El codescubridor Juan Niño y el puerto de San Juan en el marco de la marinería andaluza y de los viajes de Colón

Este trabajo de investigación ofrece resultados inéditos en relación con Juan Niño —maestre y propietario de la carabela Niña— que colaboró de forma relevante con Cristóbal Colón en la preparación de la armada en 1492 y en su primera travesía oceánica a tierras americanas. Asimismo, desvela el lugar concreto de vecindad y de residencia de este marino en el puerto de San Juan (Huelva, España) mediante documentación contrastada, así como el periodo en el que se produjo su fallecimiento permitiendo aclarar especulaciones historiográficas que ofrecían determinados datos erróneos sobre su trayectoria vital después del descubrimiento de América. Por último, aporta datos indicativos sobre el estatus socioeconómico y el nivel de rentas disfrutado por el codescubridor de América y por su familia.     

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.     

Estimating the Number of Combatants during the Mixtón War in the Peñol de Nochistlán

Abstract

The objective of this article is to determine the number of combatants in the Mixtón War (1541–42), one of the most important military confrontations of the early years of the vice-royalty in Western Mexico, by analysing the Peñol de Nochistlán. To this end, information provided by historians has been compared with the population estimates established from the density of settlements known from archaeological evidence in order to define the area occupied by the armies involved in the conflict. This exercise resulted in a shifting array of spaces that could have been used by the combatants during confrontations. However, it will enable more intense archaeological prospecting in the area around the site of El Tuiche — the place identified as the Peñol of Nochistlán — revealing new evidence of the events that occurred on this battlefield.     

Topoiesis de la recepción literaria

ABSTRACT

This article proposes a particular notion about “topoiesis,” focusing on the text reception point of view. Initially, it establishes a theoretical framework using useful concepts from hermeneutics and post-structuralism, to later discuss the real existence of a dialogue or a “fusion of horizons” in which a “sense of space” of a text would be blended in the meeting point between textuality and the reader. Finally, through this space we propose a categorization of the different types of “topoiesis” of literary reception, establishing correspondences with the concept of “enunciative instances” in the text space, detailed in another article.     

Freedom Isn't Free: Free Will in La vida es sueño Revisited

This article analyzes the structural composition of the chicana/o novel …y no se lo tragó la tierra, by Tomás Rivera, a book that has become a collective point of reference for chicana/o culture and community. Its structure will be explained, including the importance of personal and collective memory as elements that evolve every chapter as a fragmentary part of a whole. The classical concept of "art of memory" joined to the rhetoric of discourse opens a new perspective to analyze this fragmentation and helps the reader to understand the connection of its elements. Finally, the idea of "theater of memory" may be applied to the novel's chicana/o universe as a dramatic device for structuring the narrator's personal memories, achieving a final literary composition similar to a memorable, collective altarpiece full of impressive images from this community's daily struggle in the 1960s.     

Francisco Faleiro and Scientific Methodology at the Casa de la Contratación in the Sixteenth Century

Henricus Martellus's four world maps of c.1489 show a non‐existent Asian peninsula east of the Aurea Chersonesus (the Malay peninsula). For some decades a group of scholars in Latin America has been claiming that this so‐called ‘Dragon's Tail’ peninsula is really a pre‐Columbian map of South America. In this paper, the cartographical and place‐name evidence is examined, showing that the identification has not been proved, and that perceived similarities between the river and coastal outlines on this ‘Dragon's Tail’ peninsula and those of South America are fortuitous. Ptolemy's depiction of an enclosed Indian Ocean was invalidated when Bartolomeu Dias rounded the Cape of Good Hope. Consequently, a year or two later, Martellus adapted the east Asian section of Ptolemy's world map, providing China with an east coast and turning the southward extension of Asia into a peninsula. The non‐Ptolemaic place‐names on these maps were derived from Marco Polo's writings.     

Espacios locales y espacios trascendentales de la conversión: las Postrimerías de Carabuco y la producción performativa de epistemologías transculturales

The monumental paintings of the Postrimerías [Four Last Things] from the church of Carabuco (1684) serve as objects to study the complex dynamics of the visual and performative production of religious knowledge in a colonial contact zone. The article presents different ‘readings’ of the series that focus on possible uses and receptions of the paintings by local actors. These readings are based, on the one hand, on the idea of conceiving the series as a ‘cycle of meditation’ and product of the influences of Christian mysticism that played an important role in the ‘eschatological politics of conversion’ of the southern Andean Highlands. On the other hand, the paintings relate the eschatological message with the local hagiographic narratives of a pre-Hispanic apostle associated simultaneously with the Christian apostle Bartholomew and the Andean deity Tunupa—the most important figure of Aymara mythology. These works therefore represent objects of memory that participate in the local construction of time and space and that refer not only to Christian eschatological concepts but also to local Andean ontologies.     

El rey que fue animal: sobre la invención del otro en Calderón,Dostoievski y Coetzee

The aim of this article carries a comparison between Calderón and Dostoevsky, their semblances and differences. First, I study a relationship toward otherness which is, in both cases, problematic and modern. Departing from Segismundo's complaints when he is imprisoned (saying that he is living a life “worse than animals live”) I analyze two kinds of misunderstandings: a white blindness that respects the Other's difference, and the evil inside its unconcealment. Finally, I discuss Coetzee's Dostoevsky (in The Master of Petersburg) in relation to some of the thesis outlined previously: the necessity of respect when dealing with the space of the other, either in its human form or in a non-human presentation.     

‘Vienen de gente de mucha discreción y entendimiento:’ ethnic identity,ambivalence, and colonial discourses in Diego Muñoz Camargo’s Descripción de la ciudad y provincia de Tlaxcala

Diego Muñoz Camargo's Descripción de la ciudad y provincia de Tlaxcala (1585) is a well-known reference on the history of Tlaxcala that scholars have studied to better understand Tlaxcalan participation in the conquest of Tenochtitlan, its relationship with the Spanish Crown, and the author's selective approach to local history. Often, these approaches present the historian as acculturated or Hispanized because of his celebration of the Spanish or criticism of local religious practices. This article complicates such approaches in order to show the complex ways that the author approached issues of cultural difference. Examining Muñoz Camargo's recourse to colonial discourses of morality, I argue that the author molds and tailors these discourses to fit local Tlaxcalan circumstances. In doing so, I show how he humanizes Tlaxcala's ruling elite while exemplifying the inherent ambivalence of moral authority in Colonial New Spain.     

The oldest agriculture in northern Atlantic Spain: new evidence from El Mirón Cave (Ramales de la Victoria,Cantabria)

Emmer wheat (Triticum diccocum) has been positively identified from the stratigraphically oldest ceramic- and domesticated livestock-bearing level of El Mirón Cave in the Cantabrian Cordillera. The grain is AMS ¹⁴C-dated to 5550±40 BP. This date is congruent with six others from the same layer, higher within which were found other grains of wheat, including einkorn as well as emmer. Although wild ungulates (mainly red deer) were still hunted, abundant ovicaprines, together with small numbers of cattle and pigs, appear in this level-for the first time in the 40,000-year record at El Mirón. Potsherds (undecorated, but of very good quality) also appear abruptly and abundantly. However, the associated lithic assemblage contains specific tool types also found in late Mesolithic contexts in Cantabrian Spain. In addition to the full suite of Neolithic indicators at El Mirón, as confirmed by less unambiguous early agro-pastoral evidence from other sites in the Vasco-Cantabrian region, there are megalithic monuments both in the vicinity of the cave and throughout the region that are similarly dated. All these data tend to suggest that Neolithic adaptations—already present about a millennium earlier not only along the Mediterranean coast, but also much closer, to the southeast of the Cordillera—were quickly adopted as “a package” by Cantabrian Mesolithic foragers, possibly as a consequence of social contacts with Neolithic groups in southern France and/or the upper Ebro basin of north-central Spain.     

La destrucción y la creación en Los siameses y Flores de papel

Many Hispanic American plays of the twentieth century, such as Flores de papel and Los siameses, among others, depict the social-economic imbalance visible among the different social classes. This inequality is seen as inevitable, forcing the working class first to destroy elements of the status quo, in order then to construct a new reality. Thus it attempts to produce radical changes, including the alteration or reconstruction of the class system itself, through destruction-construction of the surrounding reality. Hence, the dramatists, considering the role of the theater and of the writer, present these struggles and class discrepancies in an attempt to find a solution to the problems of their characters' social environment.