Una relectura de la cronología de los incas de la Miscelánea antártica de Miguel Cabello Valboa (1586)

El presente artículo propone una lectura de la cronología de los incas presente en la Miscelánea antártica (1586) de Miguel Cabello Valboa a la luz de nueva evidencia histórica y textual. La crónica de Cabello ofrece años concretos asociados a la duración y expansión del Tawantinsuyu, razón por la cual fue utilizada por John Rowe (1945) para construir una cronología absoluta para el incario. No obstante el trabajo de Rowe ha sido cuestionado en las últimas décadas por la arqueología, la cronología de Cabello nunca ha sido abandonada del todo. El presente artículo postula que la comparación de fechas entre el registro arqueológico y etnohistórico no es correcta, puesto que parten de premisas distintas. Proponemos que los cálculos de Cabello se basaron en supuestos no empíricos los cuales, más que retratar el pasado verdadero de los incas, buscaban posicionar su historia dentro del providencial esquema que Dios había trazado para la Monarquía hispánica.     

Bernardo del Carpio en el Poema de Fernán González

The focus of the Poema de Fernán González falls squarely on its protagonist, the tenth-century Castilian warrior lord known to us today as Count Fernán González. Nevertheless, a third of the poem is devoted to the narration of events and prominent figures who preceded the Count. Most notable among these is Bernardo del Carpio, a fully fictitious epic hero who prefigures the Count in his willingness to fight for the independence of the Castilian nation. This analysis of the narration of Bernardo's heroic deeds against the invading army of Charlemagne is meant to clarify lingering doubts about the sources of the poem and their mode of transmission.     

Conflicto político en el Poema de Fernán González

This article deals with the ways in which different political conflicts surrounding the emergence, independence, and consolidation of Castile as a political agent are managed and solved in the Poema de Fernán González. It shows how internal conflicts within the Castilian community are settled by favoring an authoritarian vision of leadership, discouraging consensus and shared decision making. Regarding conflicts with other political domains, the poem legitimizes Castilian independence by means of a narrative that makes natural Castilian claims on Visigothic heritage, while at the same time presenting Castile as following legal procedures and as a victim of external aggression.     

¿Qué sabemos del Cantar de Fernán González?

The Poem or Book of Fernán González was probably written c. 1250 by a monk of San Pedro de Arlanza (Burgos, Castile) to strengthen the legendary foundation of his monastery by the tenth-century Castilian Count, Fernán González, and to promote his tomb cult there. The Arlanza poet was competing with the benefits that Santiago and San Millán de la Cogolla were trying to get on legendary accounts of the champion of the independence of the County of Castile from the Kingdom of León. It is clear that this is a work of monastic propaganda, designed to attract pilgrims and donations; therefore perhaps a better title for it would be Poem of the Foundation of San Pedro de Arlanza. The Arlanza poet was fond of the popular and orally transmitted Romance epics (Hispanic and Carolingian songs). He knew Siete infantes de Salas, the tradition of the Youthful Deeds of Rodrigo (Gesta de las Mocedades de Rodrigo), the anti-Carolingian song(s) of Bernardo del Carpio, and the Roncesvals Matière. We also suspect that the poet was recasting a now-lost epic cantar de gesta of Fernán González. This cantar was probably also known by Gonzalo de Berceo, who was actively working in San Millán de la Cogolla, a few years earlier, trying to attract pilgrims and donations. In this article, I try to analyze how much we know of the lost Cantar de Fernán González and if the Monastery of Sahagún (León) also reappropriated it for its own propaganda.     

La re-escritura de la novela romántica argentina del siglo XIX: de Lucio V. Mansilla a Florencia Bonelli en Indias blancas

Contemporary Latin American retro-foundational or neo-romantic narratives allow scholars to reanalyze the nineteenth century's hegemonic discourse. They also provide an opportunity to rethink how social classes, ethnicities, and genders interacted during the past. Argentinean writers are rewriting some novels by authors of previous eras to raise points about national identity and historiography. Indias blancas and Indias blancas: La vuelta del ranquel by Florencia Bonelli are based on Una excursión a los indios ranqueles by Lucio Victorio Mansilla. Mansilla's provocative and long forgotten novel was brought to a new life through the re-examination of the Conquest/s of the Desert, during which the native population of the Argentinean Pampa was gradually exterminated. Although Bonelli's work presents some similar scenarios and themes as Mansilla's novel, the two volumes of Indias blancas parody the époque representation of the virginal, flimsy, powerless, and self-denying Creole women and the vicious savages of the Pampas. In addition, the contemporary narrative satirizes the Creole's civility and paternalism toward the indigenous population, whose displacement benefited the latifundia (large estate) system in Argentina.     

En tiempos del condestable Dávalos: Enrique de Aragón,poeta quejoso en Crónica. Año de 1420, de Jerónimo de la Escosura

Infants of Aragon are very important figures in the history and literature of the nineteenth century, but it is rare that one of them, Don Enrique, is the protagonist. This work analyzes the romantic story Cronica. Año de 1420, published by Jerónimo de la Escosura in 1839. In it, Enrique de Aragón is a cunning courtier and a poet in love, and he manages to change history because he changes the story with his verses.