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La Malinche As Christian, Mistress and Conquistadora a DISSER

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La Malinche As Christian, Mistress and Conquistadora a DISSER THE CATHOLIC UNIVERSITY OF AMERICA Silence Through Representation: La Malinche as Christian, Mistress and Conquistadora A DISSERTATION Submitted to the Faculty of the Department of Modern Languages and Literatures School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Colleen A. Sweet Washington, DC 2012 Silence Through Representation: La Malinche as Christian, Mistress and Conquistadora Colleen A. Sweet, Ph.D. Director: Mario A. Ortiz, Ph.D. La Malinche played a major role in the Mexican Conquest. She is known as both mistress and translator of Hernán Cortés. In Mexican history, her name is associated with betrayal. The year 1992 was pivotal in the discourse concerning the encounter between Europe and the Americas. Postcolonial studies stressed the need to recover the long-silenced voice of the subaltern characters of the Conquest. This search for an indigenous perspective inspired a new body of artistic works concerning Malinche. In this dissertation I examine the film La otra conquista (Salvador Carrasco, 1998), the novel Malinche (Laura Esquivel, 2006), and the play La Malinche (Víctor Hugo Rascón Banda, 2000). These works address three major roles associated with the representation of Malinche: as convert to Christianity, as mistress to Cortés, and as collaborator in the events of the Conquest. The works under study posit new explorations into the role of both female and indigenous figures in the discourse of the Conquest of Mexico. In La otra conquista, Carrasco removes Malinche from the historical record and replaces her with a revisionist figure. The character of Isabel Moctezuma subverts the traditional representation of Amerindian female women as passive victims of Mexico’s colonial past. In her novel Malinche, by turning Malinche into a romance heroine not only does Esquivel silence her, she also perpetuates a model of passivity for Amerindian women. In La Malinche, Rascón Banda fragments Malinche into many different characters in order to parallel the political divisiveness plaguing Mexico after the crisis of 1994. Malinche is an ever- changing palimpsest that serves to broach the issues of Mexican, Latin American, feminine, and indigenous identity that each author wishes to revisit. The representations of Malinche in these works remind us that the relationships of domination and subordination from our historical past still echo today. Thus, Malinche’s silence underscores the impossibility of rescuing the subaltern from historical obscurity. This dissertation by Colleen A. Sweet fulfills the dissertation requirement for the doctoral degree in Spanish approved by Mario A. Ortiz, Ph.D. as Director, and by Juanita Christina Aristízabal, Ph.D. and Bruno M. Damiani, Ph.D. as Readers. ____________________________________ Mario A. Ortiz, Ph.D., Director ____________________________________ Juanita Christina Aristizábal, Ph.D., Reader ____________________________________ Bruno M. Damiani, Ph.D., Reader ii Table of Contents Acknowledgements iv Introduction 1 Chapter 1: What Happened to Malinche? Conversion and Absence in 30 Salvador Carrasco’s La otra conquista. Chapter 2: Romancing Malinche: The Role of the Mistress in Laura 86 Esquivel’s Malinche. Chapter 3: Fragmentation and New Explorations: Víctor Hugo Rascón 140 Banda’s La Malinche. Conclusion 188 Appendix 200 Bibliography 201 iii Acknowledgements This doctoral dissertation would not have been possible without the financial support of the Lee-Hatzfeld Dissertation Guidance Scholarship awarded by the Department of Modern Languages and Literatures at the Catholic University of America. I would also like to thank my Dissertation Committee Readers, Dr. Juanita Aristizábal and Dr. Bruno M. Damiani, for their helpful questions and comments. Additionally, I would like to acknowledge the continued support of the faculty, staff, and my fellow graduate students in the Department of Modern Languages and Literatures. I also wish to express my gratitude to my colleagues from George Mason University for allowing me to present a preliminary version of my research at a Modern and Classical Languages Seminar. I am also indebted to Dr. Julie Christensen, Chair of the Department of Modern and Classical Languages, for her support and understanding. I owe more than I can express here to my dissertation director, Dr. Mario A. Ortiz, from whom I have learned so much about research, writing, and the profession. His inspiring example and support were crucial to the success of this dissertation. Finally, I would like to thank my family for their patience and understanding throughout this process. I especially need to thank my husband, Jonathan, without whom this work could not have been accomplished. iv Introduction On April 26, 2011, the National Museum of Anthropology in Mexico City opened a new exhibit, entitled “The Flight of Images.” This exhibit features pieces that represent the symbolism of birds and flight in the works of contemporary Mexican indigenous artists. Yet, one piece of the exhibit immediately grabs the attention: a traditional woman’s blouse or huipil from the 18th century. This huipil, resembling the one worn by the female translator for Hernán Cortés in the Lienzo de Tlaxcala and the Florentine Codex, was dubbed “Malinche’s huipil.”1 Although the piece is of a much later date to have been worn by the historical figure, the fact that an official institution would exhibit it under that name indicates the saturation that Malinche’s legend has in the collective memory of Mexico. Just as the huipil’s name owes more to popular myth than to historical facts, the same can be said of Malinche herself. Because she is a figure shrouded in obscurity, most of what we know of her today is based on the tellings and retellings of historical myths. It is both fascinating and ironic that a figure about whom we know so little has achieved such status in the popular imagination. The paradoxical relationship between the impact of Malinche’s mythology, and the paucity of historical documentation about her, serves as the starting point for this study. Malinche has become a palimpsest. The authors who revisit her mythology transform her according to whatever message they wish to convey. The year 1992 marked the quincentenary of Christopher Columbus’ arrival in the Americas. It also inspired historians, writers, and others to reexamine the events of the Conquest and write about them anew. As we approach the 500-year mark since Malinche’s appearance on the 1 An article describing the new exhibit ran with the headline “Exhibirán huipil de la Malinche en Antropología” on April 7, 2011 in El Universal. 1 2 historical stage, how have recent representations of Malinche transformed and shaped the mythology? What new directions can be found in these recent representations? A figure cast into silence for hundreds of years, Malinche, also known as Malintzin, Malinalli Tenepal or Doña Marina, is a paradoxical one. Since the conquistador Hernán Cortés referred to her as his lengua or tongue, her symbolism has been associated with the act of speech. Yet she also stands for silence, because her role as interpreter requires her to repeat the words of others, rather than use her own voice. Though she began as a real-life woman referenced in the chronicles of the conquistadores, most of her construction as a symbol comes from non-historical texts. Very little, in fact, is known about the life of Malinche.2 A look at recent representations of Malinche needs to start with a summary of what is known of her biography. A great deal of what is accepted about her comes from 3 representations in historical texts concerning the Conquest of Mexico. In indigenous 2 This issue is significant because the lack of historical documentation about Malinche highlights her ironic status as an icon. The paucity of information has contributed to the mythology surrounding her figure and allows authors to create representations of her adapted according to their own purposes. 3 The term “historical texts” is used here to denote texts written by Spanish chroniclers (Hernán Cortés, López de Gómara, Díaz del Castillo, etc.) as well as accounts created by non-Spanish authors (Lienzo de Tlaxcala, Florentine Codex, etc.). However, the denotation “historical” is used with caution, as these can be considered hybrid texts comprising both historical and literary elements. In his introduction to La imaginación novelesca: Bernal Díaz entre géneros y épocas, Oswaldo Estrada uses the term “artefacto histórico-literario” to refer to these types of texts. He indicates that this hybridity can be applied in particular to Bernal Díaz’s Historia verdadera: “Que Bernal Díaz no haya tenido el propósito explícito de escribir literatura no nos incapacita para notar a posteriori que su crónica está llena de elementos que hoy consideramos literarios. Que no haya compuesto una novela, porque el género como lo entedemos hoy no existía en tal momento histórico--a excepción de las novellas picarescas, pastoriles, sentimentales – no significa que no podamos encontrar mecanismos novelescos en su crónica” (21-22). 3 accounts, she is presented in disparate ways, but often shown as a valiant and respectable woman. In Spanish narratives, her representation ranges from merely la lengua in Cortés’ account to an idealized Christian convert in the writings of Bernal Díaz del Castillo. Scholars conjecture4 that she was born either in 1502 or 1505, in the region of Paynalla. She was given away, kidnapped, or sold into slavery as a child. This took her from a Nahuatl-speaking region of Mexico to the region of the Chontal Mayans, where Cortés’s expedition landed in Xicalango in 1519. She was later given away a second time, along with twenty other women, to appease the invading Spaniards and broker a truce between them and the reigning Chontal cacique. Although primary interpretation duties were taken on by Jerónimo de Aguilar, a Spaniard who had been taken hostage and survived with a group of Mayans on the Yucatán coast, once the conquistadores approached Nahuatl-speaking areas, it became apparent that they needed another interpreter.
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