Eugenia Roldán Vera
The Atlantic world has not only been a geographic space for the exchange of people and products. Since the 16th century, it has also been a cultural space for the production, exchange, diffusion, reading, and rewriting of printed objects. Historians of the independence era constructed the view that Latin America had been “closed to the outside world” during the years of the Spanish and Portuguese domination; however, later research has shown that this was not the case. Latin American countries, especially from the 18th century onward, were part of a print network through which all kinds of information was being produced, circulated, and read.
During the Spanish Enlightenment, especially at the time of the wars of independence (1808–1824), this circulation intensified. The end of the Spanish and Portuguese trade monopoly in the region, changes in the regime of print rights, technological developments that lowered the costs of publishing, and transformations of the forms of sociability that the wars of independence themselves generated gave way to an explosion of print all over the Atlantic word. Newspapers, pamphlets, and books on topics that were not only religious but also political, literary, satirical, and educational were printed and circulated in the region. This helped to change forever the way the Latin Americans viewed themselves and contributed to the formation of new nations.
Although the circulation of ideas throughout the Atlantic does not account for the development of political and social transformations that led to the independence of the Latin American countries, print culture and political culture are connected in many different ways. This article explores some of these forms of interaction.
Michael Kenneth Huner
Like many topics in Paraguayan history, the subjects of popular religion and death are under-researched. And yet, if we can conclude anything about them, experiences involving popular religion and death, like many cultural aspects in Paraguay, have intersected with experiences of nationhood. We find many historical and present-day manifestations of this, most conspicuously in language, which inevitably also draws our attention to questions of syncretic religious legacies. Still today most Paraguayans speak Guaraní, a vernacular of indigenous origin. This language itself is a colonial product of the “spiritual conquest,” whose subsequent role in galvanizing popular participation in two postcolonial wars has long been noted. In fact, perusing national monuments and local cemeteries today draws us to a specific time period when many formative links among syncretic experiences of religion, death, and nationhood were being constructed: the fateful López era (1840–1870) that culminated in the cataclysmic War of the Triple Alliance. Here we find how a modern nation-building project attempted to channel, rather than suppress, popular religious energies, and we encounter the many contradictory, and formative, consequences this project produced. A sampling of scholarly literature and primary sources from within a broader framework of Paraguayan history likewise reveals how links among popular religion, death, and state formation are indeed recurring themes for more research that needs to be done.
The Spanish language arrived in Latin America as a tool of Iberian colonization. Indigenous languages struggled to survive under the implacable presence of an imperial tongue serving not only to make all subjects part of the Spanish Empire but also, and primarily, as a mechanism to evangelize a population considered by the conquistadors, soldiers, missionaries, and entrepreneurs as barbaric. During the age of independence (1810–1910), defined by bloody armed movements, the emerging republics in Mexico, South America, and the Caribbean Basin declared their autonomy by seceding politically, economically, and legally from Spain while pushing for a vigorous nationalist agenda that shaped them as nations. Spanish was an agglutinating force toward a new collective identity, regionally and locally. Important figures like Venezuelan philologist, lexicographer, and diplomat Andrés Bello established an agenda that helped define the cultural parameters of the young republics in terms of grammar, syntax, and morphology. Followers include Rufino José Cuervo.
Various aesthetic movements, such as modernismo, led by figures like Rubén Darío and José Martí, helped consolidate a transnational sense of linguistic unity. During the 20th century, the nationalist fever spread throughout Latin America, encouraging educators to establish pedagogical patterns that emphasized the uniqueness of the language within the country’s context. The effort was supported by ethnographers, anthropologists, and sociolinguists like the Cuban Fernando Ortiz and Venezuelan Ángel Rosenblat intent on finding what was local in the language. Simultaneously, each nation developed its own idiosyncratic media, which, again, allowed for verbal peculiarities to be included while also driving toward a standardized form. In this atmosphere, the Spanish language has been used as an organ of control by the state. It is also an invaluable tool through which to understand regional, national, and cultural differences.
By the end of the millennium, a new phenomenon emerged, not in Latin America per se yet intimately linked to it: Spanglish. It is a hybrid tongue used by millions of immigrants in the United States, whose power is increasing as time goes by. Spanglish has the potential of reconfiguring the way the Spanish language is understood in the future.
Charlene Villaseñor Black
According to believers, the Virgin of Guadalupe appeared in 1531 to recent indigenous convert Juan Diego on the hill of Tepeyac, north of the Aztec capital, Tenochtitlán, an area in the environs of Mexico City. The series of apparitions culminated with the miraculous appearance of her image imprinted on his native cloak, or tilma. This painting, housed in the Basilica of the Virgin of Guadalupe in the Villa de Guadalupe in northern Mexico City, has been venerated from the 16th century. The Virgin of Guadalupe is considered the patroness of Mexico, and special protector of its native and mestizo populations. She is perhaps the best-known symbol of Mexico, and her image is very common in the fine and popular arts. She has played a number of roles over the centuries—as object of religious devotion, emblem of national pride, symbol of peace and justice, and feminist icon. Similarly, her image has transformed over time, from the original sacred icon of 1531 to controversial contemporary images from the 1970s. Her image is also frequent in the United States, where 20th- and 21st century Chicana/o (Mexican American) artists represent her in community murals, prints, photographs, sculptures, and paintings. Chicana (Mexican American) women artists have transformed her into a feminist icon, generating controversy and provoking censorship in both the United States and Mexico. Held sacred by many Mexican, Chicana/o, and Latina/o Catholics, the image of the Virgin of Guadalupe has never been neutral, but instead, represents the mutability and political potential of Catholic sacred imagery.