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Jose Maria Arguedas As Signifier

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Jose Maria Arguedas As Signifier IDENTITY CONSTRUCTION IN HYBRID COMMUNITIES: JOSÉ MARÍA ARGUEDAS AS SIGNIFIER by Gerry Gardner Esplin A dissertation submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Languages and Literature University of Utah May 2010 Copyright © Gerry Gardner Esplin 2010 All Rights Reserved The Graduate School THE UNIVERSITY OF UTAH STATEMENT OF DISSERTATION APPROVAL The dissertation of Gerry Gardner Esplin has been approved by the following supervisory committee members: Isabel Dulfano , Chair December 3, 2009 Date Approved Rebecca Horn , Member December 3, 2009 Date Approved ",G",e""m",ac..:G"-u",e",v,-"a",ra",--,, Member December 3, 2009 Date Approved ",Jo",e:.!.. l ""H",a""nc",o",c""k__ , Member December 3, 2009 Date Approved Maria Dobozy , Member December 3, 2009 Date Approved and by Jane Hacking and Fernando Rubio, Co-chairs of the Department of Languages and Literature and Charles A. Wight, Dean of The Graduate School ABSTRACT Global migrations of the past century have forced many cultural groups to confront issues ranging from urban isolation to acculturated absorption. Major population shifts have resulted in the relocation of peoples of divergent backgrounds to convergent and crowded environs, and in the process, have forced individuals to grapple with their own identity. Peruvian author and ethno-anthropologist Jose Maria Arguedas personifies that reality. Indeed, I argue that Arguedas's fictional writings anticipated those dramatic changes and their consequences, and are emblematic of the cultural turmoil of 20th century Peru, which itself is a microcosm of issues that concern many Third World populations in the postmodern era worldwide. While some critics argue that Arguedas's style rejects postmodern traits, I make the case that his work is transitional, moving from the modern to the postmodern and that from the outset his fiction contains integral structures that decidedly fall into the latter category. Furthermore, I disagree with other critics' evaluations of Arguedas's work as simplistic and utopic, and argue that it demonstrates a complexity of vision that presages emerging events. Components of that vision include his creation of a new hybrid language, his expression of complex hybrid identity constructions among the subaltern and the hegemonic in rural performance and societal interaction, and magical real elements of autochthonous cosmovision that are widespread today. The internalized tensions resulting from hybridities of heritage that impede self-actualization are central to understanding his novels, informing the fractured postmodern personality. Further, I argue that Arguedas uses his personal experience of incarceration to reveal the prison as another fragmenting location of both the abject and the sublime. His final and most controversial work reveals postmodern society as a chaotic melding of modern-day capitalistic greed churning in today’s urban vortex combined with ancient mythical performance as a comedic yet assertive language of cultural resistance, with the individual identity caught precipitously in the middle. Through his work, Arguedas is a prophetic signifier of the hybrid world with which we struggle today. iv TABLE OF CONTENTS ABSTRACT……………………………………………………………………………. iii ACKNOWLEDGMENTS………………………………………………………………vi INTRODUCTION……………………………………………………………………….1 1. ARGUEDAS’S JOURNEY FROM THE ANCIENT TO THE POSTMODERN….19 2. AGUA : LANGUAGE CREATION AS A CONSTRUCTION OF HYBRIDITY…30 3. YAWAR FIESTA : THE LANGUAGE OF PERFORMANCE AND THE PRESERVATION OF CULTURE………………………………………………….39 4. LOS RIOS PROFUNDOS : THE CONFLUENCE OF HYBRIDITY………………49 5. LOS RIOS PROFUNDOS : EL HUAYNO, EL ZUMBAYLLU – MUSIC, MEMORY, AND PERFORMANCE………………………………………………..58 6. EL SEXTO : CONFRONTING THE ABJECT, HYBRIDITY AUGMENTED……69 7. TODAS LAS SANGRES : LIMINALITY AND HYBRIDITY REDEFINED……….87 8. EL ZORRO DE ARRIBA Y EL ZORRO DE ABAJO : HYBRIDITY AS PERFORMANCE…………………………………………………………………...108 9. LOS ZORROS AND THE END OF NATURE, THE OBSTRUCTION OF HYBRIDITY………………………………………………………………………...139 10. “LA AGONIA DE RASU-ÑITI”: THE SCISSORS DANCE – HYBRIDITY ENCAPSULATED, PERFORMANCE AS RESISTANCE………………………..146 CONCLUSION…………………………………………………………………………159 BIBLIOGRAPHY………………………………………………………………………167 ACKNOWLEDGMENTS I am grateful to the members of my dissertation committee for the time they have committed to assist me in completion of this work. The advice, insight and suggestions of the committee chair, Isabel Dulfano, have been instrumental in not only improving the overall product but in helping me fully understand the value of the research process. Gema Guevara, Joel Hancock, Maria Dobozy, and Rebecca Horn, also committee members, have committed their time, expertise, and knowledge to the creation of this document, for which I am deeply grateful. I also am indebted to my husband, Fred Esplin, for his patience, constant encouragement, advice, editorial suggestions, and genuine interest in this project. His quiet, unremitting approbation has been an inspiration to me, without which I would never have reached this level of accomplishment. And finally, I thank my two wonderful and talented children, Ashley and Travis Maak, who have always been supportive of my academic and professional endeavors, and respect the depth of my commitment to the many cultural groups of Latin America. INTRODUCTION During the latter half of the twentieth century, literary analysis experienced substantial transformation, as the focus on close readings melded with approaches weighted in literary theory and cultural studies. Largely due to twentieth and twenty-first century international diasporas and global economic pressures, discourse that confronts societal and personal lifestyle issues and perspectives from the exterior, via travel and exile writing, currently abounds, while other literary constructions and their readings, developed in communities at the hybridized fringes of society, have also moved to a prominent position. Globalization has amplified our perspective on cultural issues ranging from urban isolation to acculturated absorption. Although such topics are not new, their discussion has intensified in recent years. A seeming vortex of perspectives and approaches to contemporary literature and its study continually accelerates, attracting and creating new and differing possibilities from its combinations that mirror the complexity of life in this century, leaving the trajectory of the study of literature muddied and uncertain. Like the individual of the twenty-first century, the analytical examination of literature as an artistic form seems to have lost its raison d’être as a result of these various changes. The individual’s identity has been called into question due to population growth and shifts, resulting in urban crucibles that connect peoples from divergent societal, geographical, and cultural locations in close proximity. 2 In this work, I argue that the changes that have occurred in Andean literature are reflective of the larger scene, and that one twentieth century Latin American author in particular, José María Arguedas, lived in a very personal way the societal, global, economic and political changes that scholars identify as the core of contemporary intellectual debate. That scholarly discussion focuses on global advantages and disadvantages that have contributed to the creation of new and powerful cultural, governmental, and financial dynamics that are reshaping local, national, and international modes of interaction. By examining Arguedas’s work, we can see how he anticipated these dramatic changes and their consequences. The progression of Arguedas’s writings intimately reflects his own personal, literary, professional, and political trajectory, yet also incorporates this global evolution. I have elected to examine José María Arguedas’s writings as emblematic of the turmoil of twentieth century Peru and a microcosm of issues that concern Third World populations throughout the world not only during the years he wrote but now as well. Furthermore, Arguedas’s work has had a greater impact sociologically than the writings of other more internationally recognized authors from his region. Hence, consideration of his works addresses the issues that confront literary studies today. Understanding the context in which Arguedas wrote requires exposure to other writers that were influential to his work, its perspective, style, and message. The most prominent Andean contributors, principally drawn from the canon, include the Inca Garcilaso de la Vega, Juan León Mera, Clorinda Matto de Turner, Alcides Arguedas, José Carlos Mariátegui, César Vallejo, Jorge Icaza, and Ciro Alegría. Other well-known Latin American authors of his generation who peripherally impacted Arguedas’s writing 3 include such “Boom” authors as Juan Rulfo, Carlos Fuentes, Julio Cortázar, Mario Vargas Llosa, and Gabriel García Marquez. While Arguedas read their works and knew these authors personally, his style is largely unique, manifesting his inherently proud Peruvian roots rather than turning to the influence of postmodern Europe. In contrast to the postmodern “Boom,” which brought fame and recognition to Latin American writing, with the exception of his final novel, Arguedas follows the straightforward, conventional narrative style reminiscent of earlier Andean writers. However, while conventional in narrative form, Arguedas’s voice, content, and perspective are unique and instructive of
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