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Journal articles on the topic 'Virgin of Guadalupe'

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Published: 4 June 2021
Last updated: 13 February 2022

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1

Von Wobeser, Gisela. "Mitos y realidades sobre el origen del culto a la Virgen de Guadalupe." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, no. 1 (2013): 148. http://dx.doi.org/10.26564/16926250.355.

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Resumen:El culto a la virgen de Guadalupe tiene su origen remoto en un santuario prehispánico situado en el cerro del Tepeyac, al norte de la ciudad de México, dedicado a la diosa Tonantzin. Hacia 1525, el santuario fue convertido por los frailes evangelizadores en una ermita católica, dedicada a la virgen María. Para dar culto a ésta última, los frailes colocaron en ella una pintura de la Virgen como Inmaculada Concepción, realizada por un indio de nombre Marcos, y a la que pronto se atribuyeron poderes milagrosos. Durante las primeras décadas la ermita fue visitada principalmente por indígenas, pero a mediados del siglo XVII, el culto a la virgen del Tepeyac se extendió a todos los grupos sociales. Durante la segunda mitad del siglo XVI, surgió entre indígenas educados a la usanza española una leyenda que daba cuenta del origen de la ermita y de la milagrosa imagen. La leyenda conjuga las dos tradiciones que confluyen en la cultura mexicana: la española y la indígena. Así, a la vez que se inscribe en el marianismo hispánico, fincado en el poder de las imágenes, y sigue un desarrollo narrativo parecido a las leyendas marianas españolas, contiene numerosos elementos de raigambre indígena que lo sitúan dentro de la tradición de los pueblos prehispánicos.Palabras clave: Virgen María, apariciones, culto mariano, leyendas fundacionales, imágenes marianas, vírgenes milagrosas, virgen de Guadalupe, evangelización.**********************************************************Myths and realities about the origen of the worship of Guadalupe’s virginAbstract:The worship of the Guadalupe’s virgin has its origins from the remote Pre-Hispanic sanctuary established on the hill of Tepeyac, in the north of Mexico City, consecrated to the female god Tonatzin. Around 1525, the Sanctuary was transformed by the evangelize friars in a catholic shrine dedicated to Virgin Mary. The legend conjugates two traditions that converge in the Mexican culture. So, at the time it is subscribed to the Hispanic Marians, supported on the power of the images and it continues a narrative development so similar with the Hispanic Marian legends; it contains, also, numerous elements from the indigenous culture, achieving a position of tradition in the Pre-Hispanic towns. Key words: Virgin Mary, apparition; Marian worship, founder legends, Marian images, miracle virgin, Guadeloupe’s virgin, evangelization.*********************************************************Mitos e realidades sobre a origem do culto à Virgem de GuadalupeResumo:O culto à virgem de Guadalupe tem sua origem remota num santuário pré-hispânico situado no cerro do Tepeyac, ao norte da cidade do México, dedicado à deusa Tonantzin. Pelo ano de 1525, o santuário foi convertido pelos freis evangelizadores num eremitério católico, dedicado à virgem Maria. Para cultuar a essa última, os freis colocaram nela uma pintura da Virgem como Imaculada Concepção, realizada por um índio de nome Marcos, e a qual rapidamente foram atribuídos poderes milagrosos. Durante as primeiras décadas o eremitério foi visitado principalmente por indígenas, mas nos meados do século XVII, o culto à virgem do Tepeyac se estendeu a todos os grupos sociais. Durante a segunda metade do século XVI surgiu entre indígenas educados à moda espanhola uma lenda que dava conta da origem do eremitério milagrosa imagem. A lenda conjuga as duas tradições que confluem na cultura mexicana: a espanhola e a indígena. Assim sendo, à vez que se inscreve no marianismo hispânico, fundamentado no poder das imagens, e segue um desenvolvimento narrativo semelhante às lendas marianas espanhoas, contem numerosos elementos de reminiscência indígena que o situam dentro da tradição dos povos pré-hispânicos. Palavras chave: Virgem Maria, aparições, culto mariano, lendas originárias, imagens marianas, virgens miraculosas, virgem de Guadalupe, evangelização.
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Peterson, Jeanette Favrot. "The Virgin of Guadalupe." Art Journal 51, no. 4 (1992): 39–47. http://dx.doi.org/10.1080/00043249.1992.10791596.

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Cline, Sarah. "Guadalupe and the Castas." Mexican Studies/Estudios Mexicanos 31, no. 2 (2015): 218–47. http://dx.doi.org/10.1525/mex.2015.31.2.218.

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A mid-eighteenth-century casta painting by Luis de Mena uniquely unites the image of the Virgin of Guadalupe and casta (mixed-race) groupings, along with scenes of everyday life in Mexico, and the natural abundance of New Spain. Reproduced multiple times, the painting has not been systematically analyzed. This article explores individual elements in their colonial context and the potential meanings of the painting in the modern era. Una pintura de Luis de Mena sobre las castas, de mediados del siglo xviii, reúne de manera singular la imagen de la Virgen de Guadalupe, los agrupamientos de castas y escenas de la vida cotidiana en México, junto con la abundancia natural de Nueva España. Aunque reproducida en múltiples ocasiones, la pintura no ha sido analizada sistemáticamente. Este artículo explora sus elementos individuales en el contexto colonial y los significados potenciales de la pintura en la época moderna.
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NEBEL, Richard. "Santa María Tonantzin, Virgin of Guadalupe." Studies in Interreligious Dialogue 2, no. 2 (1992): 152–63. http://dx.doi.org/10.2143/sid.2.2.2014114.

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Calvo, Luz. "Art Comes for the Archbishop." Meridians 19, S1 (2020): 169–95. http://dx.doi.org/10.1215/15366936-8565946.

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Abstract Inspired by the Chicana feminist artist Alma López’s Our Lady (1999), this essay explores Chicana cultural and psychic investments in representations of the Virgin of Guadalupe. As an image of the suffering mother, the Virgin of Guadalupe is omnipresent in Mexican-American visual culture. Her image has been refigured by several generations of Chicana feminist artists, including Alma López. Chicana feminist reclaiming of the Virgin, however, has been fraught with controversy. Chicana feminist cultural work—such as the art of Alma López, performances by Selena Quintanilla, and writings by Sandra Cisneros and John Rechy—expand the queer and Chicana identifications and desires, and contest narrow, patriarchal nationalisms. By deploying critical race psychoanalysis and semiotics, we can unpack the libidinal investments in the brown female body, as seen in both in popular investments in protecting the Catholic version of the Virgin of Guadalupe and Chicana feminist reinterpretations.
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Noreen, Kirstin. "The Virgin of Guadalupe, Juan Diego, and the Revival of theTilmaRelic in Los Angeles." Church History 87, no. 2 (2018): 487–514. http://dx.doi.org/10.1017/s0009640718000884.

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Devotion to the image of the Virgin of Guadalupe in Los Angeles has a complex and multifaceted history. This article will discuss the initial celebrations of Our Lady of Guadalupe, beginning with a procession in 1928 and developing with increasing popularity in the 1930s. By 1941, the Virgin of Guadalupe had become an important political and religious symbol for the archbishop of Los Angeles, John J. Cantwell, who conducted a pilgrimage to Mexico City, during which he reconfirmed the significance of the Guadalupe image for the Los Angeles Catholic community. In commemoration of Archbishop Cantwell's historic visit, a fragment of thetilma, the cloak on which the Virgin of Guadalupe representation had appeared, was offered to Los Angeles. As the only known piece of thetilmacurrently found outside of Mexico City, this relic has great devotional significance. As this article will show, thetilmarelic disappeared into relative obscurity following its arrival in Los Angeles, only to become a renewed focus of devotion over sixty years later, in 2003. This article will conclude with the reasons behind the relic's revival through a discussion of Juan Diego and his canonization.
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Peterson, Jeanette Favrot. "Creating the Virgin of Guadalupe: The Cloth, the Artist, and Sources in Sixteenth-Century New Spain." Americas 61, no. 04 (2005): 571–610. http://dx.doi.org/10.1017/s0003161500069327.

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It was in 1531 that, according to the apparition legend first recorded over a hundred years later in 1648, Juan Diego’s visionary experience of the Virgin of Guadalupe was miraculously mapped onto his tilma (tilmatli in Nahuatl) or woven cloak. This painted cloth, hereafter referred to as the tilma image, is said to be the same relic venerated today in the basilica of the Virgin of Guadalupe in Mexico City (fig. 1). However, no sacred image is invented from whole cloth, to use a highly appropriate metaphor here, and the Mexican Virgin of Guadalupe is no exception. Moreover, its very materiality makes it vulnerable to the passage of time, the laws of physics and human intervention. As an object of human craft produced post-Conquest, it has a traceable genealogy within the combustible mix of art modes, mixed media and theological tracts found circulating in early colonial New Spain.
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Peterson, Jeanette Favrot. "Creating the Virgin of Guadalupe: The Cloth, the Artist, and Sources in Sixteenth-Century New Spain." Americas 61, no. 4 (2005): 571–610. http://dx.doi.org/10.1353/tam.2005.0091.

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It was in 1531 that, according to the apparition legend first recorded over a hundred years later in 1648, Juan Diego’s visionary experience of the Virgin of Guadalupe was miraculously mapped onto his tilma (tilmatli in Nahuatl) or woven cloak. This painted cloth, hereafter referred to as the tilma image, is said to be the same relic venerated today in the basilica of the Virgin of Guadalupe in Mexico City (fig. 1). However, no sacred image is invented from whole cloth, to use a highly appropriate metaphor here, and the Mexican Virgin of Guadalupe is no exception. Moreover, its very materiality makes it vulnerable to the passage of time, the laws of physics and human intervention. As an object of human craft produced post-Conquest, it has a traceable genealogy within the combustible mix of art modes, mixed media and theological tracts found circulating in early colonial New Spain.
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9

Read, M. Rebecca. "The Virgin of Guadalupe in My Backyard." Anthropology News 49, no. 5 (2008): 20. http://dx.doi.org/10.1525/an.2008.49.5.20.

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FUENTES, CARLOS. "The Election of the Virgin of Guadalupe." New Perspectives Quarterly 23, no. 4 (2006): 40–41. http://dx.doi.org/10.1111/j.1540-5842.2006.00847.x.

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Molina Palestina, Óscar. "El manantial petrificado. Las metamorfosis del paisaje y sus repercusiones en los monumentos históricos: el caso de la capilla del Pocito en el santuario de la virgen de Guadalupe de la ciudad de México." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, no. 1 (2013): 195. http://dx.doi.org/10.26564/16926250.395.

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Resumen:Cuando un edificio obtiene el título de monumento histórico recibe un ‘derecho de permanencia’ que su entorno no tendrá. En el siguiente artículo se presenta una metodología de análisis de los edificios considerados patrimonio histórico a partir de sus relaciones con el paisaje que los rodea, el cual va transformándose a través del tiempo. La propuesta se presenta a partir de la historia de la capilla del Pocito en el Santuario de la Villa de Guadalupe, considerado una de las obras más importantes de la arquitectura barroca novohispana en México.Palabras clave: Patrimonio, Villa de Guadalupe, Capilla del Pocito, arquitectura barroca, paisaje, turismo, monumento.**********************************************************A petrified natural spring The landscape metamorphoses and its consequences on the historical monuments: The Pocito’s chapel case on the Guadalupe’s virgin sanctuary in Mexico CityAbstract:When a building got the title of historical monument it receives a “permanency right” about its environment and its permanence. This article presents an analysis methodology of the buildings we consider historical patrimony and their relationships with the landscape around, which is getting transformed by the time. The proposal is presented taking into account the history of the Pocito’s chapel in the Sanctuary of Guadalupe’s villa, considered one of the most important work in the novohispanic baroque architecture in Mexico.Key words: The Pocito’s chapel, Sanctuary of Guadalupe’s villa, landscape, tourism, monument, patrimony, baroque architecture.**********************************************************O manancial petrificado A metamorfose da paisagem e suas repercussões nos monumentos históricos: o caso da capela do Pocito no santuário da Virgem de Guadalupe da cidade do MéxicoResumo:Quando um edifício obtém o título de monumento histórico recebe um ‘direito de permanência’ que seu entorno não terá. No seguinte artigo se apresenta uma metodologia de análise dos edifícios considerados patrimônio histórico partindo de suas relações com a paisagem que os rodeia, a qual vai se transformando a través do tempo. A proposta se apresenta partindo da história da capela do Pocito no Santuário da Villa de Guadalupe, considerada uma das obras mais importantes da arquitetura barroca novo-hispana no México.Palavras chave: patrimônio, Villa de Guadalupe, Capela do Pocito, arquitetura barroca, paisagem, turismo, monumento.
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Nicoletti, María Andrea, and Ana Inés Barelli. "Blessed among All Women: The Missionary Virgin, Identity and Territory in Patagonia." Studies in Religion/Sciences Religieuses 48, no. 2 (2019): 258–81. http://dx.doi.org/10.1177/0008429819831942.

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After the creation of the Diocese of Viedma (1953), in Northern Patagonia, there took place the dedication to the Missionary Virgin, promoted by the Diocese’s second Bishop, Monsignor Miguel Hesayne (1975–1993). In the midst of the military dictatorship (1976–1983), he appointed her Patron Saint of Río Negro, a province that at the time belonged to the Diocese of Viedma. He followed the teachings of the Second Vatican Council, especially the Puebla Document, which considers the Virgin Mary as the patron saint of the Americas, with the dedication of the Virgin of Guadalupe. Hesayne sought to identify his Diocese with a female figure with indigenous features, like the Virgin of Guadalupe. In conceiving the Missionary Virgin deprived of ornaments and royal attributes, the bishop aimed to reflect his pastoral of the “option for the poor,” thus bringing attention to the marginalized groups and peripheral spaces of the province, and also attributing a new meaning to its social and territorial identity.
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Valdés Sánchez, Amanda. "“A Desora Desperto y vio una Grand Claridat”: The Role of Dreams and Light in the Construction of a Multi-Confessional Audience of the Miracles of the Virgin of Guadalupe." Religions 10, no. 12 (2019): 652. http://dx.doi.org/10.3390/rel10120652.

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This paper examines the religious proselytizing agenda of the order of Saint Jerome that ruled the Extremaduran sanctuary of the Virgin of Guadalupe since 1389. To this end, I analyze how the Hieronymite’s used literary motifs such as dreams and light in the codex of the Miracles of the Virgin of Guadalupe to create a multi-confessional audience for their collection of miracles. I contend that these motifs were chosen because they were key elements in the construction of a particular image of the Virgin that could appeal to pilgrims of different faiths. Through them, the Hieronymites evoked in the minds of Muslim pilgrims and Christian captives beyond the sea the imagery and rhetoric of Sufi devotional literature and Islamic hagiography, in order to create a vision of the Virgin that was able to compete with the more important Islamic devotional figures: the Prophet, Sufi masters and charismatic saints. Finally, I explore how the possible influence of North African devotional models, such as the Shadhiliyya order or the hagiography of the Tunisian saint, Aisha al-Manubiyya, suggests that the aims of the monastic authors of this Marian miracles collection went far beyond the conversion of Castilian Muslims, aiming at the transformation of the Extremaduran Marian sanctuary of Guadalupe into a Mediterranean devotional center.
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Napolitano, Valentina. "The Virgin of Guadalupe: a nexus of affect." Journal of the Royal Anthropological Institute 15, no. 1 (2009): 96–112. http://dx.doi.org/10.1111/j.1467-9655.2008.01532.x.

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Noreen, Kirstin. "Negotiating the Original: Copying the Virgin of Guadalupe." Visual Resources 33, no. 3-4 (2017): 363–84. http://dx.doi.org/10.1080/01973762.2017.1276727.

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Gil Naveira, Isabel. "The Use of Liminality in the Deconstruction of Women’s Roles: Rudolfo Anaya’s Bless me, Ultima." ODISEA. Revista de estudios ingleses, no. 18 (April 26, 2018): 149. http://dx.doi.org/10.25115/odisea.v0i18.1923.

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ABSTRACT During the 1970s Chicana feminist movement, Chicanas rejected the widely established image of the Virgin of Guadalupe vs. Malinche, which limited the liminal position they were claiming. In this essay I will examine Rudolfo Anaya’s treatment of female characters in his novel Bless Me, Ultima (1972), bringing to light the latent disruption of this duality. It is my contention that Anaya’s aim is establishing a dialogue between the self and the other(s) through liminal practices, spaces and times, which leads to a transformation of liminality into new opportunities for female characters in novels and hence to a deconstruction of Chicanas’ roles in society.KEYWORDS: liminality; deconstruction; Virgin; Malinche; Chicanas; gender rolesRESUMENDurante el movimiento feminista de las chicanas en los años 70, las chicanas rechazaron la ampliamente establecida imagen de la Virgen de Guadalupe frente a Malinche, que limitaba la posición liminal que reclamaban. En este artículo examinaré el tratamiento de los personajes femeninos de Rudolfo Anaya en su novela Bless me, Ultima (1972), sacando a la luz la latente alteración de esta dualidad. En mi opinión el objetivo de Anaya es establecer un diálogo entre el yo y la otra/las otras a través de prácticas, espacios y tiempos liminales, lo que lleva a una trasformación de la liminalidad en nuevas oportunidades para los personajes femeninos de las novelas y por ello a una deconstrucción de los roles de las chicanas en la sociedad.PALABRAS CLAVE: liminalidad; deconstrucción; Virgen; Malinche; Chicanas; roles de género
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Peterson, Jeanette Favrot. "The Virgin of Guadalupe: Symbol of Conquest or Liberation?" Art Journal 51, no. 4 (1992): 39. http://dx.doi.org/10.2307/777283.

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Davies, D. E. "Villancicos from Mexico City for the Virgin of Guadalupe." Early Music 39, no. 2 (2011): 229–44. http://dx.doi.org/10.1093/em/car015.

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Owens, Sarah E. "Crossing Mexico (1620–1621): Franciscan Nuns and Their Journey to the Philippines." Americas 72, no. 4 (2015): 583–606. http://dx.doi.org/10.1017/tam.2015.68.

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In 1620, almost a hundred years after the Virgin of Guadalupe is said to have appeared to Juan Diego on the Hill of Tepeyac, a small group of Spanish nuns paid a visit to the chapel dedicated to Our Lady of Guadalupe. Like many others before and after them they stopped at the shrine on their way to Mexico City. The Franciscan nuns were traveling from Toledo to Manila and were about to cross Mexico to board the yearly Manila Galleon at the port of Acapulco.
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Alvarez Seijo, Begoña. "Cerrando un programa iconográfico. Las hijas de Job en la Capilla de la Virgen de Guadalupe en las Descalzas Reales de Madrid." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 97. http://dx.doi.org/10.7203/imago.11.14248.

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ABSTRACT: The Chapel of the Virgin of Guadalupe, located in the Monastery of the Royal Discalced Nuns of Madrid, features a complex iconographical program, with the Virgin and the strong women of the Old Testament as its protagonists. This program was executed by the artist Sebastián Herrera Barnuevo, and designed by one of its resident nuns, Sister Ana Dorotea de Austria. This article attempt to shed light an a rather uncommon feminine typology: that of the daughters of Job, Jemima and Keren-happuch by means of the study of the principal literary sources where they are mentioned. By this means I will offer a complete reading of the Chapel’s iconographical program, by establishing the relationship between the depictions of Día and the Immaculate Conception, and Alcohol and Bathsheba.
 KEYWORDS
 Royal Discalced; Strong Women of the Old Testament; Daughters of Job; Immaculate Conception; Bathsheba; Iconography.
 RESUMEN: La capilla de la Virgen de Guadalupe, situada en el Monasterio de las Descalzas Reales de Madrid, se compone de un complejo programa iconográfico, protagonizado por la Virgen y las mujeres fuertes del Antiguo Testamento, realizado por el artista Sebastián Herrera Barnuevo e ideado por una monja allí residente, Sor Ana Dorotea de Austria. El presente trabajo pretende arrojar luz sobre una tipología femenina poco común, la delas hijas de Job, Día o Mañana y Alcohol, a través de un estudio de las principales fuentes literarias en las que aparecen mencionadas, para con ello ofrecer una lectura total del programa iconográfico de la capilla, al establecerse una relación entre las representaciones de Día y la Inmaculada Concepción y Alcohol y Betsabé.
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Flores-Silva, Dolores, and Louise M. Burkhart. "Before Guadalupe: The Virgin Mary in Early Colonial Nahuatl Literature." Sixteenth Century Journal 33, no. 3 (2002): 916. http://dx.doi.org/10.2307/4144099.

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Conover, Cornelius. "Reassessing the Rise of Mexico's Virgin of Guadalupe, 1650s–1780s." Mexican Studies/Estudios Mexicanos 27, no. 2 (2011): 251–79. http://dx.doi.org/10.1525/msem.2011.27.2.251.

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O'Connor, Mary. "The Virgin of Guadalupe and the Economics of Symbolic Behavior." Journal for the Scientific Study of Religion 28, no. 2 (1989): 105. http://dx.doi.org/10.2307/1387053.

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Kanter, Deborah. "Performing Piety: Making Space Sacred with the Virgin of Guadalupe." Hispanic American Historical Review 92, no. 3 (2012): 596–98. http://dx.doi.org/10.1215/00182168-1600398.

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Brading, D. A. "Divine Idea and ‘our Mother’: Elite and Popular Understanding in the Cult of Our Lady of Guadalupe of Mexico." Studies in Church History 42 (2006): 240–60. http://dx.doi.org/10.1017/s0424208400003983.

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In 1648 the creole elite of Mexico City was enthralled to learn that in December 1531 the Virgin Mary had appeared to a poor Indian and had miraculously imprinted on his cape the likeness of herself, which was still venerated in the chapel at Tepeyac just outside the city limits. The moment was opportune, since in 1622 Archbishop Juan Pérez de la Serna had completed the construction of a new sanctuary devoted to Our Lady of Guadalupe and in 1629 the image had been brought to the cathedral in a vain attempt to lower the flood waters that engulfed the capital for four years. In effect, Image of the Virgin Mary, Mother of God of Guadalupe (1648) was a heartfelt response to the growth in devotion to the Mexican Virgin; and its author, Miguel Sánchez, wrote as if inspired by a particular revelation, since his only guides were oral tradition and the stimulus of other apparition narratives. A creole priest, renowned for his piety, patriotism and great learning, Sánchez appears to have modelled his account on Murillo’s history of Our Lady of Pilar and her apparition at Zaragoza to St James, which is to say, to Santiago, the patron saint of Spain.
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Cummins, Tom. "On the Colonial Formation of Comparison: The Virgin of Chiquinquirá, The Virgin of Guadalupe and Cloth." Anales del Instituto de Investigaciones Estéticas 21, no. 74-75 (1999): 51. http://dx.doi.org/10.22201/iie.18703062e.1999.74-75.1878.

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The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the apparitions and the forging of the image, he discovers that it directly influenced the consolidation of the Colombian devotion. According to Cummins, the parallelisms between the Mexican and the Colombian myths reveal, among other issues, that both represent a national religious movement opposed to the Peninsular Spaniards and with an impact beyond the Creoles that embraced and adopted the image.
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Johnson, Maxwell E. "The Virgin of Guadalupe: Theological Reflections of an Anglo-Lutheran Liturgist." Pro Ecclesia: A Journal of Catholic and Evangelical Theology 13, no. 1 (2004): 116–18. http://dx.doi.org/10.1177/106385120401300115.

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Waterman, Barbara. "The Virgin of Guadalupe: Divine Mother for Orphans of the Soul." Psychological Perspectives 43, no. 1 (2002): 114–28. http://dx.doi.org/10.1080/00332920208403537.

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Hall, Linda B. "Images of Women and Power." Pacific Historical Review 77, no. 1 (2008): 1–18. http://dx.doi.org/10.1525/phr.2008.77.1.1.

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This article discusses iconic visual images of three powerful women: the Virgin of the Apocalypse, as painted by eighteenth-century indigenous Mexican artist Manuel Cabrera; Marlene Dietrich; and Dolores del Ríío. In Cabrera's work, the Virgin Mary is depicted with wings, actively protecting her child and her people with great energy——almost the opposite of better-known images of the Virgin of Guadalupe. Artfully controlling her own image, Dietrich quietly flaunted her sexual power over the young John Wayne. Finally, del Ríío used her image and extraordinary beauty to change the way American audiences perceived Latina women. Although she violated most of the gender-based expectations for Mexican women in her personal life, del Ríío maintained her image as a great lady (not the typical Hollywood image of a Mexican ““spitfire””). Catholic filmmaker John Ford even chose to portray her as the Virgin Mary. These images made, and still make, a difference.
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Mejía Vergara, Omar. "Reflexiones sobre ethos barroco y guadalupanismo." Theoría. Revista del Colegio de Filosofía, no. 30-31 (December 1, 2016): 119–31. http://dx.doi.org/10.22201/ffyl.16656415p.2016.30-31.455.

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Taking as starting point the mexican tradition about the virgin of Guadalupe as a clear example of the “baroque behavior”, a proposal made by Bolívar Echeverría, the present text discusses the emphasis that this author gives to the indigenous aspect of the phenomenon. In this way, the paper seeks to include into the analysis in key of baroque ethos also the presence of creole thinkers; specially, with the importance of the called “evangelists of Guadalupe”, a group of four authors from the seventeenth century, who configurated intelectually this worship in the New Spain. Thus, continuing Echeverría’s original line, the final part of the text proposes a new aplication of his baroque ethos in processes and events ocurred in New Spain during seventeenth century, because some are very important to understand the mexican mode of being.
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31

Espinosa, Aurelio. "Home Altars and the Virgin of Guadalupe inQuinceañera: Historical and Critical Perspectives." Journal of Religion and Popular Culture 21, no. 1 (2009): 2. http://dx.doi.org/10.3138/jrpc.21.1.002.

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Schulte, Francisco. "The Virgin of Guadalupe: Theological Refections of an Anglo-Lutheran Liturgist (review)." Spiritus: A Journal of Christian Spirituality 4, no. 1 (2004): 101–4. http://dx.doi.org/10.1353/scs.2004.0015.

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Behrend-Martínez, Edward, and Gretchen D. Starr-LeBeau. "In the Shadow of the Virgin: Inquisitors, Friars, and Conversos in Guadalupe, Spain." Sixteenth Century Journal 35, no. 1 (2004): 277. http://dx.doi.org/10.2307/20476906.

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34

KAELL, HILLARY. "Performing Piety: Making Space Sacred with the Virgin of Guadalupe byElaine A. Peña." American Ethnologist 39, no. 4 (2012): 839–40. http://dx.doi.org/10.1111/j.1548-1425.2012.01398_4.x.

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35

Davalos, Karen Mary. "Performing Piety: Making Space Sacred with the Virgin of Guadalupe (review)." American Catholic Studies 123, no. 2 (2012): 96–98. http://dx.doi.org/10.1353/acs.2012.0015.

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36

Kellogg, S. "Before Guadalupe: The Virgin Mary in Early Colonial Nahuatl Literature; Mexican Phoenix: Our Lady of Guadalupe: Image and Tradition across Five Centuries." Ethnohistory 50, no. 2 (2003): 407–10. http://dx.doi.org/10.1215/00141801-50-2-407.

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37

Poole, Stafford. "Some Observations on Mission Methods and Native Reactions in Sixteenth-Century New Spain." Americas 50, no. 3 (1994): 337–49. http://dx.doi.org/10.2307/1007164.

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The purpose of this article is to examine some aspects of the evangelization of New Spain in the sixteenth century and the natives’ responses to it. This is a subject of tortuous complexity and one that cannot be adequately treated in a brief essay. Rather, this will be an attempt to highlight some of the more important and interesting aspects of this phenomenon. In doing so I will use some of my own researches into the Virgin of Guadalupe of Mexico to illustrate it and to show some of the pitfalls inherent in the topic.
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38

Arnold, Jeremy W. H. "Performing Piety: Making Space Sacred with the Virgin of Guadalupe - By Elaine A. Peña." Religious Studies Review 38, no. 2 (2012): 84–85. http://dx.doi.org/10.1111/j.1748-0922.2012.01598_7.x.

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39

Meyerson, Mark D. "In the Shadow of the Virgin: Inquisitors, Friars, and Conversos in Guadalupe, Spain (review)." Catholic Historical Review 91, no. 4 (2005): 795–97. http://dx.doi.org/10.1353/cat.2006.0073.

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40

Hernández-Durán, Ray. "The Virgin of Guadalupe and the Conversos. Uncovering Hidden Influences from Spain to Mexico." Colonial Latin American Review 24, no. 2 (2015): 270–73. http://dx.doi.org/10.1080/10609164.2015.1041319.

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41

Fraser, Valerie. "Accommodating religious tourism: the case of the Basilica of the Virgin of Guadalupe in Mexico." Interiors 6, no. 3 (2015): 329–50. http://dx.doi.org/10.1080/20419112.2015.1125660.

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42

Santaballa, Sylvia R. "Writing the Virgin of Guadalupe in Francisco de Florencia's La estrella del norte de Mexico." Colonial Latin American Review 7, no. 1 (1998): 83–103. http://dx.doi.org/10.1080/10609169885025.

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43

Brett, Edward T. "Book Review: The Virgin of Guadalupe and the Conversos: Uncovering Hidden Influences from Spain to Mexico." International Bulletin of Mission Research 39, no. 4 (2015): 244–45. http://dx.doi.org/10.1177/239693931503900429.

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44

TAYLOR, WILLIAM B. "the Virgin of Guadalupe in New Spain: an inquiry into the social history of Marian devotion." American Ethnologist 14, no. 1 (1987): 9–33. http://dx.doi.org/10.1525/ae.1987.14.1.02a00020.

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45

Linehan, Peter. "The Beginnings of Santa María de Guadalupe and the Direction of Fourteenth-Century Castile." Journal of Ecclesiastical History 36, no. 2 (1985): 284–304. http://dx.doi.org/10.1017/s0022046900038756.

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Uncertainty regarding the circumstances in which devotion to the image of the Virgin of Guadalupe was established is almost as old as the devotion itself. The earliest surviving version of the legend, which recounts the adventures of the celebrated statue from the time of Gregory the Great to its discovery in the Montes de Toledo by the pastor Gil Cordero - an account dating from the late fourteenth or early fifteenth century - places its reappearance in the reign of the son of Fernando iii of Castile, ‘su fijo Don Alfonso el qual gano las Algesiras e murio sobre Gibraltar’, thus conflating Alfonso x, Fernando iii's son, who died in 1284, with Alfonso x's great-grandson Alfonso xi (1312–50). Attempts to unscramble or to disguise this confusion have a long history too, the earliest being that of the corrector of Ms AHN 48B, who expunged words and phrases and supplied marginal additions to bridge the gap between the reigns of the two Alfonsos.
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46

Baquedano-Lopez, Patricia. "Narrating Community in Doctrina Classes." Narrative Inquiry 10, no. 2 (2000): 429–52. http://dx.doi.org/10.1075/ni.10.2.07baq.

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While narrative focuses on particular protagonists and events, narrative also situates tellers and their audiences within a web of historical and cultural expectations, ideologies, and meanings, more broadly. As such, narrative creates shared understandings and community among those participating in narrative activity. Moreover, the narrative process extends beyond the boundaries of the here and now to embrace people and places in a cultural past. This article examines the religious narrative accounts of the apparition of Nuestra Señora de Guadalupe told in children’s religious education classes called doctrina at a Catholic parish in Los Angeles. The children that attend these classes are of Mexican descent and their lessons are taught in Spanish. The article analyzes the linguistic and interactional means through which narrative renditions of the story of Nuestra Señora de Guadalupe construct Mexican identity. The narrative renditions tell the story of the apparition of the Virgin Mary in Tepeyac, near Mexico City, in the year 1531, thirteen years after the fall of the Aztec empire to the Spanish conquest. These diasporic narrative accounts transcend time and space, as they continue to be told by Mexican Catholics at places beyond the geopolitical borders of Mexico. Moreover, these narrative tellings are instrumental for positioning teachers and students in a postcolonial moment that revisits the hierarchies of Mexico’s colonial regime vis-à-vis their current experiences as immigrants in Los Angeles.
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Trexler, Richard C. "In the Shadow of the Virgin: Inquisitors, Friars, and "Conversos" in Guadalupe, Spain. Gretchen D. Starr-LeBeau." Speculum 79, no. 4 (2004): 1150–51. http://dx.doi.org/10.1017/s0038713400087352.

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48

Cuadrado, Mary, and Louis Lieberman. "The Virgin of Guadalupe as an Ancillary Modality for Treating Hispanic Substance Abusers: Juramentos in the United States." Journal of Religion and Health 50, no. 4 (2009): 922–30. http://dx.doi.org/10.1007/s10943-009-9304-4.

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49

Poole, Stafford. "The Virgin of Guadalupe and the Conversos: Uncovering Hidden Influences from Spain to Mexico by Marie-Theresa Hernández." Catholic Historical Review 102, no. 2 (2016): 439–40. http://dx.doi.org/10.1353/cat.2016.0108.

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50

Nader, Helen. "Reviews of Books:In the Shadow of the Virgin: Inquisitors, Friars, and Conversos in Guadalupe, Spain Gretchen D. Starr-LeBeau." American Historical Review 109, no. 2 (2004): 620–21. http://dx.doi.org/10.1086/530502.

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