Inaug.-Diss.--Göttingen. / "Literaturangabe": p. [113]-114.

My dissertation is focusing on the cocoa trade in colonial Spanish America. Cocoa is undoubtedly one of the New World products which has dominated Europe. The work is divided into four chapters. The first chapter focuses on pre-Columbus period. It describes the origin of cocoa bean, its spread and its significance to the first cultivators. Considerably big part of this chapter is dedicated to the importancy of cocoa bean for the Aztecs culture.The next chapter focuses on the arrival of Spanish colonists, their first experiences with cocoa bean, the beginning of the cocoa trade and its introduction and spread to Europe. The main points of the third chapter are the main areas of cocoa production and trading in the colonial period. Each part of this chapter focuses not only on the trade in Venezuela, Ecuador and New Spain but also on other related topics. The fourth chapter briefly describes Bourbon reforms and shows their influence on different areas of production in 18th and the beginning of 19th century. All findings are summarized at the final part. Keywords: Cocoa, trade, colonial Spanish America, Colonial administration, Spain, Viceroyalty of New Spain,Viceroyalty of Peru

Notre présent travail de recherche vise à cerner l’ensemble des spécificités qui entourent et caractérisent la traduction péruvienne de l’ouvrage du jésuite français Pierre Le Moyne La Gallerie des femmes fortes parue en France en 1647 et publiée dans la vice-royauté du Pérou en 1702. C’est à travers cette pièce rare que nous avons souhaité incarner et problématiser notre questionnement sur les rapports multiples entre identité nationale en formation, identité féminine péruvienne et relations culturelles et littéraires franco-péruviennes. Le choix de l’étude de cet ouvrage n’est donc pas uniquement issu d’inclinations personnelles, mais constitue selon nous, un exemple emblématique de l’utilisation religieuse, culturelle et politique d’un texte littéraire, artistique et à grande teneur morale. L’édition de 1702 est une illustration significative des liens dynamiques entre une œuvre littéraire, artistique et son contexte historique, tant du point de vue de ses inspirations, de son enracinement que de ses résonances avec une époque donnée. Dans leur forme vivante, ces maillons littéraire et historique renvoient tout autant aux discours sur le statut social de la femme et à ses mutations, qu’au rôle actif que certains des protagonistes de l’édition péruvienne eurent à l’intérieur de cette époque même. Ainsi, au-delà de la résonance entre la version originale et la version péruvienne du texte, les principaux artisans de la traduction castillane du livre furent principalement incarnés par Pierre Le Moyne, auteur et poète à l’origine de l’ouvrage, ainsi que les créoles, don Fernando Bravo de Lagunas traducteur du livre auteur d’une remarquable dédicace ; Fray Miguel Adame de Montemayor, graveur et peintre qui évolua entre le XVIIème et le XVIIIème siècle et réalisa les gravures pour l’édition péruvienne du texte de 1702 et Joseph de Contreras y Alvarado, imprimeur et éditeur, qui rendit possible la parution de ce premier texte français traduit et publié dans la vice-royauté du Pérou. / Our current research work aims to identify all the specificities surrounding and characterizing the Peruvian translation of the French Jesuit Pierre Le Moyne’s work: The Gallery of heroick women published in France in 1647 and released in the viceroyalty of Peru in 1702. It is through this rare piece that we wished to embody and problematize our questioning on the multiple relationships between the national identity which was in formation process, Peruvian female identity and franco-peruvian cultural and literary relations. The choice of the study of this book is not only the result of personal inclinations, but constitutes, in our opinion, an emblematic example of the religious, cultural and political use of a literary, artistic and moral document. The 1702 edition is a significant illustration of the dynamic links existing between a literary and an artistic work and its historical context, from the point of view of its inspirations, its roots and its resonances with a given era. In their living forms, these literary and historical links refer as much to the discourses on the social status of women and its mutations, as to the active role that some of the protagonists of the Peruvian publication had within this very period. Thus, beyond the resonance between the original version and the Peruvian version of the text, the main artisans of the Castilian translation of the book were mainly embodied by Pierre Le Moyne, author and poet who accounted for the book , as well as the creoles, don Fernando Bravo de Lagunas translator of the Peruvian version, author of a remarkable dedication; Fray Miguel Adame de Montemayor, engraver and painter who evolved between the seventeenth and eighteenth century and realized the engravings for the Peruvian edition of the text of 1702 and Joseph de Contreras y Alvarado, printer and publisher, which made possible the publication of this first French text translated and published in the viceroyalty of Peru.

The goal of the thesis is to analyze war customs of Tarahumara people of northern Mexico during colonial era. The work focuses on technological aspects of warfare like weaponry, strategy and tactics, as well as social phenomenas like taking captives, using of witchcraft and role of violence in Tarahumara culture. 17th century conflicts are seen as part of the process, which has caused significant changes in tarahumaran perception of war an it's role in society. Analysis of this process is the another goal of this work. Further subject of interest are conflicts with the other native groups in the region and influence of tarahumara armed resistance to changes in attitude of colonial institutions. The work is based on sources of the ecclesiastical origin - reports, letters and chronicles of missionaries, as well as correspondence of viceroyal officials and records of military commanders operating in tarahumara region. Keywords: Tarahumaras, Northern Mexico, Warfare, 17th century, Viceroyalty of New Spain, Presidio Powered by TCPDF (www.tcpdf.org)

Submitted by Bárbara Schneider de Figueiredo (basfigueiredo@gmail.com) on 2018-01-29T18:20:12Z No. of bitstreams: 1 Dissertacao_Barbara_Schneider de Figueiredo.pdf: 1207537 bytes, checksum: 37565704480c1491679314b6a17190d7 (MD5) / Approved for entry into archive by Jacqueline de Almeida null (jacquie@franca.unesp.br) on 2018-01-30T11:59:44Z (GMT) No. of bitstreams: 1 Figueiredo_BS_me_fran.pdf: 1207537 bytes, checksum: 37565704480c1491679314b6a17190d7 (MD5) / Made available in DSpace on 2018-01-30T11:59:44Z (GMT). No. of bitstreams: 1 Figueiredo_BS_me_fran.pdf: 1207537 bytes, checksum: 37565704480c1491679314b6a17190d7 (MD5) Previous issue date: 2017-12-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A evangelização ocorrida no Vice-Reinado do Peru no século XVII representou o projeto empreendido pela Igreja Católica em prol da salvação das almas indígenas e da consolidação de seu poder e influência na América espanhola. A Extirpação de Idolatria, processo político-religioso que se constituiu na busca e destruição dos objetos indígenas ligados a religiosidade ameríndia, como também na supressão dos cultuadores dessas crenças, está ligada a evangelização como uma de suas formas de expressão. Visualizamos que durante o período de atuação do processo de extirpação foi comum à produção de materiais ligados as doutrinas religiosas e a sistematização de informações que pudessem guiar o projeto impulsionado pela Igreja e pelas ordens religiosas presentes no Vice-Reinado. Assim, por meio da análise dos manuais de Extirpação, Extirpación de la idolatría de los indios del Perú de 1621 do jesuíta Pablo José de Arriaga e Carta pastoral de exhortación e instruccion contra las idolatrias de los indios del arcebispado de Lima de 1649 do Arcebispo Pedro de Villagómes, escritos em benefício da evangelização, buscamos compreender, através da comparação dos discursos e da retórica da alteridade, a relação existente entre os escritos de Pablo José de Arriaga e os de Pedro de Villagomez procurando demarcar as suas diferenças e similitudes a fim de sustentarmos nossa hipótese de que as concepções religiosas de cada um fundamentou uma estrutura diferente para o processo de extirpação, modificando assim a edificação do processo de Extirpação de Idolatrias. / The evangelization of the Viceroyalty of Peru in the seventeenth century represented the project realized by the Catholic Church for the salvation of indigenous souls and the consolidation of their power and influence in Spanish America. The Extirpation of Idolatry, a political-religious process that was created in the search and destruction of indigenous objects related to Amerindian religiosity, as well as in suppressing the worshipers of these beliefs, is linked to evangelization as one of its forms of expression. We have seen that during the period of the extirpation process, it was common to produce materials linked to religious doctrines and systematization of information that could guide the project promoted by the Church and by the religious orders present in the Viceroyalty. Thus, through the analysis of the manuals of Extirpation, Extirpación de la idolatría de los indios del Perú, 1621, by the Jesuit Pablo Jose de Arriaga, and Carta pastoral de exhortación e instruccion contra las idolatrias de los indios del arcebispado de Lima of 1649 by the Archbishop Pedro de Villagomez, written for the benefit of evangelization, we seek to understand, through the comparison of the discourses and the rhetoric of alterity, the relation existing between the writings of Pablo José de Arriaga and those of Pedro de Villagomez seeking to demarcate their differences and similarities in order to support our hypothesis that the religious conceptions of each one founded a different structure for the process of extirpation, thus modifying the construction of the process of Extirpation of Idolatries.

Through both an archaeological and historical approach, we present a study of the indigenous sociopolitical formations of the Tarapacá region for the 15th and 16th centuries. Information is systematized from early documentary sources related to the permanent and seasonal populations residing along the Pacific coast between the Loa and Camarones rivers, an area bordered by the chiefdoms of Tacna and the Inca provinces of Atacama, Caranga, and Quillaca. Our qualitative analysis of regional and local historical and archaeological sources from the beginnings of the Spanish colonial period (1535-1571), suggest that regional geopolitical organization was characterized by the fragmentary dynamics among the Tarapacan populations and the provincial Inca apparatus. The available data suggest that at the time of the Spanish conquest of the Tarapacá region, the establishment of a cultural hierarchy and local and regional political affiliation were linked to the operation of an Inca provincial jurisdiction (or wamani). / Se presenta un estudio de las formas sociopolíticas indígenas de Tarapacá mediante un enfoque histórico y arqueológico para el siglo XV y XVI. Se sistematiza la información correspondiente a los habitantes que residían en forma permanente o estacional entre la franja litoral del océano Pacífico, entre el río Loa y Camarones, un extenso territorio colindante con los cacicazgos de Tacna al norte y las provincias incaicas de Atacama al sur, Caranga y Quillacas, al este. El análisis cualitativo de la información local y regional permite avanzar en la lectura de los datos arqueológicos y documentales, sugiriendo que durante la primera mitad del siglo XVI se habría desplegado una organización geopolítica caracterizada por la dinámica segmentaria de las poblaciones tarapaqueñas y el aparato provincial cuzqueño. Este trabajo propone que los españoles, al momento de la invasión, pudieron observar en esta región el funcionamiento de las jurisdicciones incaicas o wamani, a partir de lo cual se deberían analizar las posteriores transformaciones coloniales ocurridas dentro del virreinato peruano.

L'objectif de cette thèse est d'analyser la façon dont les pratiques picturales des Andes coloniales se nouent et se dénouent autour d'une « matière » européenne. La nature d'un tableau répond à des exigences politiques occidentales (l'évangélisation des Indigènes) mais sa fonction va progressivement être démembrée au profit d'une peinture qui s'américanise.C'est d'abord en étudiant le contexte artistique de l'Europe des XVIe et XVIIe siècles, ses pratiques ainsi que ses transferts humains et matériels dans la vice-royauté péruvienne que l'on peut par la suite juger des différences, des nouveautés, mais aussi des transgressions des oeuvres produites sur place, la dimension régionale étant l'un des premiers facteurs de ces changements. Les médiateurs de cette circulation, acteurs sociaux et vecteurs de nouveaux codes, redéfinissent les qualités du peintre indien qui met un terme définitif à sa condition de « main d'oeuvre » pour devenir un artiste indépendant.Alors que tout porterait à croire que l'Espagne refuse l'américanisation de cette peinture, les fondements théoriques de l'art occidental sont pourtant à l'origine de formes et de thèmes nouveaux qui caractérisent essentiellement le XVIIIe siècle andin. L'adoption d'un système iconographique européen par des peintres principalement métis et indiens permet paradoxalement la réappropriation d'un support longtemps utilisé comme un objet de domination, de soumission et de contrôle de la part des autorités espagnoles. / This thesis aims to analyse the way pictorial practices of the colonial Andes are formed and dissolved around a “European matter”. The nature of a painting complies with occidental political requirements (the evangelisation of the Indigenous) but its function will be progressively “dismembered” in favour of a painting which is becoming Americanised.The regional dimension being one of the factors of these changes, we will first study the artistic context of Europe in the 16th and 17th centuries. Through the study of its practices and also its human and material transfers in the Peruvian viceroyalty, we can thereafter judge of the differences, the innovations, but also the transgressions of the artworks made on site. The mediators of this circulation, the social actors and the carriers of new codes, redefine the qualities of the Indian painter who put a definitive end to his condition of “labour” to become an independent artist.While we could be led to believe that Spain refuses the Americanisation of this form of painting, yet the theoretical foundations of Western art are at the starting point of forms and new themes which essentially characterise Andean’s 18th century. The adoption of a European iconographic system, mostly by mixed-race and Indian painters, paradoxically allows the reapropriation of a medium used for a long time by the Spanish authorities, as an object of domination, submission, and control.

The economy of favor was an essential mechanism in the construction of monarchical and colonial power, encouraging the loyalty of subjects and a more effective control of the territory. Through an analysis of the residencia of don Pedro Osores de Ulloa, this article aims to examine the role of Charcas’s second visita and land composition judge in the exercise of colonial favor. The research suggests that land and the assignment of its property, mediated by Osores de Ulloa, formed the basis of loyalty and patronage relationships that strengthened viceregal power in Charcas and articulated different layers of power. / La economía de la gracia era un mecanismo esencial en la construcción del poder monárquico y virreinal, al fomentar la lealtad de los súbditos y el control efectivo del territorio. A partir de la residencia de don Pedro Osores de Ulloa, este artículo examina el rol del segundo juez de visita y composición de tierras charqueñas en el ejercicio de la dádiva virreinal. En ese sentido, se postula que la tierra y la cesión de los derechos a su propiedad, mediatizadas por Osores de Ulloa, constituyeron la base de relaciones de lealtad y patronazgo que afianzaron el dominio virreinal sobre los vecinos charqueños al tiempo que articularon las distintas esferas jurisdiccionales del poder.

Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée des documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Pendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de manière diverse dans la production artistique de la vice-royauté du Pérou. Dans cette thèse, nous nous penchons sur le phénomène de la représentation de la nature dans la peinture andine coloniale, en nous concentrant en particulier sur la région occupée actuellement par le Pérou et la Bolivie, et sur une périodisation qui comprend principalement les XVIIe et XVIIIe siècles. Ce travail cherche à approfondir une problématique qui a été majoritairement oubliée ou sous-estimée par le discours critique de l’histoire de l’art de la période coloniale. Nous aborderons cette problématique à partir de différentes perspectives. Cependant, l'aspect religieux semble l’élément fondamental pour expliquer les principaux enjeux derrière ce geste pictural. La peinture de la nature et de l'espace fut représentative des valeurs et des fondements spirituels de la religiosité coloniale. Les andins ont pensé la nature comme un moyen de visualiser des expériences métaphysiques profondes, de repenser les identités religieuses et d’accorder aux images des pouvoirs magico-religieux qui s’avéraient essentiels pour le bien-être de différentes communautés. Bien que l’étude des rapports religieux soit indispensable pour élucider cette structure symbolique complexe, tant pour la peinture de paysage (comme unité organique), que pour la représentation des éléments individuels, la représentation de la nature a révélé, dans bien d'autres cas, des préoccupations concrètes directement liées aux circonstances, autant politique qu’ historique, de la société coloniale, en s’adaptant aux changements constants d’un espace et d’une société en transformation. Loin d'être uniquement soumis à l'exercice décoratif, ou dans le cas de la peinture religieuse, de remplir la fonction de contexte pictural, les peintres coloniaux ont valorisé cet élément en l'abordant comme un objet individuel, chargé de pouvoir symbolique et capable de transmettre des messages et de produire des discours, toujours en lien avec les préoccupations des différents secteurs de la société coloniale. / In the colonial period, the great subject matter of nature was instrumentalized by different sectors of Peruvian vice regal society. Essentially as an evangelization tool, but also as a space where colonial religiosity was manifested, the representation of nature was interpreted in different ways by artists and consumers of vice regal paintings. In this dissertation, we analyze the representation of nature in colonial Andean painting, focusing especially on the Central Andean region (currently covered by Peru and Bolivia) in the seventeenth and eighteenth centuries. This work seeks to move forward on an issue that has been largely underestimated by critical discourse of art history regarding the Latin American colonial period. We will discuss this problem from different perspectives. However, the religious aspect seems to be above all a fundamental element to explain the key issues behind this pictorial manner. The representation of nature was consistent with spiritual values that forged colonial religiosity. Andean people considered nature as a way to visualize deep metaphysical experiences by rethinking religious identities and granting to the images magical-religious powers essential for the well-being of communities. Beyond the religious aspect, we focus on the analysis of other consequences and interests that are related to the different forms of representation of territories and elements of nature, allowing different social groups to assert their ideological, political and cultural positions. The representation of nature and space in colonial painting was never a simple decorative object, nor, in the case of religious painting, did it fulfil the role of scenographic framework and background to pictorial stories. The colonial painters treated this element with particular concern, conceding it special value and narrative powers, according to different preoccupations in colonial society.

Comment un monarque agit-il pour exercer son pouvoir sur deux territoires éloignés géographiquement, mais tous deux peuplés par des minorités juridiques ? Cette thèse a pour objectif de mener une étude comparative sur la manière dont la Monarchie Hispanique a exercé le contrôle politique, et notamment le contrôle de la mobilité spatiale, sur la minorité morisque du royaume de Valence et sur la minorité indienne péruvienne au cours du XVIe siècle.Notre recherche met l’accent sur l’importance du contrôle de la mobilité spatiale de ces minorités comme un moyen pour mettre en application des objectifs spécifiques au bon fonctionnement de la gouvernance de chaque territoire. De l’analyse de ces objectifs, réalisé en grande partie à partir de l’ordre juridique de l’époque, il découle que les Morisques et les Indiens ont été l’objet d’un traitement différencié, motivé par le contexte politique, social ou économique qui prévalait dans chaque espace géographique. Toutefois, notre travail met en évidence la volonté de déplacer ces minorités pour les éloigner des côtes ou les regrouper dans des villages séparés, afin de les confiner et de les isoler. Paradoxalement, nous avons également observé, à la suite de la mise en place d’un tel contrôle, l’apparition d’effets non prévus, tels que les fuites et d’autres formes de résistance. / How does a monarch exercise his power over two geographically distant territories, both populated by juridical minorities? This thesis intends to carry out a comparative study of the way in which the Hispanic Monarchy exercised political control, and in particular territorial mobility control, over the Morisco minority in the Kingdom of Valencia and the Peruvian Indian minority during the 16th century.This research will show the important role of controlling the territorial mobility of those minorities as the monarchical instrument for reaching its political, social and economic goals in each territory. The analysis of these objectives, based in large part on the legislative rulings of that era, infers that the Moriscos and the Peruvian Indians endured a differentiated control due to the political, social and economic context that prevailed in each of the territories they occupied. Nevertheless, this work reveals the will of the monarchical power in displacing and alienating these minorities from the coasts or grouping them in distant villages, in order to better confine and control them. Paradoxically, it is found that such control ends in creating “undesirable” effects, such as escapes and other forms of resistance.