A few months ago I received the welcome news that the poet, researcher of Andean culture, professor, political leader and blogger counter-San Marcos (see http://gonzaloespino.blogspot.com/ ), Gonzalo Espino glitters (Hacienda Rome 1935), after dueling with a demanding jury had failed to obtain his doctorate in Peruvian and Latin American Literature at the Universidad Nacional Mayor de San Marcos, defending the thesis Ethnopoetics Quechua. Quechua texts and oral tradition. As a way to convey my greetings and congratulations on your achievement posting a short text about one of his last books, including Images of the Andes, Peruvian literature nineteenth century (Lima, Humanities Research Institute of San Marcos, 1999).
"Although in the early years of the republic," says Antonio Cornejo Polar [1] - not building a literary tradition, by the omission of the colonial legacy and the fatuity of the appeal Inca, or designs a project to develop a specific national literature, which does not prevent local customs somehow channeled a long literary offspring, it is true then set (or rather, reaffirms) space from which to produce literature assumes, displacing other, the representation of all Peru. Changing this situation will take almost a century. " These ideas raised in the early nineties, are renewed in the recent publication of Gonzalo Espino glitters pictures including Peruvian Andes-nineteenth-century literature. In his book, Espino glitters-arts teacher at San Marcos University, Master of Peruvian and Latin American Literature and a PhD-makes an interesting exploration of hermeneutics in a series of texts for the last third of the nineteenth century, from which discusses the canonical images of literature Peru.
The book, which is the second part of his master's thesis in Peruvian and Latin American Literature, entitled Adolfo Vienrich: The attempt of the other Peruvian Literature (1996), is organized into four chapters. The first explores some texts by Manuel González Prada and Abelardo Gamarra. Of these extracts the following thesis: "The claim of the Indian, unlike other languages, involving the inclusion or exclusion, is not resolved in the melancholy history in returning to the Inca. Prada rejects any attempt or appetite restorer and remote Inca past: in return, demands the Indian rebellion. Speeches that will be echoed in the writing of poetry of the moment, both as Abelardo Gamarra Manuel González Prada offered a chance to make legible the status of a segment of our society, in both cases began as a revolt that requires the inclusion of Indian cultural, Topical shared with the city counsel, and then reveal the problem as an issue in strict social and economic development. That is the lesson that teachers propose and whose impact can be traced in various works of literature of the city counsel of the time "(p. 33).
This thesis will be tested in the second chapter, with the conception of literature writers of the period, as Ricardo Palma. According to Espino glitters, "for the traditionalist, Castilian is the vehicle par excellence. Can a Peruvian words from the vernacular, but for the expression of the "belles lettres" is the Castilian, so, all written and Castilian are subjecting their analysis does not matter whether there is a literature Indian or Incas "(p. 47). The third chapter is supplemented with the above. In it shines Espino argues that poets and writers of that time developed a speech ambiguous with respect to the national literature. "On one hand, he argues Espino shines-(poets) live on the margins of loneliness and face time to modernize the country, and in the midst of this drama, the gradual discovery of the "national" native "in his poetry" (pp. 50 .) In the fourth chapter, Espino shines a brief corpus of texts that attempt to build "another Peruvian literature." The texts are different. Explore Antiques Peruvian Mariano Eduardo de Rivero and Ustariz and Juan Diego de Tschudi, where, from an archaeological perspective, we discuss the absence of a national literature based on the assessment of local languages. Then, working Poetry in the Empire of the Incas of Acisclo Villarán; Quechua Grammar of Dionysius Anchorena, and finally, discussion of Constantine and Eugenio Carrasco Larrabure around Ollantay dramatic piece. In each of these texts Espino glitters recognizes "a concern with vernacular forms and practices and the valuation of work-signs of Quechua literature," as the Ollantay. With these elements, we suggest the construction of the "other" literature, Andean roots, trying to win their space within the hegemonic discourses.
The last chapter is a corollary of the above. Through analysis of several poems of Constantine Carrasco Manuel González Prada and Carlos Germain Amezaga, we try to build the image of the Indian. In each case, the Indian awareness comes to constitute another, as disclosed in the description of the poem on the door of his hut Carrasco: "The tradition of yaraví threads each verse, so it turns to the image of the dove conclusion. The glare of the poet, romantic topic, is expressed hurt and impossible love: sadness covered the whole being of the poet (now lover), promising not to leave, expressed his desire to "die" for her. This approach ends in the sort of escape, where romance takes place in the poet's voice that invites the beloved to a possible nuptials, proper vernacular theme: "That even the dawn he came round / And the pampa is desolate" (v. 23-24). The poet recognizes a different woman: "What is your race of the sun", the beloved imagined by the author differs in thought and word, but there are "only sweet." Opposed to the beauty of the "race of the Sun" the involuntary return of pain in his presence felt: typical proposal as yaraví. Is this what makes poetry distinctive Constantino Carrasco doing so poetic memory includes the gods, its fauna and held in a topic that matches the romance from the vernacular form and try to discover the other, the another "(pp. 95). Thus, Espino glitters is demonstrating three theses that articulate each of the chapters include Andean Images: a) write the nineteenth-century literary city, b) in this century there is growing interest Quechua, but not granted the status of literary language, and c) "inclusion is a social process Andes of Peru and the Andean country. This leads to question and redefine the model or literary imagination through successive crises (the parody of democracy, war, invasion and defeat of 79-82) "(p. 12).
large extent, Images ... studies inspired by Antonio Cornejo Polar, mainly in their work on the nineteenth-century literature and theory of heterogeneity contradictory. Theory, as we know, builds a Peruvian cultural representation system, with its central thesis that the Andean culture is heterogeneous. But that is only the starting point of exploration undertaken by Espino glitters. Centrally, the book aims to discuss the issue of literature "national" in Peru, tacking, through various texts, a literary discourse of Andean roots alternative to the hegemonic Hispanist. In that sense, Images ... discuss an issue that goes beyond the literary and installed in the field of culture: the problem of national identities.
At this point the book makes note its limits. Limits imposed by the subject matter of the investigation: the poems and other texts. In effect, these texts preclude exploring other cultural practices, such as rituals and celebrations, where perhaps the "other consciousness" national attempts to trace the course of the book is clearer. Certainly, this is beyond the scope of the investigation, referred to show how hegemonic discourses can reveal features of other languages, such as the Andes. Objective, largely fulfilled. Still, we believe that the issues raised in the pictures ... surpasses that objective, and, in turn, requires discussion in a larger space for reflection, such as cultural studies, as revealed in Imagined Communities, Benedict Anderson, who also shares his interest in thinking about national identities.
[1] The Formation of the literary tradition of Peru. Lima, CEP, 1989. pp. 40-41.
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