.doi.org/10.1163/15685357-02201004.
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Abstract This essay is an example of a post-materialist science in the work of molecular biologist Candace Pert. Post-materialist science supersedes materialist-reductionist science and integrates spirituality with materiality. This discussion is motivated by the author’s experience as an academic in a New England institution. Integral ecology is entangled with post-material science as in the work of cosmologist Brian Swimme, Thomas Berry and Mary-Evelyn Tucker. The last part discusses the author’s creation of a non-profit organization in the Peruvian Upper Amazon. The work of her center is a response to requests by the local indigenous leadership for an alternative to their slash and burn form of agriculture. The alternative is the regeneration of a pre-Columbian anthropogenic Amazonian soil known as Terra Preta do Indio (black earth of the Indians) in Brazil, which integrates materiality and spirituality and offers the possibility of food security and sovereignty as well as climate mitigation.
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Garavito, Carla Hernández, and Gabriela Oré Menéndez. "Negotiated Cartographies in the Relaciones Geográficas de Indias: The Descripción de la provincia de Yauyos Toda (1586)." Ethnohistory 70, no. 3 (July 1, 2023): 351–84. http://dx.doi.org/10.1215/00141801-10443465.
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Abstract In the sixteenth century, the Spanish Crown moved to compile a comprehensive knowledge of its European and American landholdings to materialize the idea of a unified and civilized empire. Peninsular officials sent questionnaires to the Americas, including a request for “paintings” of the urban and natural landscape, without much detail on the project’s guidelines. The varied responses sent back to Spain are known as the Relaciones Geográficas de Indias. This essay investigates the cultural negotiations and potential for Indigenous representations of “depth of place” embedded in one such painting from the Peruvian highland region of Yauyos and Huarochirí. By analyzing colonial-period sources and using spatial modeling, this research underscores the different portrayals of space coexisting on the map. By comparing the painting with contemporary colonial sources, this article examines ongoing negotiations of natural and urban landscapes and an emerging view that synthesized different readings of the same landscape in a period of colonial dislocation and reinvention.