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Five Books I Recommend from Comps – Citizenship and Human Rights in Latin America

Five Books I Recommend from Comps - Citizenship and Human Rights in Latin America

For graduate students in History, comprehensive exams (also known as orals, qualifying exams, or comps) are a crucial milestone on the way to finishing the PhD. Comps are often stressful and overwhelming, but it’s also an opportunity to read widely in your field and beyond. I completed my exams in Fall 2021. In the year leading up to my oral defense, I read 160 books and articles on Latin American history from the colonial period to the recent past. I rushed through many books, but some captivated my attention and compelled me to slow down. They represent scholarship at its best. The following five books are titles I enthusiastically recommend from my comps lists. They’re fresh and innovative and encouraged me to think about my own scholarship in new ways.

1. Adair, Jennifer. In Search of the Lost Decade: Everyday Rights in Post-Dictatorship Argentina. Oakland: University of California Press, 2020.

In Search of the Lost Decade reconsiders Argentina’s transition from military to civilian rule by examining how the Alfonsín administration defined a just, democratic society. Alfonsín blended human rights discourse with broader promises of material well-being and equitable national development. Moving from the presidential palace to the streets of Buenos Aires, historian Jennifer Adair foregrounds the political transformations in everyday experiences to understand how ordinary citizens engaged with emerging discourses on political, social, and human rights. She organizes the text thematically and chronologically and uses food as a narrative thread. In moving from the breakdown of authoritarian rule to the 1989 riots, Adair argues that supermarkets, banks, and breadlines served as an important space for ordinary Argentines to engage and challenge the promises of material well-being promised by the new democratic president. Ultimately, she concludes that the unfulfilled promises of Alfonsín’s comprehensive rights agenda “legitimated proposals for the full-scale implementation of neoliberalism over the course of the 1990s” (6). 

2. Atencio, Rebecca J. Memory’s Turn: Reckoning with Dictatorship in Brazil. Madison, WI: University of Wisconsin Press, 2014.

Memory’s Turn seeks to understand the dynamic relationship between transitional justice mechanisms and exceptional cultural works (literature, television, film, and theater). Atencio’s innovative approach bridges two distinct fields: memory studies and transitional justice studies. Her study asks readers to consider whether activity in one realm affects outcomes in the other. However, Atencio does not argue there is a causal relationship between artistic-cultural production and institutional mechanisms. Instead, she contends that interplay between the two realms can “magnify and prolong the impact of both and thereby lay the foundation for further institutional steps” (8). In order to study the interplay between cultural production and transitional justice, Atencio first selected key institutional measures and then identified “linked” works. She considers cultural and institutional acts linked when they launch around the same time, and the general public begins to associate the two events with one another. This creates what Atencio defines as an “imaginary linkage.” Once the public has paired cultural and institutional mechanisms, individuals or groups can leverage the connection in order to promote their agenda. Atencio refers to this multi-part process as a “cycle of cultural memory” (6-8). Ultimately, Atencio concludes that the linkage between cultural works and institutional mechanisms can foster wider public engagement and new efforts to reckon with the past (125).

Read my full review on Not Even Past here.

3. De la Fuente, Ariel. Children of Facundo Caudillo and Gaucho Insurgency During the Argentine State-Formation Process (La Rioja, 1853-1870). Durham: Duke University Press, 2000.

Children of Facundo explores nation-building process in the northwestern province of La Rioja, Argentina, an important site of caudillo-led rebellions in the nineteenth century. Facundo Quiroga, the caudillo immortalized by writer and statesman Domingo Sarmiento, ruled La Rioja from 1822 to 1835. This archetypal caudillo influenced local politics for decades, and Children of Facundo explores the rural political culture that developed through years of resistance and rebellion. Historically, La Rioja remains one of the poorest provinces in Argentina. Widespread poverty, limited employment opportunities, and lack of access to land meant that caudillos could easily recruit with promises of security, food, and pay during rebellions. However, de la Fuente maintains that racial and religious conflicts also motivated political affiliations. Using La Rioja as a lens into caudillismo, de la Fuente explores why rural peasants participated in rebellions and how they engaged with dominant political ideologies of the nineteenth century. He concludes that many participated in mobilizations for economic reasons, but they also joined for emotional and cultural dimensions. Using oral and written records of gaucho participation, de la Fuente illuminates the personal attachment individuals developed to caudillos. He asserts that the masses constructed myths around local leaders. These stories and attributed characteristics shaped how followers believed a caudillo should behave. The use of folklore in addition to quantitative data drawn from land censuses and judicial and notary records makes Children of Facundo particularly innovative.

4. Fischer, Brodwyn. A Poverty of Rights: Citizenship and Inequality in Twentieth-Century Rio de Janeiro. Stanford: Stanford University Press, 2008.

In A Poverty of Rights: Citizenship and Inequality in Twentieth-Century Rio de Janeiro, Brodwyn Fischer traces the history of Rio de Janeiro’s urban poor in order to examine the contradictory manner in which incomplete enfranchisement emerged from processes that sought to expand citizenship and legal rights. Divided into four parts, the book takes a thematic approach to the study of citizenship and inequality. Each section examines how the urban poor interacted with a specific field of Brazilian law during the middle decades of the twentieth century: urban planning and regulatory; labor and social welfare; criminal justice; and property and possession. The thematic structure highlights the similarities across institutional boundaries, and each case study details an expansion of legal rights that the very poor struggled to claim. Written legal codes often communicated utopian visions of social and economic citizenship that the state could not deliver. As a result, legislation from the mid twentieth-century promised an expansion of social and civil rights, but ultimately, the poorest Cariocas continued to exist on the margins of the law’s protections and benefits.

5. Roth, Cassia. A Miscarriage of Justice: Women’s Reproductive Lives and the Law in Early Twentieth-Century Brazil. Stanford, CA: Stanford University Press, 2020.

Historian Cassia Roth examines legal and medical policy regarding women’s reproductive health in Rio de Janeiro between the 1890s and the 1930s in A Miscarriage of Justice. The bulk of her study relies on 193 police investigations and court cases from the city of Rio de Janeiro and 39 cases from the State of Rio de Janeiro and the Supreme Court. Drawing on these sources, Roth claims that the state focused on criminalizing women’s attempts at fertility control while doing little to improve maternal-infant health outcomes. The increased surveillance and prosecution of abortion and infanticide led to a punitive culture around women’s reproduction that disproportionately affected poor women. Roth is careful to note that political, social, and economic factors constrained women’s reproductive options. Many of the women investigated for fertility control faced desperate situations. They often lived in extreme poverty, already had children, or had become pregnant as the result of rape. Rio de Janeiro offered few, if any, social programs to help poor or unmarried mothers, so some women practiced abortion or infanticide to exert control over their reproductive lives. Considering the limitations imposed by socioeconomic realities, Roth defines women’s reproductive practices in early-twentieth century Rio de Janeiro as negotiations within the structural violence that governed their lives. Thus, she maintains that we should understand the practice of abortion and infanticide as the result of rational decision-making even if restrictive social and economic circumstances shaped these choices. Roth highlights difficult stories, but she tells them with great empathy. In this way, she restores agency to the women and tells a feminist history of reproduction.

Gabrielle Esparza is a fourth-year Ph.D. candidate at the University of Texas at Austin. She is a historian of Latin America, with a focus on twentieth-century Argentine history. Her current research interests include democratization, transitional justice, human rights, and civil military relations. Gabrielle holds a B.A. in History and Spanish from Illinois College and received a Fulbright English Teaching Assistantship to Argentina in 2017. At the University of Texas at Austin, Gabrielle has served as a graduate research assistant at the Texas State Historical Association and contributed to the organization’s Handbook of Texas. She served as co-coordinator of the Symposium on Gender, History, and Sexuality in 2020-2021. Currently, she is Associate Editor of Not Even Past.


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions. 

Filed Under: Features

A More Expansive Atlantic History of the Americas: An Interview with Jorge Cañizares-Esguerra

A More Expansive Atlantic History of the Americas: An Interview with Jorge Cañizares-Esguerra

From the editors: This interview was first published in August 2021 by the Toynbee Prize Foundation. Named after Arnold J. Toynbee, the foundation seeks to promote scholarly engagement with global history. The original interview can be accessed here. This interview is published here as part of a new collaboration with the Toynbee Prize Foundation. The collaboration aims to share these important long form interviews with key historians working today.

Jorge Cañizares-Esguerra’s work intermingles the colonial histories of the Americas—the United States and Latin America. Cañizares-Esguerra’s expansive historical project is Americanist, yet not in the usual sense of the term. What “America” historically is must engage with a rich contradiction of meaning-making narratives generated by a plurality of social agents. Cañizares-Esguerra resists national containment of such historical narratives and provocatively engages with the early modern and early colonial period (1500s) and with the Enlightenment and nineteenth-century liberalism alike. Themes of belief and faith, of knowledge and science, among a variety of historical agents and subjectivities, feature prominently within his work.

This interview explores Cañizares-Esguerra’s Atlanticism and his cautions regarding certain global history tendencies. Cañizares Esguerra details his current project, Radical Spanish Empire. His aim is to historicize, to radicalize, to Americanize (expansively understood), and to show that colonial Massachusetts is unintelligible without Puebla or Tlaxcala in colonial Mexico, that colonial Virginia makes no sense without its Andean and Peruvian counterparts, and that Calvinists should be understood alongside Franciscans.

Cañizares-Esguerra wants to pluralize the historical narrative outside the conventional liberal moulds of modernity in the Americas. In this, he catches me by surprise when he negates that plural modernities constitute the telos of his enterprise and when he gives the cold shoulder to cultural studies and postcolonial/decolonial studies. The main intellectual thrust of our discussion regarded the intellectual inevitability of native and foreign entanglements, historical and contemporary, and the political desirability that cuts across the “Anglo” and “Latin” divide, at least initially. He offers an expansive Atlantic History, along provocative Iberianizing lines, mixing the “Anglo” and “Latin” categories. It serves as an invitation to go beyond American histories’ extant boundaries, of which there will be many more than two.

—Fernando Gómez Herrero, Birkbeck, University of London

In Adrian Masters and your book about the radical Spanish Empire in the 1500s, you appear to contrast radicalism with immobility, understood as ‘societies of order.’ I am trying to make sense of such “radicalism.” Is it a rich collection of social groups doing all sorts of things that do not fit into neat, rigid, predictable categories?

Exactly. Yes. The 1500s in Spanish America reveals a radical social experiment unique in global history: the creation of a variety of new institutions, categories, new forms of societies that are coming from the factionalism and struggles that are more bottom-up than the top-down. It is radical in that sense of social experimentation that has no predictable outcome. There is no teleology—nobody knew who was going to win. The conquistadors as new feudal lords and their new dynasties might have thought so, but they lost, and they lost badly. And their sons lost badly and they became bastards and mestizos. The Franciscans thought they were winning and they did not win. Neither did the caciques. So, at the end what you have by the 1600s is the merchants as the big winners, but they have to follow the structures peculiar to this ancien régime that is emerging in the New World where paperwork is as important as commodities and capital. To be successful in Spanish America one needed an archive of paperwork, cash, and direct access to lay and ecclesiastical bureaucracies. Race was not necessarily the issue. Anyone with those three things could secure lineages and dynasties for generations.

Indigenous petition-map (Cuaahtinchan Map #2 1540s dispute of commoners claiming they had been displaced by Mixtec-Nahua lords from original positions of power and they produced this map of history of conquest in the region near Chalco-Huexotzinco.
Indigenous petition-map (Cuaahtinchan Map #2 1540s dispute of commoners claiming they had been displaced by Mixtec-Nahua lords from original positions of power and they produced this map of history of conquest in the region near Chalco-Huexotzinco.

Could you dive in deeper to show us how that functioned on the ground?

There are three dimensions of imperial administration that are often confused with regard to function: ‘gobierno’ [policy and legislation ]; ‘gracia’ [exemptions and rewards]; and ‘justicia’  [litigation]. The first one, ‘gobierno,’ is about the production of legislation, which our book shows to be bottom-up. This is one of our contributions: understanding that gobierno arises from petitioning individuals, of all kinds and from all quarters, who organize themselves into factions—corporate or individual factions, or sub-factions within corporate ones. After the Comunero rebellion in Spain, the system of councils extends people’s participation in legislation by allowing individuals to write directly to the King and establishing that the King, in turn, must respond through councils to their petitions. Those petitions eventually become cédulas, ordenanzas, and mandamientos. And there are many different layers through which individuals can participate in creating legislation: at the level of cabildos in cities, corregimientos, viceregal units, or at the level of empire as a whole, and it is the responsibility of the authorities to respond to the petitions. Vassals have the right of addressing authorities and obtaining both a hearing and a reply. For example, Viceroy Antonio de Mendoza in Mexico in the 1530s-1550s moved across visitas and hosted hearings in his palace, during which processes he listened to the complaints and requests of indigenous peoples. The Viceroy had to listen to those requests and produce mandamientos, tens of thousands, if not hundreds of thousands. These were replies to petitions. The same went for cédulas: they were replies to petitions of individuals that through the postal services and procuradores (paralegal representatives or lobbyists) introduced hundreds of thousands of these documents to the King and his Council. Royal cédulas are often verbatim copies of these petitions. So, if you read the cédulas, they indicate “I hereby have been informed by John Doe ” that X is happening, I therefore decree 1, 2, 3, 5 and 5.” And “1,2,3,4,5” are sometimes verbatim copy of the petition of John Doe to the King. So, when you have cédulas,  mandamientos or ordenanzas, etc. you have a reflection of all this lobbying and mobilizations of these factions to reform a society through legislation of different kinds, at the local, regional, or imperial levels. And everybody can participate in the crafting of legislation through petitioning. That is “gobierno.”

Gracia is another form of petitioning in which individuals acknowledge the law or the legislation but request exception from it, often on the basis of status: “we are not Indians,” or “we are Spaniards,” or whatever the premise may be. Gracia creates special privileges for individuals vis-à-vis the system, and largely concerns rewards, pensions, and other payments for services provided to the Crown. Verifying that such service was rendered requires witnesses, called probanzas. Initially, conquest was the prototypical service, but it later transformed to service via knowledge production: science, cosmography, etc. Many individuals begin to request gracia around printed books, experimentation in amalgamation in mines or new ovens. As such, there is a history of technology and science within gracia that is extremely rich.

The last element of paperwork is litigation (“justicia”), which is the one that is best known and that legal historians tend to study. This constitutes all the stuff that goes to Audiencias and Council for appeals. It is the costliest process and the one that produces the largest archive. A case can take years and a lot of resources and money, so it is a resource that most people do not have access to and do not use to speak or be heard within government. Yet, outside the litigation of these bulky files of Justicia and Audiencia you can find the participation of the humble, the commoner, the Indian, women, even slaves, in the crafting of the law. In the first eighty years of this process in Spanish America lots of people participated in the creation of institutions. There were no laws; laws were created and arose from the encounters between of all these factions. So, what you began to see were factions and individuals within factions pitted against one another, leading to a lot of mobility, upwards and downwards, and a lot of changes. Suddenly, conquistadors, crate lineages, and dynasties began to crumble and collapse.

Petitioning offers a social history of the emergence of bureaucracies, lay and ecclesiastical, that are pitted against one another, and that are part of different factions seeking to undermine each other. This process engenders a great deal of change in institutions and legislation as well as the creation of archives, but which begins to congeal and slow by the end of the 1580s. We see this process as agentive in the creation of a new ancien régime in the Indies, one that is mercantilist but ultimately predicated on the access to paperwork, to archives. This is because while merchants are the big winners of the whole system, merchants still need to secure the paperwork that will allow them not to be cut to size by rivals. Conversos are merchants who can be easily removed if they do not secure an archive documenting their lineages once the Inquisition arrives in the Indies. So, you have this ancien régime, a system that is very peculiar, new, and unique in global history, I would argue, that is emerging in the Indies out of this dynamic of paperwork that is specific to the New World or the Indies in general. It is also true of the Philippines.

You are a proud historian. As far as I can see you hold most conversations with fellow practitioners in the field of history and less so with those in other disciplines. Tell me something about the profession of history as you see it now. Do you want to remain faithful to the discipline?

Do I see myself as a historian? I see myself as an intellectual more than a historian. I want to have conversations with as many people as possible, not only with historians, but also with scholars and the public in general.

My questions The Radical Spanish Empire are about categories and among them the categories of British liberalism, which are the dominant categories that have informed our interpretations of historical transitions in the early modern period. There are phenomena that we expect to arrive together, stitching our well-crafted understanding of modernity, namely: the printing press, Reformation, public sphere, Enlightenment, Scientific Revolution, democracy. You have that account that is very nicely structured in all Western Civilization textbooks. These categories seem to be assembled in clusters, related to one another and connected with one another, and if you take one, something is missing in these conceptual narratives.

The case of 16th-century Spanish America is telling. It does fit within these narratives of parliamentary democracy. Yet one sees mass political participation from the bottom up without the printing press. These are forms of participation that I would not call democracy, but that nevertheless are from the bottom up, expansive, and wide. They lead to upward social mobility for many groups—commoners, slaves, indigenous—in the Indies that through petitioning manage to recover freedoms, property, etc. Here you also have commoners that challenge the political power of caciques and the creation of indigenous cabildos. This is the manifestation of the rise of commoners against caciques, cacicazgos, formal mayorazgos, indigenous elites detaching themselves from the politics of everyday life in communities that reside now in the hands of commoners, who have to be elected and re-elected into positions of authority. All these changes and mobilities within communities facilitate new understandings of property, of commons, of patrimonial property and realengo. These changes include new definitions what belongs to the state, the family, and the commons. That is all happening in the 1500s in Mexico and Peru. These are major social transformations that are coming from the bottom-up but there are happening through forms of communication that are not driven by the printing press. Social change is not happening through communication via the “public sphere” in the sense that the communication with the King is rather vertical and sometimes secretive in that petitions are often coded. It is a different form of social transformation that is not associated to these aforementioned clusters of categories. And they are not necessarily connected to them.

1563 petition of Otomi slave, Francisco Quanbi, enslaved by Nahua lords and forced to work in mines in Cuitzeo, Michoacán. Quanbi (along with 12 other slaves) demand the return of lost property at the time of captivity: 40 bushels of corn, 11 plum trees, 14 pesos, and 2 baskets. Slaves – even the once-‘untouchable’ Otomíes – took advantage of their paperwork access to local officials, high judges, viceroys, and investigators to undermine their local overlords. Source: Codex Cuitzeo. Private archive. Britain. 
1563 petition of Otomi slave, Francisco Quanbi, enslaved by Nahua lords and forced to work in mines in Cuitzeo, Michoacán. Quanbi (along with 12 other slaves) demand the return of lost property at the time of captivity: 40 bushels of corn, 11 plum trees, 14 pesos, and 2 baskets. Slaves – even the once-‘untouchable’ Otomíes – took advantage of their paperwork access to local officials, high judges, viceroys, and investigators to undermine their local overlords. Source: Codex Cuitzeo. Private archive. Britain. 

The clusters of liberal democracy have been so attached to narratives of modernity and democracy that all other forms of transformation that do not follow this teleology or direction are left out and excluded from narratives of transformation or whatever we call modernity—in this case participation, radical social mobility, re-engineering of institutions, and substantive social transformations—prior to the French Revolution.

So, how do you account for that transformation if the categories that you are given pigeonhole those transformations or the experiences of conquest within the category of authoritarian absolutism? We imagine a regime that manufactures categories exclusively from the top-down, creating for example racial categories right, left, and centre, inventing forty different castas? That is absurd! How is it possible for a Queen and her council to invent these forty categories of racial differentiation or castas? It is absurd to assume that there was social engineering happening from Madrid, when in fact it is the social process from the conflict of factions. Factions and rivals created these categories as they fought one another through paperwork, seeking to eliminate rivals from within. The categories of mestizos and the castas were created by Indians or mestizos in order to eliminate rivals around their own communities. It is a different understanding of the origins of these categories that have been attributed to an absolutist regime.

What is to be done (and not done) with the history of Latin America in world history? And in connection to what you just said, what do you want to do to the “liberal” narrative of “modernity” in the Americas?

The liberal narrative of the Americas is very parochial and reflects a very parochial experience of one form of liberal republicanism, one that is British and North European and excludes most other forms of social transformation. What I am trying to do is disconnect these different clusters and show that they can be put together in different ways and one still obtains the major historical transformations out of new combinations. So, you can have major scientific revolutions in Potosí without the printing press and without the public sphere as conventionally understood. You can have it through petitioning, in the three previous modalities of gracia, justicia and gobierno, and you can have it through forms of paperwork, upward social mobility through service, ingenuity, and new technologies that happen in Potosí in a major, massive scale. We are talking about dozens of artificial lakes, thousands of aqueducts that are moving wheels and turbines. There are all sorts of experimentations with chemical combinations in science to speed up the amalgamation process. There is a lot of innovation and experimentation going on about the production of silver in quantities that are so massive that they can transform the global economy. So here you have a technological scientific revolution in the Andes in the 1580s-1600s that is not captured by the categories of Scientific Revolution of the Real Academy of London, or of Isaac Newton or Francis Bacon. 

You say you want to “expose the myths underpinning British liberal exceptionalist scholarship,” and to this we must add the United States. So, you wish to pluralize the narrative?

Yes, though not only to pluralize the narrative. The book also offers models of how to pluralize the narrative and how to disjoin these categories from their cluster, a grouping effected by powerful historiographies. These are clusters associated with participation, democracy, etc., that come together and create a narrative of social transformation that leaves everything else out. So, whatever happens in 16th-century Spanish America can leave us only with absolutism, despite the massive evidence of social transformation, upward and downward social mobility, and major political transformations that are happening on the continent. We are left with no categories with which to understand those transformations. Liberalism blinds us to those transformations because it is expecting only certain ways in which social mobility can come about. We are arguing that there are other dynamic ways by which new societies emerge and can transform the global economy that do not necessarily have to be accompanied by the same set cluster of the printing press, public sphere, Enlightenment, etc. You have different forms and combinations. So, this ability to separate modernity from this cluster will allow us to see similar modern transformations, not only in Spanish America, but also in the Ottoman Empire and many other societies. We are offering one way to and see radical transformations free of the dynamics that are part of ancien-regime societies. 

You go further because you say that you want to upset the normative narratives operative at the core of such historiographies. You write in the American Historical Review that “the history of the colonization of Virginia and New England reads differently when Iberian America becomes normative,” in your article “Entangled histories: Borderlands Historiographies in New Clothes?” Tell me more. So, not only are you adding a plurality of options, you are aiming to upset and subvert what we might call dominant or mainstream (simplified as “Anglo”) narratives?

That comes from Puritan Conquistadors. But the objective there was to challenge this core narrative of U.S. settler colonialism and the origin of Massachusetts, Chesapeake in Virginia, etc. It is not that they were central to the British Empire. In fact, they were marginal. But they are the core historiographical narratives about the nation in the United States, how the nation comes about. So, colonial Massachusetts plays a central role in that narrative, even though it was a rather or somewhat marginal society in the Atlantic. Same thing for Chesapeake in Virginia. My point in that quote is that those societies are considered to be central to the emergence of American exceptionalism, to what is distinct about the US, the city on the hill, the discourse of Calvinist Massachusetts, etc. And yet these cores to the narrative of exceptionalism are not unlike Mexico in the 1500s. Moreover, they are derivative of those colonial experiences. So, in Puritan Conquistadors, I try to show that many of the things that the Puritans are grappling with when it comes to understanding the New World are questions, concerns, and sensibilities that were first framed and conceived in places like Mexico. So, Puritans are working with these categories that were given to them by the Spanish colonization of the New World, not the other way around. In that sense, I am decentring: there is no history of Massachusetts without Mexico. There is no history of Massachusetts without the Virgin of Guadalupe.  There is no history of Massachusetts without Franciscan demonology. There is no history of Massachusetts without Peru.

Cover of Puritan Conquistadors: Iberianizing the Atlantic, 1550-1700

There is no history of Massachusetts without Mexico or Peru because they knew each other or because the frame of vision has to be wider, more continental-American proper?

Both. For instance, the case of burials. Chris Heaney has written this wonderful article in the William and Mary Quarterly about the burials (“A Peru of their Own: English Grave-Opening and Indian Sovereignty in Early America,” Vol. 73, No. 4, Oct. 2016).  When the Spaniards arrive at places, they raided burials and plundered in order to assess the status of the societies they had encountered—whether they were rich, urban, etc. In plundering burials, Spaniards sought to do a quick ethnography and anthropology of places but also to get rich. So, this model of plundering burials was a model that the Puritans themselves applied. And Walter Raleigh too. The British experience in Massachusetts and Virginia saw the same application of burial raiding as a way of quick ethnography and quick returns to capital investments. The conquistador company was not that different from the Virginia company. Puritans and Virginians could not find their Peru and were deeply disappointed as their raids of graves did not yield treasure. The colonization of British America happened through shareholding societies, through contracts with the Crown. This is the model of contracts of, say Cortes, Pizarro, and Almagro. The contracts included certain regions to explore and work to exert authority, taxation, gracia, gobierno, the ability to create legislation, etc. The same happens with the Virginia company. The models were similar, the division of space was similar, the relationship with indigenous people was similar, despite all the rhetoric of difference associated with the Black Legend. There wasn’t much difference.

Serge Gruzinski’s La Pensée Métisse [The Mestizo Mind] is, you write, a book deliberately written to rattle conventions and stereotypes and to challenge the whole industry of “cultural studies” as understood in some circles. Do cultural studies have any traction for you? Do you have any traffic with postcolonial studies?

I think postcolonial studies purposely assumes the same category of the British model of liberal modernity that we are trying to deconstruct. So, from that model, they kind of reverse or invert the vision. They are trapped in the same categories in order to find the process of power and resistance. I have my issues with postcolonialism. It has reified Europe even more than it was. It attributes to Europe institutions that might not be European in origin, but the production of many people. When we say for instance the conquest of the Philippines, or the Spaniards conquered Mexico, we are talking about alliances of a handful of conquistadors with tens of thousands of indigenous peoples. The conquest of the Philippines was led also by Purepechas, Tlaxcalans, Mexicas as much as Spaniards. So, this attribution of modernity and knowledge as “European” leads to a reification of a number of things that in origin are not European. It is kind of giving to these tiny little societies, England, France, Germany, Spain, and Portugal an agency to transform the world. Let’s remember that “Portugal” had only a million people in the 16th century. And whatever happened with Portugal in the 1400s and 1500s, it was not just the creation of Portugal; it was the creation of local alliances in ports all over the world—Ghana, Senegal, Angola, Congo, Mozambique, Ethiopia, Ormuz, Goa, Macao, you name them. So, this is not exclusively Portuguese. This is the creation of local societies just as much as they are Portuguese. In that sense, I am very uncomfortable with postcolonialism’s sweeping reifications of Europe. 

Cover of La Pensée Métisse

There is a superb paragraph in your evaluation of Gruzinski’s work in which you speak of the US as a society “condemned to oscillate between ‘universalist’ and ‘pluralist’ conceptions of the polity, without the tools to understand processes of mongrelisation.” So, there is this universalism of the Anglo-Protestant norm demanding acculturation and assimilation of the “diversity” claims. But you do not seem to be keen on “multiculturalisms” of a “rigid” type or variety. You conclude that “pluralists seem to have won the debate,” but is this still the case in this tense moment of post-Trump, Black Lives Matter and a raging COVID-19 pandemic? What is your political position as it relates to your historical practice?

The problem with multiculturalism is that it takes this idea of minorities as a kind of tossed salad to spice up the main narrative. My point is similar to the fact that African-Americans are claiming a central role in the core narrative of American history; they are not minorities. They are central to the creation of the nation. They are not individuals at the margins. Their numbers may be fewer than those of whites but that does not mean that their agency and their history is in any way a minority history. It is the history of this country. So, multiculturalism has this dimension of reducing the histories of the others as additions to be studied separately in area studies, when in reality these are narratives that are central to the creation of the nation. They cannot be severed or separated. Mexican American history is not Mexican American history; it is the history of the United States. I think area studies tends to do that, to create these niches for minorities to have representation in numbers in universities but within Hispanic or Black spaces. The problem is that things Hispanic and things Black are things American.

The profession of history appears to be operating under a logic of “the bigger the better.” Our units of analysis keep increasing from this or that national history, to continental history, to the Atlantic, to the global, all at a moment of undeniable university crisis with the liquidation of programmes and consolidation of departments. What do you make of these shifts? We are avoiding old-fashioned terminology like “universal history” or “world history” while not doing comparative civilizational histories a la Arnold Toynbee either. What is the nature of this tendency or movement within the discipline?

Yes, there has been this tendency, but it does not mean that we are losing anything in the process. It is not so much the unit of analysis that is changing; it is the nature of the question and the archive, the sources that you draw on. Which means that you can do a very detailed analysis of sixteenth-century Puebla and yet bring to bear a huge global archive to understand what is happening in Tlaxcala, etc. Understanding Tlaxcala, a tiny little altepet [human settlement], requires a global frame and acknowledges that these guys may be connected to the Philippines and China through their participation in the expeditions of[Miguel López de Legazpi. And they have intellectuals like Muñoz Camargo by the 1580s who are commoners acquiring power through the control of the archive as mediators and translators to the Crown and that these individuals are new elites that are replacing the ancien regime. There is the collapse of the old indigenous ancien regime and the collapse of the European ancien regime and the emergence of something new. So, you need this understanding of historical patterns of old societies and new regimes to understand what is new, what emerges in this place that is distinct and novel globally. That is not just Tlaxcala. That is a new social experiment. To appreciate the importance and origin of that you need a global frame.

This question is folksy and playful, but it is meant in all seriousness. Let us imagine an old Brahmin, quite comfortably sipping his brandy in Boston by the River Charles, and after hearing you talking about Tlaxcala this and that, doing some damage to the great liberal narrative of success and power and influence, says to you: “Okay Jorge, fair enough, please remind me why I have to go to Tlaxcala? I don’t care how you frame it or globalize it, it is a small little place, coming from a minor nation that has no importance, so why do I have to go to global Tlaxcala? To find what?”

A good question. To find…

Modalities of being human, I suppose?

To find the cause of the conquest of Mexico, to begin with. To find patterns of colonization and conquest that are reflected in the alliances that Cortés created with the Tlaxcalans. To find patterns of social transformation that are reflected in the emergence of new classes within Tlaxcala that are challenging all lineages and dynasties. To find the role of new indigenous commodities in global markets that are transforming local societies—we are talking about the cochineal dye, exported from the Tlaxcala and the Mixteca or Oaxaca areas. So, you can find a number of things that are relevant to many global processes that are affected by or affect anyone and everyone. Without Tlaxcala there is no Acapulco and there is no expedition to the South Sea and no full understanding of Legazpi in the Philippines. 

You write something that I find very provocative: “it would seem that what scholars of early modern Catholicism have called baroque, scholars of Calvinism have called typology.” Tell me more about this.

In Puritan Conquistadors I make the argument that Puritanism and Calvinism were greatly informed by the Old Testament, and their understanding of their mission in the New World was informed by the reading of prophets and the Book of Exodus and Numbers and Genesis, etc. That Calvinism is a hermeneutical project of reading the New Testament in light of the Old Testament. That is a Medieval tradition that is called typology. And that yields prophecy as well. This is also what the baroque is about.

I do not think the Anglo world engages with the baroque in a way that assumes and absorbs it as something that is of its own. The baroque is always this outside, that is colourful, that is not knowledge; it is eccentric, it is what others do. The tough question will be, how to vindicate the baroque, not in a sentimental, imperialist fashion, but how to engage with that in a way that at least holds up the mirror to different enclaves. It is not easy at all. Shakespeare is not baroque, for example, and he is perfectly contemporary with the eminent Spanish baroque playwright Pedro Calderón de la Barca. They are kept completely separate at the categorical level. Same thing with John Donne’s poetry and Francisco de Quevedo’s and Luis Góngora’s. You put the texts side by side and they are clearly in the same universe, but not according to conventional historiographies. There is an Anglo repudiation of a category that is not nativized. It is o.k. for Bernini in Rome, but it is not for St. Paul’s in London. Your provocation is thus to put baroque, Catholicism, and Calvinism together and to try to work one’s way through.

Right. The baroque sermons are essentially a Calvinist text in a form of “jazz” in which the priest of the female prophet is given a text from the Old Testament, with echoes in the New Testament. They worked their way through this text to try to understand what they prefigure for events today. So, it is an understanding of the present through the prism of prefiguration and fulfilment. In the same way that Calvinism does it, which is also typological. Puritans saw themselves as Israelites in promised land; they saw the natives as Cannanites. The whole idea of the promised land in New England is a constant reading of their experience through the prism of the Old Testament. So, they are writing mosaic constitutions right and left in Massachusetts. I do not see much of a difference between these two hemispheric sensibilities, not even rhetorically—the Mexican one is as symbolic and as twisted as the Puritan other. This is what I meant by baroque and typology.

Is the notion of “multiple modernities” the telos of your historical work?

No. The telos of my historical work is politics and power. It is about undermining narratives of modernity that take away power from groups and communities at least in the United States and Europe that have as much claim over those societies as anybody else.


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions. 

Filed Under: Features

IHS Panel: Prop A in the Context of Race and Policing in Austin, Texas: An Urgent Forum

Prop A in the Context of Race and Policing in Austin, Texas: An Urgent Forum

Institute for Historical Studies – Tuesday October 19, 2021 

Over the past two years in Austin, concerns over “safety” have motivated politically opposed efforts at developing public safety alternatives to policing and propositions requiring the city to expand the policing of public space.  Protests against police brutality and police violence against protesters in the summer of 2020 has been followed by efforts at the state and local level to mandate and increase police funding.  Within the context of the upcoming November 2nd election’s Proposition A that, if passed, would dramatically increase the funding of traditional policing in Austin, this panel convenes experts to discuss the social context and potential impacts of this proposed measure.  How is this proposition representative of a broader backlash against attempts at remaking public safety in the wake of the summer 2020 protests following the death of George Floyd?  While opposing groups involved in the reform, remaking, or defense of policing all uphold “safety” as their aim, do they share the same conceptions of that word?  How are ideas of “safety” shaped by the historical contexts of Austin, the state of Texas, and the US?

Featured Panelists:

  • Andrew M. Busch
    Assistant Professor, Honors College, Coastal Carolina University; Historian and author of City in A Garden: Environmental Transformations and Racial Justice in Twentieth Century Austin, Texas.
  • J. Brent Crosson (moderator)
    Associate Professor, Department of Religious Studies; Faculty Associate, Lorenzo Long Institute for Latin American Studies; and Faculty Affiliate, Department of Anthropology, Warfield Center for African and African American Studies, and History and Philosophy of Science Program, The University of Texas at Austin; and Author of Experiments with Power: Obeah and the Remaking of Religion in Trinidad.
  • Ashleigh Hamilton & Gabriela Torres
    Communities of Color United for Racial Justice
  • Monica Muñoz Martinez
    MacArthur Fellow; Associate Professor of History, The University of Texas at Austin; Author of The Injustice Never Leaves You: Anti-Mexican Violence in Texas; Lead Researcher, Mapping Racial Violence in Texas Project; and Founding Member of the Non-profit Refusing to Forget.
  • Jason McDonald
    Assistant Professor of History, Truman State University; Author of Racial Dynamics in Early 20th Century Austin.
  • Eliot M. Tretter
    Research Fellow, Department of Geography and the Environment, The University of Texas at Austin; and Author of Shadows of a Sunbelt City: The Environment, Racism, and the Knowledge Economy in Austin.
Headshots of featured panelists

Sponsored by: The Department of Religious Studies and the Institute for Historical Studies in the Department of History


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Filed Under: Institute for Historical Studies, Watch & Listen

IHS Podcast: Mexico’s Social Science Laboratory and the Origins of the U.S. Civil Rights Movement

“Mexico’s Social Science Laboratory and the Origins of the US Civil Rights Movement (1930-1950)”

IHS podcasts are a new podcast series initiated by the Institute for Historical Studies’ Director, Dr. Jorge Cañizares-Esguerra. They are paired with weekly workshops and are designed to foster discussion between graduate students and distinguished scholars in the field. Along with graduate students and guests, each episode features Dr. Cañizares-Esguerra and Ashley Garcia, a PhD Candidate in History at UT Austin. This podcast is recorded in connection with a roundtable, “Covarrubias’ Crossings: Picturing the New Negro and the Making of Modern Mexico,” presented by Rodrigo Salido Moulinié (University of Texas at Austin) on October 25th. Details can be found here.

Introduction

In this podcast, we discuss with Ruben Flores the impact of Mexico’s revolutionary social science of education and anthropology in the struggles over school segregation in the South and Southwest. Flores’s message is simple: Without the history of Mexico there is no understanding of the history of the United States.

Flores demonstrates that the Mexican Revolution created the conditions for state support of psychological and sociological research in public schools. The goal was the “forging” of a new Mexican via the “amalgamation” of cultures. Post-revolutionary Mexico became a ‘lab-furnace’ in which peoples became “citizens” of a new state that through the manipulation of state rural policies and school policies acculturated people without violence into a normative “Mexicano” citizen. The violence of a fragmented multi-racial and multi-indigenous colonial and nineteenth-century state was to give way to an acculturated-hybrid, “mestizo” nation through the magic of rural institutions such as cultural missions, children schools, and normales.

In the United States, the Mexican experiment mutated into an aspirational ideal of melting; legal post-Plessy segregation kept races and peoples separate, particularly Blacks, Whites, and Hispanics. Flores shows the intense traffic of ideas and peoples between New York and Mexico City with Columbia University in particular where Boas and Dewey trained both Mexicans and Americans. It was in New York city where the individuals who would later become involved in the desegregation of schools in Texas, California, Louisiana, and New Mexico first encountered the Mexican social sciences of education and anthropological acculturation.

The podcast explores the reception of these ideas among African American intellectuals, like DuBois and the members of the Harlem Renaissance. We seek to pinpoint the role of muralism both in the United States and Mexico in conveying the idea of amalgamation and forging. Ultimately there was no substantial difference between Rivera’s murales and the US motto “e pluribus unum.”

~ Jorge Cañizares-Esguerra

Guests

Dr. Ruben Flores is Associate Professor of history at the University of Rochester. He is an intellectual and cultural historian of the US and Mexico who studies social reform movements and the use of university and government institutions as tools for creating social consensus.

Rodrigo Salido Moulinié is a writer, photographer, and doctoral student in the Department of History at the University of Texas at Austin, where he is a Fulbright-García Robles Scholar and a Contex Doctoral Fellow. His work explores the interconnections between the histories of photography, science, and anthropology. 

Hosts

Jorge Cañizares-Esguerra is Alice Drysdale Sheffield Professor of History at the University of Texas at Austin and the Director of the Institute for Historical Studies.

Ashley Garcia is a PhD candidate at the University of Texas at Austin. Her research includes 19th century political history, American communitarianism, and American political thought. Her dissertation, “An American Socialism: The Associationist Movement and Nineteenth Century Political Culture,” explores America’s most popular utopian socialist program: the Associationist movement of the 19th-century. Ashley has also completed a Portfolio in Museum Studies as her secondary PhD field.


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Filed Under: Institute for Historical Studies, Watch & Listen

Hidden in Plain Sight: Re-Viewing Juan de Miranda’s Portrait of Sor Juana Inés de la Cruz

Hidden in Plain Sight: Re-Viewing Juan de Miranda’s Portrait of Sor Juana Inés de la Cruz

By Susan Deans-Smith (Associate Professor, Department of History, University of Texas at Austin) and John W. Smith (Independent Scholar, University Affiliate Research Fellow-Lozano Long Institute of Latin American Studies)

This article is the first of two parts in a series entitled, Hidden in Plain Sight: Reflections On A Mexican Baroque Enigma. You can read the second part here.

Hidden in Plain Sight is a short book that reassesses the first known full length extant portrait (c. 1700) by Juan de Miranda (c.1667?-1714) of the acclaimed Mexican nun and poet, Sor Juana Inés de la Cruz (c.1648?-1695) (fig. 1). The life-size portrait (75.19 x 48.42 inches) currently hangs in the rectoría of the Universidad Nacional Autónoma de México. Standing at her writing table in her library-cell of the convent of San Jerónimo in Mexico City, the portrait includes a biographical inscription that appears on the side of her desk, a sonnet, Verde embeleso, that Sor Juana appears to have just finished composing, as well as the three published volumes of her work that appear behind the inkwells. Scholars have approached the portrait from varying perspectives and provide valuable insights into different aspects of its creation and interpretation: some, less enthusiastic about the portrait’s aesthetic merits, nevertheless acknowledge its importance as a prototype for subsequent portraits of Sor Juana; others debate how the artist navigates the spiritual and worldly personas of Sor Juana and the tensions between the two. There appears, however, to be a strong consensus about the unusual composition of Miranda’s portrait since it does not employ the conventional iconography associated with portraits of female religious. Rather, Miranda’s portrait is more “reminiscent of…portraits of male prelates and literary figures” (Burke, 1990, 354), influenced by Spanish Hapsburg court portraiture. We are left with the impression of its “bewildering singularity” (Perry, 2012, 7). It is this “bewildering singularity” that requires deeper reflection and is the focus of our study. Interpretation of the portrait has also been complicated by the fact that it is signed by Miranda but it is not dated. Evidence of a second “lost” inscription that identifies both patron and a date of 1713 has added uncertainty as to which date to attribute to the undated extant portrait as well as its patron’s identity: “Mother María Gertrudis de Santa Eustaquio, her [spiritual] daughter and Accountant, gave this portrait of Sor Juana Inés de la Cruz to the Accounting Office of our convent. Year of 1713” (González Obregón, 1900). As such, depending on who you read on the matter (usually very reputable sources), the extant portrait may or may not be dated 1713 and authors may or may not assume the patron’s identity. Confusion is understandable. Scholars have largely discounted suggestions that the second “lost” inscription and date originally appeared on the extant portrait but was erased due to damage or faulty restoration (Ruiz Gomar, 2004). An alternative explanation is that Miranda painted a second version of the extant portrait that included two inscriptions – the biographical one and the one that identifies the patron and is dated 1713. The assumption is that if such a portrait ever existed, its whereabouts are currently unknown. Based on the fortunate discovery of two photographs of this lost portrait during our archival and digital research, however, we can confirm that Miranda painted two portraits of Sor Juana. We address this discovery in greater detail in Part 2 of this project’s description. 

Juan de Miranda, “Portrait of Sor Juana Inés de la Cruz.” 
c. 1713. Oil on Canvas. Patrimonio de la Universidad 
Nacional Autónoma de México (UNAM).
Fig. 1 – Juan de Miranda, “Portrait of Sor Juana Inés de la Cruz.” c. 1713. Oil on Canvas. Source: Patrimonio de la Universidad Nacional Autónoma de México (UNAM), Image from Wikimedia commons

Hidden in Plain Sight is the first study to identify the presence of a hidden enigma in Miranda’s portrait of Sor Juana. In so doing we offer an alternative interpretation and approach to this portrait. We contextualize our study within the broader vibrant cultural and intellectual milieux of late seventeenth-century Mexico City characterized by the Hispanic Baroque with its characteristic embrace of novelty, deception, illusion, exuberance, and spectacle, and which nurtured creative word play, puzzles, anagrams, acrostics, emblems and allegories. It is this cultural context that shaped our working hypothesis that not only are we looking at a commemorative portrait but also at an emblematic portrait of Sor Juana that demands closer reading and questioning. The enigma – hidden in plain sight in the portrait – resides in the white sheet of paper with its notations and numbers (fig. 2). Unlike the large escudo or nun’s badge worn by Sor Juana that depicts The Annunciation, the white sheet of paper and its notations – somewhat surprisingly – have not tempted the curious scholar to examine them more closely.

Close shot of the bookshelf in figure 1. It shows a piece of paper with geometric figures on it.
Fig. 2 – Detail of the enigma, Juan de Miranda, “Portrait of Sor Juana Inés de la Cruz.”

This quietly subversive white sheet of paper is typically characterized as a passive rather than active pictorial element that symbolizes Sor Juana’s interest in science and mathematics (with a nod to her position as the accountant of the convent of San Jerónimo), or it is simply ignored. Octavio Paz, for example, (1988) noted that the five rows of numbers that appear on the white sheet of paper (fig. 3) reminded him of the magic square in Dürer’s Melancholy I (fig. 4) but did not pursue his intuition about their possible significance. So, we pose a simple question: do the numbers and geometric notations on the white sheet of paper in the portrait actually mean something and can they be deciphered? The short answer is yes. We reconstruct how the portrait’s visual elements and sightlines facilitate the engima’s decipherment, comparable to how emblems work but not in a conventional way and provide an analysis of each component of the enigma. 

We make several key arguments that provide a new interpretation of Miranda’s portrait. First, to understand the portrait’s unusual composition, it is necessary to recognize the singular importance of the white piece of paper with its furled edge and geometric notations and numbers, anchored by a glass flask containing a liquid (fig. 2). We argue that the notations and numbers represent something much more than a symbolic expression of Sor Juana’s affinity for mathematics and knowledge: when deciphered, they are an active source of information and knowledge about Sor Juana’s birth, life, and death. 

Fig. 3 - Detail, sheet of paper with numeric and geometrical notation. Juan de Miranda, "Portrait of Sor Juana Inés de la Cruz."
Fig. 3 – Detail, sheet of paper with numeric and geometrical notation. Juan de Miranda, “Portrait of Sor Juana Inés de la Cruz.”

Second, given the complexity of the enigma’s construction with the need for precise placement of pictorial elements in the portrait in relation to the white sheet of paper and its notations, we suggest that these particular arrangements constitute an invisible conceptual signature indicative of another participant involved in the portrait’s design, and distinct from the artist’s visible signature that appears on the lower left of the portrait, “Miranda fecit.” What we mean by “conceptual signature” is unmistakable evidence of the application and use of particularly specialized knowledge and expertise evident in the enigma’s construction and which few individuals at the time would have possessed. It is highly unlikely that Miranda, or even the most learned painter versed in emblematic and allegorical compositions, could have created the enigma. We emphasize that our speculations about possible authors of the enigma’s construction occurred after we had deciphered the enigma, not before. It was only after the painstaking process of decipherment that the range of expertise became evident. We suggest that the most plausible candidate was Sor Juana’s friend, mentor and colleague, the creole polymath Carlos de Sigüenza y Góngora (1645-1700). A former Jesuit, he held the chair of astrology and mathematics at the University of Mexico, served as the cosmographer of New Spain, conducted astronomical observations, compiled annual almanacs, and amassed a significant collection of pre-Hispanic and early colonial codices and calendars. We argue that Sigüenza drew on his deep knowledge of the devices and various word-image games at which both he and Sor Juana excelled and reveled in – ciphers, anagrams, allegories, and emblems – as well as his mastery of multiple calendrical systems, in order to construct the enigma within the portrait. We posit that Sigüenza’s design for the enigma represents a sui generis hybrid form of an emblematic construct. His deep engagement with the Baroque aesthetics of late seventeenth-century Mexico as well as his experience with allegory and emblem design provide compelling and plausible evidence for his participation in the portrait’s creation with Miranda. Undoubtedly there were other members of Mexico City’s cosmopolitan literati who would have been knowledgeable in multiple areas such as mathematics, astronomy, theology, and games of wit and invention. None, however, unlike Sigüenza, would have possessed the levels of expertise in all of those areas, as well as being conversant with the intricacies of the multiple calendrical systems required to create the complex enigma, including that of the pre-Hispanic Mexican calendar. There is also ample evidence that Sigüenza possessed first-hand experience of working directly with some of Mexico City’s painters, most notably in the crafting of the emblems he designed for the triumphal arch for the entry of the new viceroy to Mexico City in 1680.

Fig. 4. Detail, Albrecht Dürer, and geometrical notation. Juan de Miranda, Melancholia 1, 1514.
Fig. 4. Detail, Albrecht Dürer, Melancholia 1, 1514.

Third, we argue that the unusual iconography of Sor Juana’s portrait may be explained in part by our speculations about Sigüenza’s involvement and interactions with Miranda. The placement of the white piece of paper and its notations and numbers, the clustering and specific placement of books – central to an effective decipherment – required a very precise construction which, in turn, affected the positioning of Sor Juana. We speculate that Sigüenza provided Miranda with a detailed schematic that outlined the visual framing for the enigma’s inclusion, in much the same way that he provided designs to painters in 1680 for the emblems he created for his triumphal arch. As such, Miranda would have needed to work with Sigüenza’s schematic to create the portrait. 

Fourth, with regard to the extant portrait’s patron and commission we have found no documents that provide details about either of them. It is more than likely, however, that the convent of San Jerónimo was actively involved in the commission, especially since the sonnet that appears in the portrait was given to Sor Juana’s “spiritual daughter,” Sister María Gertrudis de Santa Eustaquio (1670-1737) (Andrade, 1899) who would commission the second version of the portrait in 1713. Given the extant portrait’s subject matter, we suggest that it was commissioned to commemorate both the fifth anniversary of Sor Juana’s death in 1695, and to celebrate the publication of her third volume, Fama y obras póstumas, in 1700 in Madrid. Emphasis on her literary work in the portrait noted in the biographical inscription and visually evident in the depiction of her published three volumes and the legible unpublished sonnet on her writing table that is effectively “printed” on the canvas is unmistakeable. If we return to the idea of the portrait’s “bewildering singularity,” the composition would not have been straightforward unlike that of profession and conventual portraits with their formulaic characteristics. Given Sigüenza’s established friendship and collaborations with Sor Juana, his frequent visits to the convent (he also composed her funeral elegy), as well as his reputation, and connections at court, it is plausible that the convent sought his advice with regard to both prospective artist and the portrait’s composition. We do not know if Miranda was the patron’s first choice, or an alternative to more prestigious painters who declined the commission or were too expensive. Given the opportunity to work with the painter on such a commission, we speculate that Sigüenza may have used it to create a private tribute in the form of a hidden enigma to Sor Juana in honor of their past collaborations and mutual intellectual interests. 

Fifth, our decipherment of the portrait’s enigma contributes to the debate over Sor Juana’s birth and baptism dates by providing alternative dates with those currently proposed: November 12, 1648 or November 12, 1651 (birth dates) and December 2, 1648 (baptism). We assess the credibility of the information provided by the enigma’s decipherment and do so based on long-standing scholarly caution that parish records are characterized by their erratic and error-filled record keeping, disorganized filing, and deteriorated condition of many of the records. To evaluate our hypothesis that Sor Juana’s baptism document may have been erroneously recorded we reviewed the baptismal registers of Chimalhuacán for the years 1642-1655 in order to determine levels of anomalous recordings of baptisms. We do not claim that these alternative dates are unequivocally correct. Whoever provided the information may have been mistaken in the same way that the date provided by Sor Juana’s first biographer, Diego Calleja (1638-1725) – 1651 – is now thought by many scholars to be incorrect (Salceda, 1952). Indeed, 1651 appears in the biographical inscription of Sor Juana even as an alternative date is provided by the enigma’s decipherment. Rather, given the unique source and context from which they are derived and the fact that they fall well within a plausible time frame, they should be taken into consideration as a new possible set of dates for Sor Juana’s birthdate and baptism. 

Our final reflections focus on the portrait’s broader significance as a cultural artifact of a particular time and place. We assess the enduring influence of Miranda’s portrait with its hidden enigma on subsequent portraits of Sor Juana painted throughout the eighteenth century. Of the many attributes that artists retain, however, the enigma is not one them, beginning with Miranda himself and his second portrait of Sor Juana in 1713.

Continued in part 2


Works Cited:

Abreu Gómez. Ermilo. Iconografía de Sor Juana Inés de la Cruz. México: Imprenta del Museo Nacional de México, 1934.

Andrade, Vicente de Paula, Ensayo bibliográfico Mexicano del siglo XVII. México: Imprenta del Museo Nacional, 1899, 483-485.

Burke, Marcus. Mexico: Splendors of Thirty Centuries. New York: The Metropolitan Museum of Art and Bullfinch Press, 1990.

Chávez, Ezequiel A. Sor Juana Inés de la Cruz: su vida y su obra (Barcelona: Casa Editorial Araluce, 1931).

González Obregón, Luis. “Sor Juana Inés de la Cruz,” El Renacimiento, 15 April, 1894.

–––– México viejo. (Paris-México: Bouret, 1900).

Flores Aguirre, Jesús. Papel de Poesía, no. 16, January 1944.

–––– “Un retrato de Sor Juana,” Vanguardia, 3 February, 1944, 28, 77bis-78bis.

León, Jesús de. “Este que ves engaño colorido.” In Nací en el mero Saltillo. Crónica personal de figuras, casos y leyendas de mi localidad (siglos XVI-XX) (México: Saltillo Eres Tu. Programa editoral, 2012)

Maza, Francisco de la. “Primer retrato de Sor Juana.” Historia Mexicana 2/1 [5] (July-Sept. 1952): 1-22.

—— Sor Juana Inés de la Cruz ante la Historia. (Biografias antiguas. La Fama de 1700. Noticias de 1667 a 1892). Recopilación de Francisco de la Maza. Revisión de Elias Trabulse. Mexico: Universidad Nacional Autónoma de Mexico, 1980.

Paz, Octavio. Sor Juana or the Traps of Faith. Cambridge, MA.: Harvard University Press 1988, trans. by Margaret Sayers Peden.

Perry, Elizabeth. “Sor Juana Fecit: Sor Juana Inés de la Cruz and the Art of Miniature Painting.” Early Modern Women: An Interdisciplinary Journal 7 (2012): 3-32.

Ruiz Gomar, Rogelio. “Miguel Cabrera. Portrait of Sor Juana Inés de la Cruz.” In Donna Pierce, Rogelio Ruiz Gomar, Clara Bargellini, Painting a New World. Mexican Art and Life 1521-1821. Denver Art Museum; Austin: University of Texas Press, 2004.

Salceda, Alberto G. “El acta de bautismo de Sor Juana Inés de la Cruz.” Ábside, vol. XVI, (1952): 5-29.

Sánchez Moguel, Antonio,“Sor Juana Inés de la Cruz. Insigne poetista Hispano-Mejicano.” La Ilustración Española y Americana, 22 October, 1892.

Tapia Méndez, Aureliano. Carta de Sor Juana Inés de la Cruz a su confesor. Autodefensa espiritual. Monterrey:Producciones Al Voleo El Troquel, S.A., 1993.

––––– “El autorretrato y los retratos de Sor Juana Inés de la Cruz.” In Memoria del coloquio internacional. Sor Juana Inés de la Cruz y el pensamiento novohispano 1995. México: Instituto Mexiquense de Cultura, 1995, 442-453.

Filed Under: 1400s to 1700s, Art/Architecture, Features, Latin America and the Caribbean, Research Stories

Hidden in Plain (Virtual) Sight: Searching for a Lost Portrait of Sor Juana by Juan de Miranda and Finding a Photograph of it in a Digital Archive

Hidden in Plain (Virtual) Sight: Searching for a Lost Portrait of Sor Juana by Juan de Miranda and Finding a Photograph of it in a Digital Archive

By Susan Deans-Smith (Associate Professor, Department of History, University of Texas at Austin) and John W. Smith (Independent Scholar, University Affiliate Research Fellow-Lozano Long Institute of Latin American Studies)

This article is the second of two parts in a series entitled, Hidden in Plain Sight: Reflections On A Mexican Baroque Enigma. You can read the first part here.

One issue that continually surfaced during our research focused on the unresolved question and confusion about the authorship, date, and content of Miranda’s extant portrait. To repeat ourselves in order to be very clear, the extant portrait is undated, signed “Miranda fecit,” and contains only one inscription, Sor Juana’s biography. Octavio Paz lamented that “The fact that critics insist on saying that it was painted in 1713 indicates that they are repeating secondhand information without having seen the painting” (1988, 236). Almost thirty-five years later, the confusion continues. We decided that if we could find definitive evidence of the existence of a second portrait that is dated 1713 with two inscriptions that would at least resolve one issue: yes, Miranda painted two portraits of Sor Juana, one undated, signed, with one inscription, and the other signed, dated 1713, with two inscriptions. Untethered from a questionable date of 1713 offers different possibilities for the date of the extant portrait and its commission and creation. The presence of Sor Juana’s three published volumes in the portrait based on the third volume’s publication in 1700 as well as Siguenza’s death in 1700, however, also narrows possible dates. Given the portrait’s commemorative purpose, the commission could have been made as early as 1698/99 in anticipation of both the anniversary of her death and Fama’s publication. Beginning in 1697, the wealthy Mexican priest and journalist Juan Ignacio de Castorena y Ursúa Goyeneche y Villarreal (1668-1733) oversaw the compilation of Sor Juana’s works based on writings that he had collected and taken to Spain with him. He solicited tributes from both Spanish and Mexican contributors to be published in Fama, that included Sigüenza. As such, knowledge about the intended publication preceded 1700.

The most compelling evidence for the existence of two portraits of Sor Juana by Miranda appears in the work of Aureliano Tapia Méndez (1993, 1995) and Rogelio Ruiz Gomar (2004). We reread this evidence to see if we had overlooked important information related to a second, now missing, portrait. As it happens, we had, which in turn led us to focus on looking for photographs of it. Before we address their arguments, a brief review of the foundational literature on Miranda’s portraits helps to better understand the sources of confusion about the portraits as well as their “lives.”

The first notice of a portrait of Sor Juana, signed by “Miranda” and dated 1713 appeared in an essay in the Mexican periodical El Renacimiento (1894) focused on known portraits of Sor Juana including those owned by the nuns of San Jerónimo. The author, the Mexican writer and historian Luis González Obregón (1865-1938) formed part of a group of Spanish and Mexican writers and scholars engaged in research into both the visual and textual sources of Sor Juana’s life and works in the late nineteenth century to rescue her from the oblivion of two centuries. Indeed, González Obregón wrote the essay in anticipation of commemorations of the bicentenary of her death in 1895, which much to his dismay never materialized. González Obregón’s description, however, was purely textual with no illustration of the portrait included, and only a note that it belonged to one of the nuns of San Jerónimo. The description, moreover, came not first-hand from González Obregón but from his friend and colleague, José María de Ágreda y Sánchez (1838-1916), sub-director of the Biblioteca Nacional, librarian at the Museo Nacional, and of the Biblioteca Pública de la Catedral Metropolitana. Ágreda y Sánchez’s connections resulted in permission for him to view a portrait by Miranda of Sor Juana in the possession of the nuns of San Jerónimo and from which – at González Obregón’s request –he transcribed its two inscriptions and the text of the sonnet that appears on Sor Juana’s desk. González Obregón published the full texts of those transcriptions: Sor Juana’s biographical inscription, her sonnet, Verde embeleso, and a second short inscription that refers to the portrait’s commission by Sister María Gertrudis de Santa Eustaquio.

González Obregón provided no actual description of the portrait’s composition by Miranda so other than information about the two inscriptions, sonnet, date and artist, readers had no idea what it looked like. He did, however, include a brief description of a portrait of Sor Juana owned by a nun of San Jerónimo (but did not reproduce the actual image) that appeared in Madrid in La Ilustración Española y Americana (1892) (fig. 5) that describes her standing in a library at her writing table having just completed writing something. The cropped portrait is, in fact, by Miranda but was not identified as such. So, this is one of the first insights that we had not realized before: by the 1890s there was: a) textual evidence of a portrait by Miranda dated 1713 with two inscriptions but no sense of what it looked like; and b) images were starting to be reproduced of the very same portrait but not recognized as such, presumably because of the heavy cropping that eliminated the inscriptions.

In an expanded version of the essay he published in El Renacimiento, González Obregón subsequently included an image (fig. 6) in Mexico viejo (1900) very similar to the one published in La Ilustración Española y Americana. The journalist-diplomat-writer, Amado Nervo (1870-1919) would reproduce the same image used by González Obregón in his Juana de Asbaje (1910) (fig. 7). Again, the fact that the portraits are cropped such that there is only a hint of an inscription on the side of Sor Juana’s writing table and no second inscription may account for why writers did not identify it as Miranda’s portrait as described by González Obregón. Rather, the captions for the illustrations simply identify Sor Juana and/or provide a variant of “From an old painting kept by the nuns of San Jerónimo.”

Two subsequent publications contributed to additional information about Miranda’s portrait dated 1713 and with two inscriptions. In 1899, Vicente de P. Andrade (1844-1915) included in his Ensayo bibliográfico mexicano del siglo XVII the text of Sor Juana’s biographical inscription that appears in Miranda’s portrait with a note that indicated that it was copied from the painting preserved by the nuns of San Jerónimo. He also included the text of another second short inscription that differs from the one Ágreda y Sánchez copied and reads “Copy of the sonnet that Sor Juana Inés de la Cruz gave for the Accounting Office of this our convent to Mother María Gertrudis de Santa Eustaquio, her [spiritual] daughter and Accountant. Year of 1713—Miranda fecit.” The full text of the sonnet is included. It is unclear whether Andrade drew on González Obregón’s 1894 essay or if he was also able to personally view possibly another portrait by Miranda owned by the nuns but we cannot verify this. An alternative explanation is that he provided a very confused rendition of the second short inscription provided by Ágreda y Sánchez but the differences are such that that is unlikely. Ezequiel A. Chávez’s study of Sor Juana (1931) included a short chapter on portraits of Sor Juana (largely based on González Obregón and Ágreda y Sánchez). He refers briefly to Miranda’s portrait primarily to note that the acclaimed eighteenth-century painter Miguel Cabrera ((1695–1768) documented in the inscription in his portrait of Sor Juana that he copied from it in 1750 where it hung in the Accounting Office of the convent of San Jerónimo. What is distinctive in Chávez’s study, however, is that in a chronology of Sor Juana’s life and works, he includes an entry for 1713 that states that Sister María Gertrudis de Santa Eustaquio gifted Miranda’s portrait of Sor Juana to the convent of San Jerónimo. Instead of reproducing the text of the second inscription published by González Obregón, he transforms its information into a chronological “fact.”

The most comprehensive assessment of the portraits and iconography of Sor Juana after that of González Obregón appeared in 1934 by Ermilo Abreu Gomez (1894-1971), Iconografía de Sor Juana Inés de la Cruz. Following González Obregón closely he lists a portrait attributed to Miranda as “painted in 1713 that was in the possession of the nuns of San Jerónimo,” (21). In his entry for a “portrait in the possession of a Heronymite nun” (22) he cites the anonymous cropped portrait published in La Ilustración (fig. 5). He notes its inclusion by González Obregón and Nervo, and reproduces the image from González Obregón’s Mexico viejo but still no connection is made to Miranda. He also comments on the differences between the texts of the second short inscriptions provided by Ágreda y Sánchez (gift of portrait of Sor Juana by Sister María Gertrudis) and by Andrade (gift of sonnet from Sor Juana to Sister María Gertrudis).

To sum up, what this review of information about Miranda’s portrait of Sor Juana between the late 1890s and 1930s clarified is: 1) reproductions of Miranda’s portrait (cropped) began to appear in publications in both Spain and Mexico as early as 1892. Those images are not, however, attributed to Miranda but captioned as some variant of “from an old painting owned by the nuns of San Jerónimo; 2) descriptions of a portrait that name Miranda specifically as the artist are purely textual based on the original transcriptions of the portrait’s inscriptions provided by González Obregón and Ágreda y Sánchez; 3) aside from the nuns of San Jerónimo it appears that the only other person to have viewed the portrait was Ágreda y Sánchez (possibly Andrade, but that is not at all clear); 4) reproductions of the portrait, whether published in Mexico or Europe would have required a photograph or detailed sketch on which to base them. Given Ágreda y Sánchez’s positions at the Biblioteca Nacional and the Museo Nacional, he may have been responsible for securing a photographer but this remains an open question; 5) none of the works discussed indicated knowledge about another portrait by Miranda with only one inscription, signed by the artist, but not dated.

Fig. 8 – “Un retrato de Sor Juana,” Jesús Flores Aguirre, Vanguardia, 3 February, 1944

In 1944, however, Jesús Flores Aguirre (1904-1961), literary scholar, writer, poet, and diplomat, published a short essay on “Un retrato de Sor Juana” in Papel de poesía and Vanguardia accompanied by an uncropped full length black and white photograph of Miranda’s portrait of Sor Juana (fig. 8). He identified the portrait as from a private collection owned by his friend, the scholar, writer, and poet, Gustavo Espinosa Mireles Rodríguez (1917-2009), and gave a detailed description of the portrait including its dimensions, its somewhat deteriorated state, the fact that it is signed by Miranda and although not dated “is prior to 1713.” He also included the full text of the biographical inscription that takes up the entire side of Sor Juana’s writing table as well as that of the sonnet. Subsequently, the portrait was exhibited for the first time in the Exposición bibliográfica e Iconográfica de Sor Juana Inés de la Cruz in 1951 on loan from Espinosa Mireles as part of the expansive tricentenary celebrations of Sor Juana’s (alleged) birth in 1651. Espinosa Mireles eventually gifted it to UNAM where it currently resides. But is this portrait the same one that Ágreda y Sánchez saw and those reproduced by González Obregon, Nervo, and Abreu Gomez? No, it is not. It is not dated and it does not bear a second inscription and this is where we return to the studies of Tapia Méndez and Ruiz Gomar that support the argument that Miranda painted two portraits of Sor Juana.

Tapia Méndez concluded that all three images published in La Ilustración Española y Americana and by Gonzaléz Obregón and Nervo (figs. 5, 6, 7), are all the same portrait but not the same as the extant Miranda housed in the UNAM Rectoría. When compared, differences are quite obvious. He emphasizes the arrangement, angles, and sizes of the books on the middle and bottom shelves on the far righthand side of the bookshelf, and the positions of Sor Juana’s hands and fingers, holding a quill in one, and her rosary in the other (figs. 9 and 10).

The legibility of the biographical inscription in the extant portrait also allowed comparison with the one transcribed by Ágreda y Sánchez. Ruiz Gomar observes that although some differences could be attributed to sloppy transcription and/or “alterations during a faulty restoration,” other differences are more significant. He notes, for example, that Ágreda y Sánchez’s transcription reads “Sor Juana took her vows in the church “of Saint Jerome, N[uestro] P[adre], in this Convent” [authors’ emphasis]; the inscription in the extant portrait reads “of Saint Jerome in the Convent.” Another telling difference is that “the phrase, ‘the role of Accountant of this our convent’ in Ágreda y Sánchez’s transcription, appears in the extant portrait as “the role of Accountant in the aforesaid Convent.” Such subtle differences signal on the one hand, specific location: “in this Convent,” as well as of possession: “of this our convent,” in comparison with language that suggests a more formal distanced “aforesaid convent” (2004, 297).

Inspired by these analyses and without any substantive evidence of the whereabouts of an actual physical second portrait to go on, we opted to search for photographs of it. We speculated that may have involved Ágreda y Sánchez, especially given his position at the Museo Nacional. That in turn led us to the extraordinary digital repository developed by Mexico’s Instituto Nacional de Antropología e Historia, Mediateca and its photographic collections. Finding the photographs of the lost Miranda actually proved to be relatively easy, as long as you know what to look for – in this case, the books’ different arrangements on the bookshelf (figs. 9 and 10). A search pulls up black and white photographs of both the missing and the extant portraits so without looking specifically for that kind of detail it would be very easy to assume that you are looking at the same portrait while scrolling through thumbnails since the portraits are very similar overall. There are two photographs of the missing portrait, one dated c.1915 and one dated c.1940, which are very similar to the cropped versions. With two uncropped portraits now to compare, additional differences become apparent between the extant and missing portraits (figs. 11 and 12). In addition to those detailed by Tapia Méndez, we add the following examples (not exhaustive).

You can see figure 11 here: https://mediateca.inah.gob.mx/islandora_74/islandora/object/fotografia%3A454382  

Reconfiguration of books and their groupings (figs. 14 and 15), the curl of the white piece of paper with its geometric notations and numbers, the positioning of the three volumes of Sor Juana’s works and inkwells and quill, and the biographical inscriptions’ designs – rectangular versus “V” shaped – as well as a flourishing versus a more restrained Requiescat in pace. And, of course, one inscription versus two. The biographical inscription in the lost Miranda matches Ágreda y Sánchez’s transcription perfectly, as does the short inscription written across the bottom of the portrait (fig. 13) that identifies Sister María Gertrudis de Santa Eustaquio. Miranda’s signature appears under Requiescat in pace in both portraits. The apparent absence of the geometric notations and numbers on the white sheet of paper and hardly visible lettering of the sonnet in the lost portrait is probably due to the nature of the photographic reproduction.

Fig. 13 – Second inscription that appears across the bottom of the lost Miranda: “Esta copia de la Me Juana Ines de la Cruz dio para la Contaduria de este nuestro Convento la Me Maria Gertrudiz de Santa Eustaquio, su hija siendo Contadora. Año de 1713.” (“Mother María Gertrudis de Santa Eustaquio, her [spiritual] daughter and Accountant, gave this portrait of Sor Juana Inés de la Cruz to the Accounting office of our convent. Year of 1713”).

If the discovery of these photographs confirms that Miranda painted two portraits of Sor Juana – very similar with minor compositional variations – retracing their histories leaves several important questions unanswered. There appears to be no mention of Miranda’s extant portrait in the historical record until Flores Aguirre published his article and photo of it in 1944. Intriguingly, it is around the same time when the extant portrait’s existence is made known that references to the lost portrait disappear. So, where had the extant portrait been prior to its appearance in 1944 and where did the lost portrait go? Tracing their respective histories is further complicated by the disruptive impact of the Reform Laws in 1855 and 1856 that sought to disempower the Catholic Church in Mexico and the tumultuous decades that followed exacerbated by the Mexican Revolution. Confiscation of church wealth, the exclaustration of female convents and suppression of male religious orders resulted in the removal, theft, and destruction of many religious treasures, archives, paintings, and books. Nuns were forced to move to approved houses, or to stay with family or friends in the 1860s and ultimately many sought refuge in Spain in 1926 confronted with the anti-clerical policies of President Calles (1924-28). We know that the lost portrait hung in the Accounting Office of San Jerónimo from its commission in 1713 and was still there by 1750 when viewed by Cabrera. Where Ágreda y Sánchez viewed it in the 1890s, however, is unclear based on the vague description as in the possession of a nun of San Jerónimo. We assume that the extant portrait was also originally housed in the convent and remained there until the nuns’ exclaustration in the 1860s but where it was originally displayed in the convent is unclear.

Interviews with Mireles Espinosa and close friends provide contradictory accounts about how he acquired the extant Miranda (Tapia Méndez, 1993, 1995; León, 2012). What does seem clear, however, is that Mireles Espinosa’s great aunt, Sister Asunción Hurtado de Mendoza, an Heronymite nun, is the link between the extant portrait and how it came into his possession. Depending on which account one reads, either Sister Asunción deposited the extant portrait with a family directly for safekeeping or she asked Mireles Espinosa’s father (1891-1939), the former governor of Coahuila (1915-1917) to safeguard several works of art from the convent that included Miranda’s portrait of Sor Juana, before fleeing to Spain in 1926. Regardless, it appears that Miranda’s portrait was left with a family of “modest means,” possibly that of an antiquarian in Mexico City. Mireles Espinosa subsequently tracked down the portrait where “the canvas had been kept wrapped over a wooden support in some dank basement, so that its edges rotted” (Ruiz Gomar, 2004, 297). In all of these accounts, there is only one mention of two portraits by Miranda. Mireles Espinosa recounted that before leaving for Madrid, Sister Asunción related that “there were two portraits of Sor Juana by Juan de Miranda, not signed (Tapia Méndez, 1992, 216). Reference to the portraits being unsigned strikes an odd note, but the signature on the extant portrait is not immediately obvious. So, we have some idea of how Miranda’s extant portrait found its way into Mireles Espinosa’s private collection in the 1940s, but nothing substantive about its whereabouts prior to that journey. Similarly, we do not know what happened to the lost portrait after Ágreda y Sánchez viewed it in the 1890s, except to say that it had to have been photographed around that time for the subsequent cropped images to be published (the Mediateca dates of the photographs are catalogued as 1915 and 1940).

Confirmation of the second portrait’s existence clarifies the relationship between the extant (undated) and the lost (dated) portraits and should remove any confusion about the conflation of the two. It also creates a productive dialogue between the two portraits, one of which contains the enigma, while the other identifies the patron and the date of 1713. If the lost portrait honors Sor Juana by her “spiritual daughter,” Sister María Gertrudis, it also marks the occasion of the latter’s election as convent accountant in 1713. Evidence for this appears on the cover page of the second book of professions for the nuns of San Jerónimo dated 28 August, 1713, and on which her name appears prominently as accountant. As such, additional insight is provided into Sister Maria Gertrudis’s motivations to commission Miranda to paint a second portrait copied from the original one. It is no accident that the Accounting Office appears in both versions of the second inscriptions transcribed by Ágreda y Sánchez and Andrade.

Returning to Sigüenza’s hidden enigma, of the many differences between the two portraits that we have discussed, the books’ arrangements and their titles are of particular importance. Why? The presence of the enigma, its nature, and how to decipher it in the extant portrait is identified by the titles of the three horizontally grouped books on the right hand side of the top shelf (fig. 14). The uppermost book by Johannes de Sacrobosco (1195-1256).  (Sac:Bosc) indicates that the enigma is calendrical in nature and is directly linked to the numbers and geometric notations on the white sheet of paper (fig. 1). The other two volumes by Nicolas Caussin (1583-1651) (Causino tom 2) and Pietro Valeriano (1477-1558) (Pierio Valer) signify that the enigma’s solution lies in the decipherment of the emblematic constructs represented by the other groups of books. Changing two of those titles in the lost portrait (fig. 15) effectively removed those signifiers that indicated the enigma’s existence, its nature, and how to decipher it. The new grouping of Valeriano (Pierio Valeriano) with Luis de la Puente (1554-1624) (Obr del Pad: Puente) and Luis de Granada (1504-1588) (Obr de F. Luis de Gran) not only removes the key role of emblems but also any reference to the importance of calendrics as signified by the presence of Sacrobosco’s volume in the extant painting. Without Sacrobosco’s work the enigma ceases to exist. The question remains whether this change was an intentional act on Miranda’s part or not? By 1713, signifiers for the hidden enigma have been erased from Sor Juana’s portrait as well as the possibility that only a handful of individuals – if that – knew that it ever existed.


Works Cited:

Abreu Gómez. Ermilo. Iconografía de Sor Juana Inés de la Cruz. México: Imprenta del Museo Nacional de México, 1934.

Andrade, Vicente de Paula, Ensayo bibliográfico Mexicano del siglo XVII. México: Imprenta del Museo Nacional, 1899, 483-485.

Burke, Marcus. Mexico: Splendors of Thirty Centuries. New York: The Metropolitan Museum of Art and Bullfinch Press, 1990.

Chávez, Ezequiel A. Sor Juana Inés de la Cruz: su vida y su obra (Barcelona: Casa Editorial Araluce, 1931).

González Obregón, Luis. “Sor Juana Inés de la Cruz,” El Renacimiento, 15 April, 1894.

–––– México viejo. (Paris-México: Bouret, 1900).

Flores Aguirre, Jesús. Papel de Poesía, no. 16, January 1944.

–––– “Un retrato de Sor Juana,” Vanguardia, 3 February, 1944, 28, 77bis-78bis.

León, Jesús de. “Este que ves engaño colorido.” In Nací en el mero Saltillo. Crónica personal de figuras, casos y leyendas de mi localidad (siglos XVI-XX) (México: Saltillo Eres Tu. Programa editoral, 2012)

Maza, Francisco de la. “Primer retrato de Sor Juana.” Historia Mexicana 2/1 [5] (July-Sept. 1952): 1-22.

—— Sor Juana Inés de la Cruz ante la Historia. (Biografias antiguas. La Fama de 1700. Noticias de 1667 a 1892). Recopilación de Francisco de la Maza. Revisión de Elias Trabulse. Mexico: Universidad Nacional Autónoma de Mexico, 1980.

Paz, Octavio. Sor Juana or the Traps of Faith. Cambridge, MA.: Harvard University Press 1988, trans. by Margaret Sayers Peden.

Perry, Elizabeth. “Sor Juana Fecit: Sor Juana Inés de la Cruz and the Art of Miniature Painting.” Early Modern Women: An Interdisciplinary Journal 7 (2012): 3-32.

Ruiz Gomar, Rogelio. “Miguel Cabrera. Portrait of Sor Juana Inés de la Cruz.” In Donna Pierce, Rogelio Ruiz Gomar, Clara Bargellini, Painting a New World. Mexican Art and Life 1521-1821. Denver Art Museum; Austin: University of Texas Press, 2004.

Salceda, Alberto G. “El acta de bautismo de Sor Juana Inés de la Cruz.” Ábside, vol. XVI, (1952): 5-29.

Sánchez Moguel, Antonio,“Sor Juana Inés de la Cruz. Insigne poetista Hispano-Mejicano.” La Ilustración Española y Americana, 22 October, 1892.

Tapia Méndez, Aureliano. Carta de Sor Juana Inés de la Cruz a su confesor. Autodefensa espiritual. Monterrey:Producciones Al Voleo El Troquel, S.A., 1993.

––––– “El autorretrato y los retratos de Sor Juana Inés de la Cruz.” In Memoria del coloquio internacional. Sor Juana Inés de la Cruz y el pensamiento novohispano 1995. México: Instituto Mexiquense de Cultura, 1995, 442-453.


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Filed Under: 1400s to 1700s, 1800s, 1900s, Art/Architecture, Features, Latin America and the Caribbean

Digital Archive Review: The American Prison Writing Archive (APWA)

Digital Archive Review: The American Prison Writing Archive (APWA)

By Sarah Porter

Over the past few decades, community organizers and scholars have successfully drawn public attention to mass incarceration in the United States through a variety of mediums including print, film, and digital projects. Yet, the magnitude of the American prison system often encourages researchers and activists to employ quantitative methods. These approaches, while incredibly important and effective, bury the voices and experiences of incarcerated people beneath impersonal statistics and data. However, several recent projects resist these impulses and intentionally place incarcerated people at the center of the story. The American Prison Writing Archive (APWA) offers one example. The APWA grew from an effort to collect and publish essays written by incarcerated Americans. Doran Larson, a Professor of Literature and Creative Writing at Hamilton College, and his collaborators issued a call for submissions and compiled over seventy of these essays in their 2014 collection, Fourth City.[1] After the 2012 submission deadline, essays continued pouring in, signaling the need for an ongoing effort to collect and archive these stories.

Cover of Fourth City

According to Larson, the APWA strives to create a “living, growing, and inclusive” witness literature by providing a platform for “those best positioned to articulate and critique the deeply personal and collective suffering exacted by the current legal order.”[2] In its present format, the APWA is an open-source, online database that contains more than 3,000 non-fiction writings submitted by incarcerated people, prison workers, and prison volunteers. The project is based at Hamilton College and has received funding from the school’s Digital Humanities Initiative and the National Endowment for the Humanities. Essays are continuously added to the collection, and many address recent issues including the devastating spread of COVID-19 through prisons and jails. The APWA solicits essays through prison publications and Prison Legal News, a monthly magazine. Writers may request a permissions-questionnaire (PQ), which provides basic guidelines for submissions and gathers voluntary demographic data. Submissions are then read, scanned, and uploaded to the database.

In contrast to Fourth City, in which editors carefully selected and curated essays, the APWA offers a much more interactive experience. Visitors to the site can browse essays or use the search feature to narrow results by state, prison, language, and authors’ self-identified characteristics, including ethnicity, gender, and age.[3] Staff and volunteers have also transcribed most of the essays, and their contents are fully searchable. Unfortunately, it is more difficult to find entries from a specific date or year, and not all of the essays contain detailed metadata. The APWA also invites visitors to participate in the project by transcribing handwritten essays or completing subject tagging. This process is relatively simple. After registering through the website, volunteers receive brief instructions explaining how to access the essays and the guidelines for transcription and subject tagging. By participating in this process, volunteers are able to act as secondary witnesses, making the words of incarcerated Americans available to a broader public.

"#ALLOFUS: Pandemic. The U.S., over 40,000 dead. 720,000+ infected and 2 million infected worldwide and increasing. Arkansas has 1700+ infected, 38 deaths and counting as COVID-19 begins to run rampant in Arkansas prisons. ADC and Arkansas Governor Asa Hutchinson proven foolish in thinking they'd be barely or lightly affected, both NOT adhering to distancing.
A screenshot from the AWPA site shows an essay from Arkansas detailing Covid’s toll on the U.S. and Arkansas prisons.

In addition to transcribing essays, readers and visitors to the site may also further the project goals by using the collection contents in innovative ways to direct attention to issues that incarcerated people face. Essays hosted on the site address many pressing concerns including healthcare, prison overcrowding, and voting rights. These valuable perspectives can influence public discourse. Consider, for instance, an essay from 2020 submitted by Charles Brownell. Writing from an Arkansas prison, Brownell describes his experience witnessing the spread of COVID-19. According to Brownell, the Arkansas Department of Corrections (ADC) often relies on open barracks, a form of prison construction that is less expensive than conventional cell blocks but ineffective in stopping or slowing the spread of disease.[4] In fact, another ADC unit experienced a surge in cases in April 2020 among those housed in the open barracks, with 44 of 47 inmates contracting the virus.[5] While the ADC did implement some precautions, including distributing cloth masks manufactured by inmates, Brownell suggests that these measure were insufficient. He revealed that “each inmate has a single mask and no way to sanitize [it].”[6] Accounts like this one provide powerful testimony and can be used in a number of ways. Policymakers and advocates, for example, should rely on writers’ insights to develop policy proposals and guide community organizing efforts. Teachers might use essays as primary sources in the classroom. Researchers studying incarceration or related topics can also incorporate these writings into their work.

A variety of digital and analog projects have joined the APWA in confronting mass incarceration in creative ways. Other digital archives, such as the Washington Prison History Project, offer more historical perspectives. This collection, which was developed by historian Dan Berger, includes prison publications from the 1970s and 1980s, such as The Abolitionist and the Anarchist Black Dragon. The collection also includes a selection of oral histories, interviews, and the personal papers of Ed Mead, a prison activist and former member of the Seattle-based George Jackson Brigade. Another example is Million Dollar Hoods (MDH), a digital project developed by UCLA professors Kelly Lytle Hernandez and Danielle Dupuy. According to the project website, MDH “maps and documents the human and fiscal costs of mass incarceration in Los Angeles and beyond.”[7] The team collects and analyzes data to produce interactive digital maps that reveal how much money Los Angeles spends on incarceration in specific neighborhoods. In addition to data mapping, MDH works with community-based groups to produce short research reports, conduct oral histories, and compile historical records into an archive.

The cost of incarceration: $38,104,204; Days in Jail: 165,785; Number of arrests: 71,641 in Westside South Central
A screenshot from Million Dollar Hoods shows the cost of incarceration in Westside South Central.

Viewed as a whole, the APWA and subsequent projects represent important efforts to add the voices of incarcerated Americans into conversations surrounding prison reform and abolition. They also provide models of collaboration for future projects. As new technology alters the landscape of prison organizing and research, it is essential to create spaces that remain accessible to those at the forefront of these struggles.


Sarah Porter is a second year PhD student in the Department of History at the University of Texas at Austin. She studies twentieth century social movements and mass incarceration in the United States. Her current research centers on the legal and political challenges that activists mounted against the Texas Prison System between 1960 and 1980. At UT, Sarah serves as a Graduate Research Assistant to Dr. Ashley Farmer and works on Dr. Monica Martinez’s Mapping Violence research team. Sarah also volunteers with the Inside Books Project, an Austin-based organization that sends free books and educational materials to people inside Texas prisons.


[1] Doran Larson, ed., Fourth City: Essays from the Prison in America (East Lansing, MI: Michigan State University Press, 2014).

[2] Doran Larson, “Witness in the Era of Mass Incarceration,” American Quarterly 70, no. 3 (2018): 599.

[3] The vast majority of the essays are in English, but the APWA currently contains 17 submissions in Spanish. A few other searchable author attributes include age at conviction, sexual orientation, religion, birth year, and veteran status.

[4] Charles A. Brownell, “#ALLOFUS: Pandemic,” 2020, American Prison Writing Archive, https://apw.dhinitiative.org/islandora/object/apw%3A12360115?solr_nav%5Bid%5D=cabee266feed7040147d&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=0.

[5] John Moritz, “44 of 47 inmates infected in Cummins prison barracks,” Arkansas Democrat Gazette, April 14, 2020, https://www.arkansasonline.com/news/2020/apr/14/44-of-47-inmates-infected-in-cummins-pr/.

[6] Brownell, “#ALLOFUS: Pandemic,” 3.

[7] “About Us,” Million Dollar Hoods, accessed April 22, 2021, https://milliondollarhoods.pre.ss.ucla.edu/about-us/.

Filed Under: 1900s, 2000s, Law, Politics, Reviews, United States

Bringing Together the Relaciones Geográficas and Topográficas of the Spanish Empire

Bringing Together the Relaciones Geográficas and Topográficas of the Spanish Empire

From the editors: In 2021, Not Even Past launched a new collaboration with LLILAS Benson. Journey into the Archive: History from the Benson Latin American Collection celebrates the Benson’s centennial and highlights the center’s world-class holdings.

In Spanish, the word relación encompasses both to narrate (relatar) and to connect (relacionar). The Relaciones genre, prevalent from the fifteenth to the sixteenth centuries, incorporates this dual aspect. They consisted of short reports to the imperial government about a person, community, or town. These accounts help show the nature of the relationship between those narrating (communities), those that were the object of narration (towns), and those receiving the information (the empire). Emerging from the relación genre, the Relaciones Geográficas (of the New World) and the Relaciones Topográficas (of the Castille) were comprised of maps and texts describing hundreds of communities throughout the late 16th-century Spanish empire. Scholars who have delved into these documents have tended to follow the structure of archival memory that distinguished the Relaciones Topográficas from Geográficas. Moreover, studies on the Geográficas have primarily focused on the texts produced for the townships of New Spain (Mexico). Scholars are right to be intrigued by the Relaciones maps of New Spain. Consider Map 1 depicting Cempoala through Nahuatl logograms and Spanish texts.

Map of Cempoala, Pasayuca, and Telistaca, towns in the Archbishopric of Mexico
Map 1: Relación de Cempoala, New Spain. Source: Benson Latin American Collection

My life’s story has come to be entwined with the history of the Relaciones. My intellectual place of origin, Bogotá, Colombia, facilitated my first encounter with them. My continued engagement with these sources from Latin American classrooms and special collections to Spanish archives has culminated in my current dissertation project at the University of Texas at Austin – the principal observatory and repository of these documents in the Americas.[1] My life and research paths have allowed me to explore this neglected historical terrain. I argue that by drawing together the Relaciones Geográficas and Topográficas as a genre of documents, we can better envision how people from diverse ethnic compositions on both sides of the Atlantic produced a massive number of descriptions of local nature and societies around the same period. This perspective may allow us to see and understand the complex knowledge networks of Atlantic towns that the Spanish Crown wove together. Consider, for instance, how the Relaciones go beyond the famous Mexican indigenous charts as revealed by Map 2, the Relación of Valledupar, a township located in what is now Colombia.

Map of the Relación de Valledupar, New Granada
Map 2: Map of the Relación de Valledupar, New Granada. Source: Biblioteca Digital Real Academia de la Historia

My first encounter with the Relaciones was not via the vibrant native maps of New Spain as experienced by many scholars from the global north, but through the Relación de Valledupar (Map 2). During an undergraduate course on Colombian geography, I was assigned to analyze and contextualize this document with the earliest known map of this tiny Caribbean town. The map shows an urban design based on a square grid, principal rivers, mountains, and no indigenous glyphs. At first glance, I was surprised by how close this 1580s map was to our modern understandings of space and knowledge-making. Its empiricism and “cartesian” portrayal of the environment took place years before Descartes wrote his works. Through this piece, we can see how a peripheral village conceived of its environment, demography, and connections to the empire and did so by answering a survey, as in modern governmental censuses. I fell in love with this topic and drafted my honors thesis about the Relaciones of Santa Marta.[2]

My honors thesis work quickly brought me to the realization that the Valledupar Relación was just one tiny piece of a puzzle formed of hundreds of similar manuscripts and maps composed between 1575 and 1590 under the rule of Philip II. In the Universidad de Los Andes, my alma mater, I found not only marvelous transcriptions of the many Relaciones from Peru and New Granada, but also the excellent book by Barbara Mundy about the Relaciones of New Spain.[3] I began to realize that the Relaciones could help us re-think the connections that may have existed among various Spanish-American communities in this knowledge-crafting effort. My place of origin mattered for this argument because I began to identify with past and present Spanish-Americans who have engaged in processes of interpreting our historical realities. By doing so, we have produced and continue to produce knowledge about ourselves, not only through (or following on from) European and U.S.-American academic views.

Thanks to Los Andes’ library’s collections, I also learned that the Relaciones are now dispersed worldwide, and it has been challenging to bring them together. Roughly speaking, the current location of these documents depends on the place they described. I learned that the Relaciones Geográficas encompass over 250 reports from New Spain, New Granada, Venezuela, Peru, Ecuador, Central America, the Caribbean, and that the Relaciones Topográficas covered over 700 municipalities in the Kingdom of Castille. El Escorial hosts more than seven hundred Relaciones Topográficas de España that depicted Castilian towns. The Real Academia de la Historia keeps 19th-century copies of these Castilian reports and many of the Relaciones of New Granada, Venezuela, and New Spain, some of them with their own maps. In addition, the University of Glasgow hosts the Relación Geográficas de Tlaxcala. At UT Austin, the Benson Latin American Collection shelters forty-three Relaciones’ manuscripts and twenty-six maps (also known as pinturas) from Mexico and Guatemala. Finally, the Archivo General de Indias possesses at least a hundred Relaciones’ texts and more than a dozen maps from the whole New World.

Figures 1 and 2: Frontispieces of the questionnaires of the Relaciones Geográficas (left) and Topográficas (right)
Figures 1 and 2: Frontispieces of the questionnaires of the Relaciones Geográficas (left) and Topográficas (right)

In 2017, the Colombian government awarded me a research grant to travel to Spanish archives and delve more deeply into the history of the Relaciones. In the Real Academia de la Historia, I became curious about the similarities between the Relaciones Geograficas and Topograficas, usually considered entirely separate efforts. Scholars and archivists after the sixteenth century assigned the labels “Geográficas” and “Topográficas” to distinguish New World descriptions of municipalities from those of the Old World. And yet, I came to see how both corpora were essentially chorographical—i.e., town descriptions and were remarkably similar conceptually. Consider the titles to the questionnaires reproduced in figures 1 and 2. Notice how similar they are: “Instrucción y Memoria de las Relaciones que se han de hacer para descripción de las Indias […] para el buen gobierno y ennoblecimiento de ellas” (for the Geográficas),[4] and “Instrucción y Memoria de las Relaciones que se han de hacer […] para la descripción y historia de los pueblos de España […] para honra y ennoblecimiento de estos reinos” (for the Topográficas).[5] The Royal Cosmographers López de Velasco and Vásquez de Salazar designed parallel surveys in the same decade to describe both the Indies and Castille (respectively) at the municipal level for enhancing their governmentality. Despite the similar purposes and timing, they differed in some questions about landscape and customs’ description. Additionally, the Topográficas were more numerous and briefer, while the Geográficas were usually more prolonged, and many included maps.

The project that led me to UT Austin has been to reconnect and recontextualize the Relaciones Geográficas and Topográficas as ambitious bottom-up knowledge endeavors about nature and human communities during the Early Modern period. However, since they did not produce tangible results like an encyclopedic compendium of Spanish municipal geography, some scholars still see them as either as curiosities or even as failed efforts. Shifting attention away from the Relaciones questionnaires, their two cosmopolitan white male designers, and subsequent uses of the reports may open a path towards an alternate understanding of why these documents are valuable. I argue that we need to understand how these documents reveal the collective efforts of thousands of ordinary people in these townships. At the end of the day, the real creators of the Relaciones were their communities themselves.

Each municipality responded to the questionnaire and sent it back to the cosmographers. But the process of generating responses to the questionnaires was complex. Every town council summoned courtroom meetings in which local sages stated their answers and drew maps. They discussed toponymies, climate, fauna, flora, minerals, topography, customs, traditions, and urban layouts. Answering questionnaires was not rare in the Spanish legal culture of interrogatories. Nevertheless, employing these methods to craft empirical knowledge about nature and societies was not common. Before a scribe notarized it, these officials and local sages signed and approved their responses through ritualized agreements.

The consensus these documents show elides frequent factional struggles occurring in these townships, highlighting instead the minimal agreements formed amongst powerful elites. Eliding political competitors through these representations nevertheless offered political gains. The Relaciones often excluded key political actors’ direct participation and hid local conflicts that would be visible to the Crown via other mechanisms, especially a massive number of litigation cases. Those who successfully answered these questionnaires then implicitly represented themselves as reliable producers of knowledge valuable to the Crown. They also showed themselves powerful enough to tap into local knowledge about places produced by people of diverse ethnic backgrounds, for instance, to know the meaning of native toponymies. In this sense, the Relaciones can be considered selective narrations that may distort the complexity of town life, yet they also show how different communities participated in producing knowledge elicited by Crown questionnaires. These complex dimensions are what make the Relaciones valuable as historical documents.

The Relaciones enable comparisons between distant towns thanks to the questionnaire’s structure. They also offer historical snapshots for hundreds of tiny municipalities in regions lacking documentation, such as the Caribbean basin. Many show valuable information in the indigenous lexicon. We can learn much about early modern ways of knowing nature and humans from reading the Relaciones on their own terms and interrelatedly. The knowledge created was similar to what we now label “modern science”: empirical, organized, participative, and consensual. Currently, my research efforts point towards thinking about a systematic way to show, analyze, and compare these sources through digital and cartographical tools.

To conclude this personal and analytical trip through the Relaciones, I would like to invite the readers of Not Even Past to join the discussion of these sources that will take place next February 2022 in the Lozano Long Conference in honor of the centennial of the Nettie Lee Benson Latin American Collection: “Archiving Objects of Knowledge with Latin American Perspectives.” In that event, we will have a panel called “Modern Institutional Networks Visualizing Early Modern Archives: The Case of the Relaciones Geográficas y Topográficas,” which aims to explore the archival and digital possibilities of cooperating in facilitating the access and analysis of these documents. We have invited digital humanities practitioners and archivists who have worked with or have custody over these manuscripts and maps in different archives and collections worldwide. We encourage anyone who is intrigued by these sources to attend this event that will take place virtually.


Rafael Nieto-Bello is a second-year Ph.D. student in the Department of History at UT Austin. He obtained a double B.A. in History and Political Science and a double minor in Philosophy and German Language in the Universidad de Los Andes (Bogotá, Colombia, 2018). In 2021, he was awarded the Fellowship on “Race and Caste” from the Institute of Historical Studies (IHS) for preparing a grant proposal. Additionally, he obtained the Lozano Long Centennial Fellowship from LLILAS Benson for the coordination of the 2022 Lozano Long Conference “Archiving Objects of Knowledge with Latin American Perspectives.” His research is a history of knowledge from the 16th-century Spanish municipalities. He explores how town communities from diverse ethnic backgrounds described and claimed to know their populations and environments through corporate efforts placed on the local councils.

DIGITAL HUMANITIES AND ARCHIVAL CATALOGUES

LLILAS Benson Relaciones Geográficas Collection:

https://www.arcgis.com/apps/Cascade/index.html?appid=1fcabf740a844d9d80d5bf0248416f47

New World Nature: https://nwn.dhinitiative.org/

Unlocking the Colonial Archives: https://unlockingarchives.com/

KEY BIBLIOGRAPHICAL REFERENCES

Campos, Francisco Javier. “Las Relaciones Topográficas de Felipe II: Índices, Fuentes y Bibliografía (Separata).” Anuario Jurídico y Económico Escurialense2 36 (2003).

Cline, Howard F. A General Survey: The Relaciones Geográficas of the Spanish Indies, 1577-1586. A General Survey: The Relaciones Geográficas of the Spanish Indies, 1577-1586. HMAI Working Papers ; 39. Washington, n.d.

Jimenez de la Espada, Marcos. Relaciones Geográficas de Indias. Peru. Madrid, 1897.

Konyushikhina, Nadezhda. “The Past in Everyday Perception of the Spaniards of the 16th Century (Based on ‘Relaciones Topográficas de Felipe II’).” Istoriya 9, no. 10 (74) (2018). https://doi.org/10.18254/S0002503-2-1.

López Gómez, Julia, and Antonio López Gómez. “Cien Años de Estudios de Las ‘Relaciones Topográficas de Felipe II’ Después de Caballero.” Arbor, no. 538 (October 1, 1990): 33-.

Mundy, Barbara E. The Mapping of New Spain: Indigenous Cartography and the Maps of the Relaciones Geográficas. Chicago: University of Chicago Press, 1996.

Nichols, Madaline W. “An Old Questionnaire for Modern Use: A Commentary on ‘Relaciones Geográficas de Indias.’” Agricultural History, no. 4 (October 1, 1944): 156-.

Nieto-Bello, Rafael David. “Descripciones Para El Buen Gobierno y Provecho de La Tierra, Vecinos e Indios Samarios: Conocer Las Provincias de Santa Marta a Través de Las Relaciones Geográficas de Indias (1577-1582).” Universidad de Los Andes, 2017. https://ezproxy.uniandes.edu.co:8443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=cat07441a&AN=cpu.795129&lang=es&site=eds-live&scope=site.

Tovar Pinzón, Hermes. Relaciones y Visitas a Los Andes / Hermes Tovar Pinzón. Relaciones y Visitas a Los Andes. Bogotá: Universidad de los Andes, 2010.

Vallina Rodríguez, Alejandro, and Nadezhda Konyushikhina. “Los Interrogatorios de Los Catastros Españoles de La Edad Moderna: Fuentes Geohistóricas Para Conocer Los Paisajes y Las Sociedades.” Catastro, no. 89 (2017): 39–62.


[1] Among pioneer works produced at UT Austin, we can highlight these ones: Nichols, “An Old Questionnaire for Modern Use: A Commentary on ‘Relaciones Geográficas de Indias’”; Cline, A Gen. Surv. Relac. Geográficas Spanish Indies, 1577-1586.

[2] Nieto-Bello, “Descripciones Para El Buen Gobierno y Provecho de La Tierra, Vecinos e Indios Samarios: Conocer Las Provincias de Santa Marta a Través de Las Relaciones Geográficas de Indias (1577-1582).”

[3] Jimenez de la Espada, Relaciones Geográficas de Indias. Peru.; Tovar Pinzón, Relaciones y Visitas a Los Andes / Hermes Tovar Pinzón.; Mundy, The Mapping of New Spain: Indigenous Cartography and the Maps of the Relaciones Geográficas.

[4] “Instruction and Memory of the Relaciones to describe the Indies’ provinces […] for their good government and ennoblement.”

[5] “Instruction and Memory of the Relaciones for the description and history of the towns of Spain for the honor and ennoblement of these kingdoms.”


The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.

Filed Under: 1400s to 1700s, Atlantic World, Empire, Europe, Features, Journey into the Archive, Latin America and the Caribbean, Lozano Long Conference, Politics, Research Stories, Transnational

Digital Archive Review: The Louvre Museum

Digital Archive Review: The Louvre Museum

The Louvre Museum, which is located in Paris and is home to hundreds of thousands of art pieces, remained closed to the public for much of 2020 and part of 2021. However, its webpage allows users to visit its exhibitions and peruse its collections virtually. For students and teachers, the site offers three especially useful features: searchable catalogs of individual pieces and exhibitions, interactive modules that describe and explain the significance of a selected number of paintings and sculptures, and an exploration of the processes involved in artistic production.

One of the items that appears in a keyword search for ‘animal’ is this gilded bronze piece, entitled “Pair of Fire-Dogs with Stag and Wild Boar”
One of the items that appears in a keyword search for ‘animal’ is this gilded bronze piece, entitled “Pair of Fire-Dogs with Stag and Wild Boar”

Each item identified with the search feature provides virtual Louvre visitors a carefully researched lesson into its creation, reception, and history. Users can display search results as a slideshow of high-quality images, or as a list organized by title and author. They can also start exploring from a list of major categories, including Masterpieces, The French Revolution, The Art of Portraiture, and Jewelry.

Featured themes available for browsing also include Major Events in History and Travel
Featured themes available for browsing also include Major Events in History and Travel

The site’s links to past exhibitions provide even more context for the specific pieces it incorporates. Thirteen exhibition websites feature photos of a carefully curated selection of paintings, sculptures, or other items within a thoughtful discussion of their relation to a central theme. One example is Rembrandt and the Face of Jesus from 2011. It ponders the question of whether “a picture of Christ could be painted ‘from life,’” by exploring Rembrandt’s attempts to portray him in his paintings. 

The exhibition page for Rembrandt and the Face of Jesus begins with an introduction, and then proceeds to a prologue about Rembrandt’s early works.
The exhibition page for Rembrandt and the Face of Jesus begins with an introduction, and then proceeds to a prologue about Rembrandt’s early works.

The “Closer Look” interactive multimedia modules provide another option for studying the artworks. They “allow you to see the details of an artwork through a magnifying glass, while commentaries and animations give you its historical and artistic background.” A dictionary of key terms also accompanies each piece.

One of these modules highlights one of the museum’s most famous paintings, the Mona Lisa. It prompts users to first “Observe,” by zooming in and out of specific features of the work, then to “Understand” its significance through a series of commentary videos, and finally to “Compare” the painting to other artistic movements. 

The Observe section explores the Mona Lisa’s illusive smile.
The module on Mona Lisa utilizes the above image to discuss the scientific processes that museum staff use to analyze the painting.

The “Elements of Art” section of the webpage provides a deep dive into artistic production. It “was designed to provide an in-depth look at art-related concepts through a lively approach based on visual demonstration.” It utilizes videos and images to “explore a range of topics,” such as Using Perspective to Represent Space, “by comparing artworks of different kinds, from different periods.”

Screenshot of "Elements of Art"
The “Elements of Art” page incorporates topics ranging from Viewpoints in Sculpture to Lost Wax Casting

The Louvre Museum has designed an extensive array of interactive tools that facilitate online learning. The site promotes careful attention to the many angles of understanding for each piece: its material qualities, the artist’s background and motivation, larger artistic trends of the period, and the local and global historical context. It is a valuable tool for studying art, culture, and history online.

Filed Under: Art/Architecture, Material Culture, Museums, Reviews

This is Democracy: NATO Alliance

This is Democracy: NATO Alliance

In this episode, Jeremi and Zachary talk with special guests, Dr. James Goldgeier and Dr. Joshua Shifrinson, about NATO (North Atlantic Treaty Organization), and discuss why the alliance exists, the roll it has played, and how we should think about the alliance’s future.

Zachary sets the scene with his poem, “Transatlantic Elegy”.


Guests

James Goldgeier is a Professor of International Relations and served as Dean of the School of International Service at American University from 2011-17. He is also a Robert Bosch Senior Visiting Fellow at the Center on the United States and Europe at the Brookings Institution, and he serves as the chair of the State Department Historical Advisory Committee. He has authored or co-authored four books including: America Between the Wars: From 11/9 to 9/11 (co-authored with Derek Chollet); Power and Purpose: U.S. Policy toward Russia after the Cold War (co-authored with Michael McFaul); and Not Whether But When: The U.S. Decision to Enlarge NATO. 

Joshua Shifrinson is an Associate Professor of International Relations in the Frederick S. Pardee School of Global Studies at Boston University. Shifrinson’s book, Rising Titans, Falling Giants: How Great Powers Exploit Power Shifts, explains why some rising states challenge and prey upon declining great powers, while others seek to support and cooperate with declining states. He has additional related projects on U.S. grand strategy, the durability of NATO, U.S. relations with its allies during and after the Cold War, and the rise of China. His work has appeared in International Security, the Journal of Strategic Studies, Foreign Affairs, and other venues. 

About This is Democracy

The future of democracy is uncertain, but we are committed to its urgent renewal today. This podcast will draw on historical knowledge to inspire a contemporary democratic renaissance. The past offers hope for the present and the future, if only we can escape the negativity of our current moment — and each show will offer a serious way to do that! This podcast will bring together thoughtful voices from different generations to help make sense of current challenges and propose positive steps forward. Our goal is to advance democratic change, one show at a time. Dr. Jeremi Suri, a renowned scholar of democracy, will host the podcast and moderate discussions.

This episode of This is Democracy was mixed and mastered by Ean Herrera.

Filed Under: Watch & Listen

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