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This paper intends to describe the drastic change of meaning in the account of the conquest of America recorded in the last decades. Itwent from a traditional uncritical Hispanism -prevailing from the beginning of the 20th century to the beginning of the 1990s century-to a heavily indigenist and naive interpretation in the last twenty years. This inversion of the interpretation is explained to a great extent by the innovations in the teaching of the history driven by the educational reforms promoted by the Federal Law of Education (1993) and the Law of National Education (2006) in society and in the dimension political and ideological that made possible that mutation in the perception of the problem. Likewise, an attempt is made to draw some conclusions about the achievements and limitations of this recent school treatment of conquest. In the development of the work are used as sources educational legislation, new curriculum designs, other measures of educational policy, school textbooks and surveys to secondary students of public and private institutions.

This article offers a myth-critical analysis of the novel Diario maldito de Nuño de Guzmán by Herminio Martínez, published in 1990. Firstly, arguments supporting the application of the term «myth» to the narrative of the Spanish Conquest of America, which emerged from early colonial historiography, will be presented. Subsequently, the analysis of the subversive character of Martinez' novel will be provided. In particular, the strategies of demythification on the story level and demythologisation on the discourse level will be examined in detail. The article is intended as a contribution to the myth-critical methodology and praxis.  

[...]the character of Natalia is presented as a Malinche figure-the paradoxical symbol of rape victim and national traitor incarnated by the indigenous female-which links the oppression wrought by the colonial Church to a persistent oppression of women. Upon their arrival in a new village, the captains of the conquest read a speech (in Spanish) to the native people, which declared that if they did not convert to the Catholic faith, they would be either enslaved or killed (Galeano 29). [...]colonization and conversion were inseparable processes in the early days of New Spain. Tombs notes that in Latin America, \"the church's priority was usually to protect its institutional interests rather than present a prophetic voice on the suffering of the disadvantaged\" (41). [...]from the inception of the European presence in Mexico, the Christian religion was used as a tool in a process of domination and repression of indigenous cultures, rights, and lives. The Church in Post-revolutionary Mexico In Rulfo's era, the role of the Church in government and society was a source of controversy, repression, and violence, beginning in 1917, the same year that he was born, with the new Constitution implemented by the revolutionaries: one its main revisions was the emphasis on the separation of Church and state, especially through the creation of a public system of education.

This article analyses the staging of the national showcases of Peru and Ecuador during the Exposición Histórico-Americana in Madrid in 1892. Our interest is to explore the ways in which the past was represented through the combination of the pre-Columbian objects and the museographical displays that told the story of the Spanish conquest and colonization. Through the analysis of devices such as Lorenzo Roselló's sculpture set, a representation made for the Peruvian delegation, or the wooden sculpture of the \"wild\" Indian and a historical model of the Ecuadorian delegation's monument, we reveal the ways in which the artifacts of the past were used in the construction of a pan-Hispanic, masculine and colonial gaze that shaped a sense of the past of historical subjects, as well as their absences. In short, this proposal attempts to delineate a view of these phenomena in the Andean region and to investigate the historical den-sity of these exhibition experiences in the construction of national stories in a transatlantic key.

One of the most fervent crusaders for the purity and reform of the Spanish language during the eighteenth century was Juan Pablo Forner (1756-1797). He was a writer of considerable scope and erudition, and his Exequias de la lengua castellana, widely regarded as his most ambitious work, is a Menippean satire on the corruption of the Spanish language. The text takes the form of an imaginary journey to Parnassus wherein Aminta, Forner's pseudonymous mouthpiece, receives a letter from Apollo inviting him to attend the funeral of the Spanish language in recognition of his indefatigable efforts to defend it. Here, O'Hagan examines Forner's Exequias de la lengua castellana.

This article shows how François de Belleforest (1530–83) adapted a variety of historical and geographical sources to meet the demands of the histoire tragique genre in composing three narratives set in the Americas. One recounts the destiny of conquistador Francisco Pizarro; another is the story of Marguerite de Roberval, who was allegedly marooned on a Canadian island; the third concerns Taino cacique Enriquillo’s heroic rebellion in 1520s Hispaniola. These narratives fostered a tragic image of the Americas that had a considerable influence on early modern readers, inviting them to ponder essential questions about European encounters with the American continent and its inhabitants.

Lope de Vega, in the dedicatoria to La campana de Aragon, included in the Parte XV de las Comedias, famously pondered historical drama as an effective means to \"renovar la fama desde los teatros a las memorias de las gentes\" (qtd. in Case 203-04). Due to its eminent ability to make history come alive before the eyes of the audience, the emerging historical drama was certainly the most popular instance of what may be termed the contemporary obsession with history, and thus the most important aesthetic vehicle for the formation of collective memory and cultural identity during this crucial period of nascent European nation states. Examining the case of Pedro Calderon de la Barca's juxtaposition of orthodox Catholic religious practice and parallel Amerindian rites in La aurora en Copacabana, the present essay proposes a novel approach to his often misunderstood play about the military and religious conquest of Inca Peru, introducing the concept of \"historical mimesis\" to describe the universal or philosophical, plausible but not veristic, creative and performative staging of history.

From the outset Spanish director Icíar Bollaín's También la lluvia presents two films embedded within the film itself, structuring its narrative as a metacommentary on colonialism and the multinational film industry. A film crew of mixed Spanish and Latin American origin arrives in Cochabamba in order to shoot the first embedded film, an epic feature film that tells the story of Christopher Columbus's exploitation of the indigenous peoples in the Caribbean alongside the human rights advocacy of priests such as Antonio de Montesinos and Bartolomé de Las Casas. The filming of the epic has been moved to Bolivia for budget reasons, despite the historical inaccuracies this incurs, because the producer, Costa, wants to use real extras instead of special effects to fill the sets of what he hopes will be a Conquest epic. In También la lluvia, Daniel, the actor in the lead role of Hatuey, a rebellious taino chief, is also a leading activist in the struggle by indigenous groups in Cochabamba to stop the privatization of the water supply by Aguas del Tunari, which plans to raise water prices dramatically to build infrastructure for the water supply. Violence rocks the city when thousands of protesters block city streets and the film crew is forced to leave Bolivia. The second film embedded within También la lluvia, in addition to the Conquest epic, is a \"filming-of' documentary that records the shooting of Sebastian's Conquest film. Maria, the documentary filmmaker, uses black-and-white footage (in contrast with the color film of También la lluvia and the epic) to portray her perspective on events throughout También la lluvia. Her lens often captures the parallels between the themes of conquest and empire within the epic film and the cochabambinos' contemporary fight to control their own water supply.

This chapter contains sections titled: The Institutional History of Colonial Philosophy The Conquest of America: Some Epistemological and Ethical Questions Post Conquest Indigenous Perspectives Creole Perspectives: Two Seventeenth‐Century Intellectuals The American Experience of the Enlightenment Colophon References

This chapter contains sections titled: “Discovery” and Invention of American Nature Roanoke and the Nature of English Reconnaissance Trafficking in Nature Improving Paradise Nature in Black and White Changes in the Land Worlds of Wonder and Natural History Nature's Nation and Empire References