<p>"Representaciones temporales en la construcción del espacio y el sujeto atlántico en el</p><p>siglo XVII" is a study of the different representations of time, temporality and space in</p><p>literary and historical texts such as the chronicles that originated in Peru and Spain. This</p><p>project seeks to understand the new configuration of time and space that appeared at this</p><p>time and that was represented in literary texts during the Spanish Baroque period. What is</p><p>most important is that the Atlantic is not only an ocean that separated two realities but</p><p>also a new space that made possible the emergence of a new subject who combined pre-</p><p>Hispanic culture and the occidental episteme. This new subject is the product of a</p><p>translation failure of the concepts that were transported back and forth across the</p><p>Atlantic. During the XVIIth century, many literary and historical texts are produced in</p><p>order to understand this new subject. As an immediate consequence of the encounter</p><p>between American and European epistemes, thinkers and writers in all Europe begin to</p><p>hesitate between "the real" and "the images"; a crisis of the real begins. In the Americas,</p><p>writers such as Guaman Poma or Sor Juana Inés de la Cruz who produce narratives which</p><p>seek to interpret the new realities brought about by the encounter with the Europeans,</p><p>whose writings do not follow to either indigenous or European conventions. These</p><p>writers mix pre-Hispanic and Western traditions to account for the new forms of</p><p>subjectivity that the conquest produced. Similarly, Spanish writers such as Cervantes or</p><p>Calderón re-work traditional European conventions in order to understand and interpret</p><p>this new historical moment/subjectivity.</p> / Dissertation

Orientador: Ana Raquel Marques Martins da Cunha Portugal / Resumo: Na história dos Andes, o comando das diversas etnias locais coube aos curacas, ou caciques andinos, que exerciam funções que variavam do ritual religioso à guerra. No presente trabalho, realizamos um estudo das representações dos curacas contidas em duas crônicas de autores peruanos concluídas no princípio do século XVII: a Nueva Crónica y Buen Gobierno (1616), de Felipe Guaman Poma de Ayala, e os Comentarios Reales (1609, 1617), de Inca Garcilaso de la Vega. Fizemos um estudo sistemático, levando em conta todas as menções diretas ou indiretas dos curacas nas duas crônicas, cotejando-as com o material historiográfico sobre os curacas. Com o aporte da historiografia, podemos vislumbrar as dimensões do protagonismo das lideranças nativas do Peru registradas em diversas outras fontes alheias às crônicas. Longe de meros intermediários, os curacas agiram nos Andes de modo a garantir seus interesses e legitimar suas posições, como atesta o exemplo do próprio Guaman Poma. / Abstract: In the history of the Andes, the curacas were responsible for the command of the various local ethnic groups. They fulfilled duties that ranged from religious rituals to war. In the present work, we have carried out a study of the representations of the curacas contained in two chronicles written by Peruvian authors in the early seventeenth century: The Nueva Crónica y Buen Gobierno (1616), by Felipe Guaman Poma de Ayala, and the Comentarios Reales (1609- 1617), by Inca Garcilaso de la Vega. We have performed a systematic study, taking into account every direct or non-direct mention of the curacas in both chronicles, siding them with the historiographic material on the curacas. With the historiographic contribution, we have been able to contemplate the dimensions of the role of the native leaders of Peru registered in several other sources besides the chronicles. Far from mere middlemen, the curacas acted in the Andes so as to guarantee their own interests and legitimize their positions, as attested by the example of Guaman Poma himself. / Mestre

This article examines the representation of musical culture in three Peruvian authors of the seventeenth century. Analysis of their written works highlights the presence and usage of musical knowledge through which these historical actors demonstrate a capacity to construct in writing an individual and collective identity in colonial society. / El presente artículo examina la forma por la cual se hace presente una cultura musical en tres personajes históricos del Perú del siglo XVII. A partir del análisis de algunos textos producidos por estos, se constata la presencia y utilización de un conjunto de saberes musicales por medio de los que se demuestra la capacidad de estos personajes para construir, desde la palabra, una identidad de orden individual y colectiva en la sociedad de la época.

Collca and Sapçi: A Perspective on Inka Storage via Ethnographic AnalogyIn the 1970’s Murra proposed studying post-Inka descendants of the Inka storage (qullka) system by following up the colonial term sapçi. Both Guaman Poma (1615) and the Huarochirí Quechua manuscript (1608) used this obscure word to denote stores for communal use. Today, the same villages in which the Huarochirí texts were gathered have buildings called Collcas, which contain storage deposits much like what Guaman Poma pictured under the name of sapçi. Ethnographic observation (1994-2001) at the Collca of Tupicocha suggests that modern local storage systems up to the 20th century bore significant likeness to the sapci, and lesser likeness to qullka. Like Inka warehousing, the Collca is associated with khipus. Like the colonial sapçi, however, the Collca architecturally fuses warehousing with the central structure of the nucleated village on the Toledan reducción model. Also like Guaman Poma’s sapçi, it administers intracommunal holdings rather than serving the state sector. The ritual regimen which governs the Collca, and which has allowed frequent changes in its design and functions, may offer an ethnographic analogy relevant to both Inka and colonial eras. / En la década de 1970, Murra propuso investigar los derivados posttawantinsuyu del sistema inka de almacenes (qullka) mediante el estudio del término colonial "sapçi". Tanto en el texto de Guaman Poma (1615) como en el manuscrito quechua de Huarochirí (1608) utilizan este vocablo oscuro para denominar lo almacenado para uso comunal. Hoy, los mismos pueblos donde se recogieron las narrativas de Huarochirí poseen edificios llamados collcas; ellas contienen depósitos parecidos al que Guaman Poma dibujó bajo el nombre de sapçi. Las observaciones etnográficas (1994-2001) en la collca de Tupicocha sugieren que los sistemas modernos de almacenamiento guardaron similitudes con el sapçi, y en menor grado, con la qullka, hasta el siglo XX. Al igual que el almacenamiento inka, la collca se asocia con los khipus. De similar manera que el sapçi colonial, la collca fusiona dentro de su arquitectura el almacenamiento y la estructura central del pueblo nucleado en forma de reducción toledana. También hay parecido con el sapçi de Guaman Poma en cuanto que la collca administra bienes intracomunales en vez de servir al sector estatal. El régimen ritual que gobierna la collca, y que ha permitido frecuentes cambios en su diseño y sus funciones, puede ofrecer una analogía etnográfica relevante tanto a los casos inka como colonial.

A partir de un documento inédito, este ensayo discute la participación de Felipe Guaman Poma de Ayala como intérprete y asistente del juez encargado de la primera composición general de tierras en el valle de Jauja. La presencia del cronista en dicho valle sugiere nuevas pistas para desentrañar el problema de las fechas de redacción de la Nueva corónica. Además, el análisis de su experiencia con el visitador resulta crucial para entender sus ideas en cuanto a la propiedad individual de la tierra y a los títulos coloniales a la misma, argumentos que desplegaría al verse involucrado en el conjunto de acciones legales dirigidas a asegurar los títulos a las tierras familiares en Huamanga.

Se hace un análisis de la «Platica y conuerzacion de los pretenciores», breve sección del «Buen gobierno», la parte sobre el régimen colonial de la crónica de Felipe Guaman Poma de Ayala. El trabajo es un ensayo sobre un modo posible de abordar la información y visión sobre el sistema colonial del cronista andino, para revelar algo de su modo de observación, análisis social y forma elegida de construcción narrativa, aspectos a su vez condicionados por su posición social y formación multicultural. / This study focuses on the «Platica y conuerzacion de los pretenciores», a brief section of Guaman Poma de Ayala’s chronicle of c.1615. It considers a way of analysing the information and the author’s vision of the early Andean colonial system which show his procedures in social observation and narrative construction. It also makes some remarks about his special social position and doublesided cultural formation.