DIÁLOGOS TRANSOCEÁNICOS COLONIALES: POÉTICA CRIOLLA EN NEGOCIACIÓN by VALERIA DEL BARCO A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Valeria Del Barco Title: Diálogos Transoceánicos Coloniales: Poética Criolla en Negociación This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Amanda Powell Co-Chairperson Leah Middlebrook Co-Chairperson David Wacks Core Member Robert Haskett Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Valeria Del Barco iii DISSERTATION ABSTRACT Valeria Del Barco Doctor of Philosophy Department of Romance Languages June 2017 Title: Diálogos Transoceánicos Coloniales: Poética Criolla en Negociación My dissertation focuses on the poetic production of three criollas —the offspring of Spaniards in the Americas— in dialogic relation with prominent male writers across the Atlantic. The works studied, Clarinda’s Discurso en loor de la Poesía (1608); Epístola a Belardo (1621) by Amarilis; and Sor Juana’s Primero sueño (1692) and La Respuesta (1691), span the entirety of the 17th century, in both the Viceroyalty of Perú and New Spain. Important interventions in Latin American colonial culture have noted criollos’ ambivalence towards the culture inherited from Spain as well as the need to assert their cultural agency through writing. The poets at the center of my study participate in this preoccupation with the added complication of being women, whose works are habitually read in isolation, as exceptions. My dissertation defines a feminine criolla poetics dialogically negotiated with western tradition, be it Spanish gongorismo or Italian humanism, while highlighting the tension between inserting themselves in the canon and critiquing it. In place of readings that emphasize the transfer of discourse and knowledge from the center to the periphery, from the metropole to the colonies, I demonstrate that the writings of these women challenge, or even reverse, this logic. iv My study analyzes rhetorical and intertextual strategies by which criollas, twice removed from power due to their birthplace and gender, negotiated a space in the canon. My analysis reveals the acute consciousness of gender that informs each woman’s writing; however, I also participate in recent movements in criticism and theory that interrogate conventional notions of power, space and the directionality of colonial exchange. This dissertation examines the processes of cultural appropriation as it defines a feminine criolla poetics dialogically negotiated with western tradition, one that also opens up a space to critique this tradition through parody, irony and textual transformation. This dissertation is written in Spanish. v CURRICULUM VITAE NAME OF AUTHOR: Valeria Del Barco GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Universidad Mayor de San Andrés, La Paz, Bolivia DEGREES AWARDED: Doctor of Philosophy, Romance Languages, 2017, University of Oregon Master of Arts, Romance Languages, 2010, University of Oregon Licenciada en Literatura, 2007, Universidad Mayor de San Andrés AREAS OF SPECIAL INTEREST: Transatlanticism Colonial Literature in Spanish America Golden Age Poetry Gender Studies Latin American Studies Intertextuality PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Romance Languages, University of Oregon, 2008- 2017 Instructor of Record, Universidad Católica Boliviana, Bolivia, 2005-2007 Member of the Editorial Committee, Newspaper La Prensa, Bolivia, 2002-2004. Book Reviewer, Semanario La letra e, Bolivia, 2001-2003 Teaching Assistant, Universidad Mayor de San Andrés, Bolivia, 1999-2000 GRANTS, AWARDS, AND HONORS: Beall Graduate Dissertation Scholarship, Department of Romance Languages, University of Oregon, April 2014 Graduate Student Travel Grant to SBRHP (University of Virginia) October 2013 vi James T. and Mary Alice Wetzel Graduate Fellowship. Department of Romance Languages Graduate scholarship, University of Oregon, April 2013 Graduate Student Travel Grant to GEMELA (University of Portland) September 2012 Graduate Student Travel Grant to CSCS (Ohio) October 2012 James T. and Mary Alice Wetzel Graduate Fellowship. Department of Romance Languages Graduate Scholarship, University of Oregon, April 2012 Graduate Student Conference Support to SRBHP (University of Oregon) November 2009 Beall Graduate Endowment, Department of Romance Languages, University of Oregon, October 2008 Thesis Writing Grant, Instituto de Estudios Bolivianos, February 2002 PUBLICATIONS: Del Barco, Valeria. “El anonimato como performance textual: Clarinda y Amarilis reconsideradas” Journal Calíope, Especial Edition From Muses to Poets (under review). Del Barco, Valeria. Cambio Climático: Panorama de la joven poesía Boliviana. Eds. Ramiro, Quiroga J. C, Benjamín Chávez, and Jessica Freudenthal. La Paz: Fundación Simón I. Patiño, 2009. Del Barco, Valeria. Resurrección de la luz. La Paz: Gente Común, 2008, 95 p. Del Barco, Valeria et al. Resonancias de una generación: análisis del accionar juvenil (1996 – 2003), experiencias “CREARE” y “30 NO SON 30”. La Paz: Colectivo Utopía, 2007. Del Barco, Valeria. “Serpientes acuáticas.” Antología del cuento erótico boliviano. La Paz: Alfaguara, 2001, 89-94. Saavedra Bruno, Sofía. Urbanismo y arquitectura en Chiquitos: aplicación pragmática de principios europeos a las misiones jesuíticas de América del Sur (Urbanism and architecture in Chiquitos: pragmatic application of European principles to the Jesuit missions in Latin America). Trans. Valeria Del Barco and Barbara Monroe. La Paz: Santillana de Ediciones, 2000. Del Barco, Valeria. “Sofía Fonseca, bailarina.” La Paz: Escritores de bolsillo. 1998. vii ACKNOWLEDGMENTS I wish to express sincere appreciation to Amanda Powell and Leah Middlebrook for their assistance in the preparation of this manuscript; their feedback and support have been invaluable. In addition, special thanks are due to David Wacks whose ideas and continuous enthusiasm fueled this project from its inception. Help provided by Crystal Chemris has been instrumental in the development of my thoughts surrounding the relationship between Góngora and Sor Juana, my thanks go to her. I would also like to thank the Department of Romance Languages at the University of Oregon for their ongoing support, enthusiasm and collegiality for almost a decade. Support from various scholarships provided by the Department has enabled me to bring this project to completion, especially the Beall Dissertation award (2015). I presented preliminary versions of the chapters in my dissertation at various conferences and received valuable feedback from colleagues at the Grupo de Estudios sobre la Mujer en España y las Américas (pre-1800); the Society for Renaissance and Baroque Hispanic Poetry and the Sixteenth Century Society. Finally, I would like to thank my family for their love, support, advice and for keeping me honest to myself. viii To Sebastián, always. To our girls: my muse, Majo and Galatea, our shining nymph. ix ÍNDICE Capítulo Página I. INTRODUCCIÓN.................................................................................................... 1 II. EL ANONIMATO COMO PERFORMANCE TEXTUAL: ‘CLARINDA’ Y AMARILIS RECONSIDERADAS ........................................................................ 22 Acercamientos Teóricos sobre el Anonimato.................................................. 23 El Problema del Anonimato con Voz Femenina ............................................. 29 III. LA VOZ POLÍTICA CRIOLLA EN LA EPÍSTOLA A BELARDO DE AMARILIS ............................................................................................................ 43 La Epístola como Subversión de la Lógica Occidental................................... 48 Amarilis y la Validación Criolla...................................................................... 63 IV. CLARINDA, LA ACADEMIA ANTÁRTICA Y LA DEFENSA DEL CRIOLLO .............................................................................................................. 75 Análisis del Discurso....................................................................................... 83 Clarinda o la Defensa de la Identidad Sudamericana ...................................... 92 V. SOR JUANA Y GÓNGORA: UN DIÁLOGO POÉTICO TRANSATLÁNTICO ............................................................................................ 112 Sor Juana y su proyecto transatlántico............................................................. 112 El Sueño, las Soledades y los avatares de la crítica ......................................... 117 Góngora y Sor Juana: peregrinos del conocimiento ........................................ 123 Retratos, espejos, reflexiones........................................................................... 129 VI. CONCLUSIÓN ..................................................................................................... 137 ANEXO ....................................................................................................................... 140 x Capítulo Página OBRAS CITADAS.....................................................................................................