Imperial and Transatlantic Discourses
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The Pennsylvania State University The Graduate School College of the Liberal Arts SAINTLY LIVES: (ANTI)IMPERIAL AND TRANSATLANTIC DISCOURSES IN COLONIAL HISPANIC-AMERICAN POETRY AND PAINTING (16TH-TO-18TH-CENTURY NEW KINGDOM OF GRANADA AND NEW SPAIN) A Dissertation in Spanish by Ernesto Carriazo Osorio © 2013 Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2013 ii The dissertation of Ernesto Carriazo Osorio was reviewed and approved* by the following: Julia Cuervo Hewitt Associate Professor of Afro-Caribbean and Spanish Caribbean Literature and Culture Dissertation Adviser Chair of Committee Charlotte Houghton Associate Professor of Art History Mary Barnard Associate Professor of Early Modern Spanish Poetry and Prose Guadalupe Martí-Peña Associate Professor of Critical Theory and Contemporary Latin American Literature Matthew J. Marr Graduate Program Officer *Signatures are on file in the Graduate School iii ABSTRACT This dissertation explores pictorial and poetic representations of Saint Catherine of Alexandria, the Virgin Mary, Saint Joseph, and Saint Bartholomew mostly from 16th to 18th century New Granada and New Spain. The dissertation proposes that despite the overt religious agenda intrinsically conveyed in these hagiographic representations, they can be read also as historical testimonies of resistance and (anti)imperial sentiments that reflect the ontological anxieties and fragmented identities of colonial subjects regarding their ethnic, cultural, and gender diversity. The main literary objects of study comprise carols from the Colonial Musical Archives of Bogotá's Cathedral, carols by Sor Juana Inés de la Cruz, Fernán González de Eslava, Colombian popular ballads, and a sonnet by Francisco Álvarez de Velasco y Zorrilla, among other poetic works. Pictorially, this thesis explores colonial representations of the saints mentioned above, from the New Kingdom of Granada, New Spain, Bolivia, and some of their respective European antecedents. It takes a post-colonial approach, grounded primarily on Homi Bhabha's notions of "in-between," "double vision," and "hybridity" to explain the cultural position from which colonial Hispanic American discourses enunciate their world-views, and the differences between such a position and that from which hegemonic discourses of empire are issued. In conclusion, this study shows how hagiographies in colonial Hispanic America do not efface religious and social paradigms from Europe altogether, but incorporate local outlooks and traditions into dominant discourses, destabilizing them, vindicating the authority of "otherness," and reinforcing alternative notions of collective and individual selfhood in the construction of Hispanic American identity. Key words and phrases: Hagiographies, Virgen de Guadalupe, El Topo, St. Catherine of Alexandria, St. Bartholomew, St. Joseph, New Kingdom of Granada, Colonial Musical Archives from Bogotá’s Cathedral, Carols, Sor Juana, Francisco Álvarez de Velasco y Zorrilla, Fernán Gonzalez de Eslava, Joseph de Cascante, gender identity, androgyny, the monstrous, colonial Latin American painting. iv TABLE OF CONTENTS LIST OF FIGURES ............................................................................................................................... vi ACKNOWLEDGEMENTS ................................................................................................................... ix INTRODUCTION ................................................................................................................................... 1 CHAPTER ONE: .................................................................................................................................. 31 Avatars of Saint Catherine of Alexandria in the New World: The Discourse of and About Womanhood in Colonial Hispanic America ....................................................................................... 31 Transformations of St. Catherine’s Wheel and of the Cross (de la Cruz) ................................... 55 Sor Juana: Pyramidal Shadow, Luminous Pyramid, or Both? .................................................... 63 St. Catherine as The Lighthouse of Alexandria: ............................................................................ 67 Philadelphus and Serapis: ................................................................................................................ 70 Sor Juana’s Femina Suite ................................................................................................................. 71 Fernán Gonzalez de Eslava: ............................................................................................................. 75 Popular ballads in Colombia, Passed On from the Spanish Collection of Romances (Romancero) ....................................................................................................................................... 78 CHAPTER TWO ................................................................................................................................... 81 The Virgin of a Thousand Faces .......................................................................................................... 81 The Virgin of el Topo (Virgin of the Brooch) ................................................................................. 82 Bicephalia as Cultural Antecedent for the Creation of The Virgin of el Topo as MONSTER: ........................................................................................................................................................... 101 The Virgin of Guadalupe: Preserving Aztec Beliefs Through Christian Iconography ............ 108 CHAPTER THREE ............................................................................................................................ 122 v Saint Joseph as an Androgynous Figure: Constructing Gender, Power Relations, and Cultural Identities in Colonial Hispanic America ........................................................................................... 122 Other Poetic Representations of Saint Joseph in Colonial Hispanic America .......................... 140 CHAPTER FOUR ............................................................................................................................... 148 Written on the Body: ........................................................................................................................... 148 Reading Saint Bartholomew as a Cultural Palimpsest .................................................................... 148 CONCLUSION .................................................................................................................................... 192 REFERENCES .................................................................................................................................... 197 APPENDIX A (Chapter Two) ............................................................................................................ 204 NO SÉ SI TOPO (1670) .................................................................................................................. 204 Joseph de Cascante (c.1620-1702) .................................................................................................. 204 APPENDIX B (Chapter Three) ….…………………………………………………………………226 Romance a San José. Sor Juana Inés de la Cruz ………………………………………………..226 En Jesús y en María. A San José. Carol from the Colonial Musical Archives of Bogota's Cathedral. Music by Joseph de Cascante………………………………………………………..227 APPENDIX C (Chapter Four) …………………………………………………………………… 228 Invicto Bartolomé. Anonymous. Carol from the Colonial Musical Archives of Bogotá's Cathedral ………………………………………………………………………………………….228 Oy un campion diuino. To St. Bartholomew. Anonymous. Carol from the Colonial Musical Archives of Bogota's Cathedral …………………………………………………………………229 vi LIST OF FIGURES Figure 1: “Decapitation of St. Catherine of Alexandria.” Gregorio Vásquez de Arce y Ceballos. Prime Cathedral of Bogotá, Colombia, 17th C. ................................................................................................................................. 34 Figure 2: “Santa Catalina.” Anonymous from New Spain. (ca. late 17th-early 18th centuries). Collection of the Soumaya Museum, Mexico. ................................................................................................................................. 36 Figure 3: A) “Sor Juana de la Cruz ” Anonymous. 18th century. Mexico. B) “Portrait of Sor Juana Inés de la Cruz.” Miguel Cabrera, 1750. Instituto Nacional de Antropología e Historia, Museo Nacional de Historia, Mexico. .................... 40 Figure 4: A) Christian Iconography: “Angel on wheels.” B) “Thrones – Fiery two-winged wheels.” C) “Sculptured angel. Chartres 13th century” ........................................................................................................................... 56 Figure 5: A) “Ixion.” B) “Ixion.” ..................................................................................................................... 60 Figure 6: “The Virgin of El Topo.” Circa early 17th century. Anonymous. Bogotá’s Prime Cathedral, Colombia. ........... 81 Figure 7 A y B) “La Pietá.” Luis de Morales (Badajoz, Extremadura, c. 1520-1586). ................................................. 83 Figure 8. A) “Bicephalous figure.” Hartmann Schedel. The Nuremberg Chronicle.Folio CLI recto. B) CLXXXII verso: “Monster in Vasconia” (“Monstrum in Vasconia.”).