Abstract:According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent of the incense combined with other sensorial stimuli were deployed to create a multilayered spectacle. At the center of this display of lights and shadows, of sounds and meanings, of perfumes and images, was the figure of the baroque preacher. In this essay, I study the connection between preaching and theatricality in the colonial Latin-American world. To that end, I analyze the treatise on Christian oratory entitled Arte de sermones para saber hacerlos y predicarlos (1677) written by Martín de Velasco, a Franciscan Creole born in Santa Fe de Bogotá. In the first part of the essay, I describe how Velasco creates his own figure of a lettered Creole through scenes that use a belligerent rhetoric. In the second part, I analyze Section XI of Arte, dedicated entirely to explain the role of the actio in the pulpit. In both instances, I found that Velasco's text echoes a larger discussion about the circulation and production of knowledge in the complex colonial Latin-American world.
摘要:根据这一时期的历史记载，在巴洛克时代，布道是一种在戏剧空间中进行的壮观活动。音乐和舞台道具的使用是为了强化布道的信息。这是一场感官盛宴，观众被描绘圣经场景的雕塑、绘画和艺术彩色玻璃所包围，而香的气味与其他感官刺激相结合，创造了一个多层次的奇观。在这场光与影、声与意、香与像的展览中，处于中心位置的是巴洛克式传教士的形象。在这篇文章中，我研究了拉丁美洲殖民世界中布道和戏剧性之间的联系。为此，我分析了出生于波哥大圣菲的方济各会克里奥尔人Martín de Velasco所写的关于基督教演讲的论文《Arte de sermones para saber haacerlos y predicarlos》(1677)。在文章的第一部分，我描述了贝拉斯科如何通过使用好战修辞的场景创造出他自己的克里奥尔字母形象。在第二部分中，我分析了art的第十一节，完全致力于解释在讲坛上的行动的作用。在这两个例子中，我发现贝拉斯科的文本呼应了一个更大的讨论，即在复杂的殖民拉丁美洲世界中，知识的流通和生产。
{"title":"Reglas para el piélago, sonda para lo insondable y camino para lo inaccesible. Martín de Velasco y su Arte de sermones","authors":"Juan M. Vitulli","doi":"10.1353/ltr.2020.0016","DOIUrl":"https://doi.org/10.1353/ltr.2020.0016","url":null,"abstract":"Abstract:According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent of the incense combined with other sensorial stimuli were deployed to create a multilayered spectacle. At the center of this display of lights and shadows, of sounds and meanings, of perfumes and images, was the figure of the baroque preacher. In this essay, I study the connection between preaching and theatricality in the colonial Latin-American world. To that end, I analyze the treatise on Christian oratory entitled Arte de sermones para saber hacerlos y predicarlos (1677) written by Martín de Velasco, a Franciscan Creole born in Santa Fe de Bogotá. In the first part of the essay, I describe how Velasco creates his own figure of a lettered Creole through scenes that use a belligerent rhetoric. In the second part, I analyze Section XI of Arte, dedicated entirely to explain the role of the actio in the pulpit. In both instances, I found that Velasco's text echoes a larger discussion about the circulation and production of knowledge in the complex colonial Latin-American world.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"17 - 34"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66303165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Staging Frontiers: The Making of Modern Popular Culture in Argentina and Uruguay by William Garrett Acree (review)","authors":"Elisabeth L. Austin","doi":"10.1353/ltr.2020.0024","DOIUrl":"https://doi.org/10.1353/ltr.2020.0024","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"152 - 153"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0024","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45869892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Malvinas. La guerra en el teatro, el teatro de la guerra by Ricardo Dubatti, and: Malvinas II. La guerra del teatro, el teatro de la guerra by Ricardo Dubatti (review)","authors":"B. Girotti","doi":"10.1353/ltr.2020.0025","DOIUrl":"https://doi.org/10.1353/ltr.2020.0025","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"153 - 155"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66303205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In this article I analyze the sixteenth-century New Spanish Jesuit play Triumpho de los Sanctos, written and performed at the Colegio Máximo de San Pedro y San Pablo in Mexico City as the centerpiece of an eight-day festival to welcome the arrival of a shipment of holy relics from Rome. The play focuses on four early Christian martyrs—saints Pedro, Doroteo, Gorgonio, and Juan—, whose bones were among those sent by Pope Gregory XIII to the New World. The choice the anonymous Jesuit authors made to foreground these four lives among all the saints, virgins, and other holy personages whose relics made it to New Spain is not coincidental. The recently arrived Society of Jesus believed the promotion of martyrdom would assist them in their desire to save the native souls of New Spain. The depiction of the four ancient martyrs as embodying the masculine ideals of holy courage and exemplary virtue allowed the Society to promote a blueprint for the conduct of those whom they would send out to be missionaries in this hostile new landscape. In relating the circumstances of the four saints' death in a dramatic work, moreover, the Jesuits allowed the audience to connect the recently arrived holy fragments of bone to the flesh and blood men whose suffering they believed would bring glory to God.
{"title":"Relics, Jesuit Masculinity, and the Performance of Martyrdom in Triumpho de los Sanctos","authors":"S. Kirk","doi":"10.1353/ltr.2020.0019","DOIUrl":"https://doi.org/10.1353/ltr.2020.0019","url":null,"abstract":"Abstract:In this article I analyze the sixteenth-century New Spanish Jesuit play Triumpho de los Sanctos, written and performed at the Colegio Máximo de San Pedro y San Pablo in Mexico City as the centerpiece of an eight-day festival to welcome the arrival of a shipment of holy relics from Rome. The play focuses on four early Christian martyrs—saints Pedro, Doroteo, Gorgonio, and Juan—, whose bones were among those sent by Pope Gregory XIII to the New World. The choice the anonymous Jesuit authors made to foreground these four lives among all the saints, virgins, and other holy personages whose relics made it to New Spain is not coincidental. The recently arrived Society of Jesus believed the promotion of martyrdom would assist them in their desire to save the native souls of New Spain. The depiction of the four ancient martyrs as embodying the masculine ideals of holy courage and exemplary virtue allowed the Society to promote a blueprint for the conduct of those whom they would send out to be missionaries in this hostile new landscape. In relating the circumstances of the four saints' death in a dramatic work, moreover, the Jesuits allowed the audience to connect the recently arrived holy fragments of bone to the flesh and blood men whose suffering they believed would bring glory to God.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"79 - 98"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43545540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Staging Discomfort: Performance and Queerness in Contemporary Cuba by Bretton White (review)","authors":"L. Fountain-Stokes","doi":"10.1353/ltr.2020.0028","DOIUrl":"https://doi.org/10.1353/ltr.2020.0028","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"157 - 158"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44270656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introducción: Las regiones que dejaron de ser artísticamente desiertas: Una exploración de las nuevas perspectivas de las prácticas teatrales coloniales latinoamericanas","authors":"Catalina Andrango-Walker","doi":"10.1353/ltr.2020.0015","DOIUrl":"https://doi.org/10.1353/ltr.2020.0015","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"16 - 7"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43456395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Lettered men, who arrived to the Andean region as missionaries, soldiers, and historians, wrote abundantly about the natives' ceremonies and their remarkable ability to sing and to play musical instruments. Music and performance soon became a standard part of religious conversion as well as a means of reaffirming Spanish power at public events such as the arrival of new officials, the births and deaths of members of the royal family, and the canonization of Catholic saints. This article focuses on the use of such strategies to promote Christianity in two works. The first is the evangelization manual Symbolo Catholico Indiano (Lima 1598) written by Franciscan friar Luis Jéronimo de Oré. The canticles in particular were represented with European liturgical music and lyrics in Quechua and used as a pedagogical tool to replace the violent methods by which the Spaniards had tried to impose their Catholic faith on the natives. This mix of Andean and European elements is also a common denominator in the missional opera, San Ignacio de Loyola, composed in the 18th century in the Jesuit missions of Paraguay and taken later to the Chiquitos region of present-day Bolivia. San Ignacio narrates the exemplary lives of the founding fathers of the order, Saint Ignatius of Loyola and Saint Francis Xavier, centering on the protagonists' love of God, their fight against evil, and their mission to spread throughout the world the word of God. Although Symbolo and San Ignacio belong to different genres and were produced more than a century apart, both works show the effective use of performance and music in Catholic conversion to teach and delight at the same time. They also demonstrate how Franciscans and Jesuits promoted their religious orders within the colonial system, while at the same time showcasing the talents of the native inhabitants.
摘要:以传教士、士兵和历史学家的身份来到安第斯地区的博学之士，对当地人的仪式和他们非凡的唱歌和演奏乐器的能力写了大量的文章。音乐和表演很快成为宗教皈依的一个标准部分，也成为在公共事件中重申西班牙权力的一种手段，如新官员的到来，王室成员的出生和死亡，以及天主教圣徒的册封。本文着重在两部作品中运用这种策略来宣传基督教。第一本是由方济各会修士路易斯·伊萨罗尼莫·德·奥罗伊撰写的《印度天主教的象征》(1598年，利马)。特别是圣诗是用欧洲礼拜音乐和克丘亚语歌词来表达的，并被用作一种教学工具，以取代西班牙人试图将天主教信仰强加给当地人的暴力方法。这种安第斯和欧洲元素的混合也是传教歌剧San Ignacio de Loyola的共同特征，该歌剧于18世纪在巴拉圭的耶稣会传教中创作，后来被带到今天玻利维亚的奇基托斯地区。《圣伊格纳西奥》讲述了修道会创始人圣依纳爵·罗耀拉和圣方济各·泽维尔的典范生活，主要讲述了主人公对上帝的爱，他们与邪恶的斗争，以及他们在世界各地传播上帝话语的使命。虽然《象征》和《圣伊格纳西奥》属于不同的流派，制作时间也相隔了一个多世纪，但这两部作品都展示了在天主教皈依过程中，表演和音乐的有效运用，同时起到了教学和愉悦的作用。他们还展示了方济各会士和耶稣会士如何在殖民体系内推广他们的宗教秩序，同时展示了当地居民的才能。
{"title":"Música y performance como estrategias de conversión en el Virreinato del Perú","authors":"Catalina Andrango-Walker","doi":"10.1353/ltr.2020.0021","DOIUrl":"https://doi.org/10.1353/ltr.2020.0021","url":null,"abstract":"Abstract:Lettered men, who arrived to the Andean region as missionaries, soldiers, and historians, wrote abundantly about the natives' ceremonies and their remarkable ability to sing and to play musical instruments. Music and performance soon became a standard part of religious conversion as well as a means of reaffirming Spanish power at public events such as the arrival of new officials, the births and deaths of members of the royal family, and the canonization of Catholic saints. This article focuses on the use of such strategies to promote Christianity in two works. The first is the evangelization manual Symbolo Catholico Indiano (Lima 1598) written by Franciscan friar Luis Jéronimo de Oré. The canticles in particular were represented with European liturgical music and lyrics in Quechua and used as a pedagogical tool to replace the violent methods by which the Spaniards had tried to impose their Catholic faith on the natives. This mix of Andean and European elements is also a common denominator in the missional opera, San Ignacio de Loyola, composed in the 18th century in the Jesuit missions of Paraguay and taken later to the Chiquitos region of present-day Bolivia. San Ignacio narrates the exemplary lives of the founding fathers of the order, Saint Ignatius of Loyola and Saint Francis Xavier, centering on the protagonists' love of God, their fight against evil, and their mission to spread throughout the world the word of God. Although Symbolo and San Ignacio belong to different genres and were produced more than a century apart, both works show the effective use of performance and music in Catholic conversion to teach and delight at the same time. They also demonstrate how Franciscans and Jesuits promoted their religious orders within the colonial system, while at the same time showcasing the talents of the native inhabitants.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"125 - 148"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48883707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Catalina Andrango-Walker, Juan Vitulli, Jorge Luis Yangali Vargas, Octavio Rivera Krakowska, S. Kirk, C. Egan, Elaine M. Miller, César Barros A., Elisabeth L. Austin, Bettina Girotti, Agustina Trupia, David Tenorio, L. Fountain-Stokes
Abstract:According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent of the incense combined with other sensorial stimuli were deployed to create a multilayered spectacle. At the center of this display of lights and shadows, of sounds and meanings, of perfumes and images, was the figure of the baroque preacher. In this essay, I study the connection between preaching and theatricality in the colonial Latin-American world. To that end, I analyze the treatise on Christian oratory entitled Arte de sermones para saber hacerlos y predicarlos (1677) written by Martín de Velasco, a Franciscan Creole born in Santa Fe de Bogotá. In the first part of the essay, I describe how Velasco creates his own figure of a lettered Creole through scenes that use a belligerent rhetoric. In the second part, I analyze Section XI of Arte, dedicated entirely to explain the role of the actio in the pulpit. In both instances, I found that Velasco's text echoes a larger discussion about the circulation and production of knowledge in the complex colonial Latin-American world.
摘要:根据这一时期的历史记载，在巴洛克时代，布道是一种在戏剧空间中进行的壮观活动。音乐和舞台道具的使用是为了强化布道的信息。这是一场感官盛宴，观众被描绘圣经场景的雕塑、绘画和艺术彩色玻璃所包围，而香的气味与其他感官刺激相结合，创造了一个多层次的奇观。在这场光与影、声与意、香与像的展览中，处于中心位置的是巴洛克式传教士的形象。在这篇文章中，我研究了拉丁美洲殖民世界中布道和戏剧性之间的联系。为此，我分析了出生于波哥大圣菲的方济各会克里奥尔人Martín de Velasco所写的关于基督教演讲的论文《Arte de sermones para saber haacerlos y predicarlos》(1677)。在文章的第一部分，我描述了贝拉斯科如何通过使用好战修辞的场景创造出他自己的克里奥尔字母形象。在第二部分中，我分析了art的第十一节，完全致力于解释在讲坛上的行动的作用。在这两个例子中，我发现贝拉斯科的文本呼应了一个更大的讨论，即在复杂的殖民拉丁美洲世界中，知识的流通和生产。
{"title":"Remembering George (1934–2010)","authors":"Catalina Andrango-Walker, Juan Vitulli, Jorge Luis Yangali Vargas, Octavio Rivera Krakowska, S. Kirk, C. Egan, Elaine M. Miller, César Barros A., Elisabeth L. Austin, Bettina Girotti, Agustina Trupia, David Tenorio, L. Fountain-Stokes","doi":"10.1353/ltr.2020.0014","DOIUrl":"https://doi.org/10.1353/ltr.2020.0014","url":null,"abstract":"Abstract:According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent of the incense combined with other sensorial stimuli were deployed to create a multilayered spectacle. At the center of this display of lights and shadows, of sounds and meanings, of perfumes and images, was the figure of the baroque preacher. In this essay, I study the connection between preaching and theatricality in the colonial Latin-American world. To that end, I analyze the treatise on Christian oratory entitled Arte de sermones para saber hacerlos y predicarlos (1677) written by Martín de Velasco, a Franciscan Creole born in Santa Fe de Bogotá. In the first part of the essay, I describe how Velasco creates his own figure of a lettered Creole through scenes that use a belligerent rhetoric. In the second part, I analyze Section XI of Arte, dedicated entirely to explain the role of the actio in the pulpit. In both instances, I found that Velasco's text echoes a larger discussion about the circulation and production of knowledge in the complex colonial Latin-American world.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"1 - 1 - 124 - 125 - 148 - 149 - 150 - 151 - 152 - 152 - 153 - 153 - 155 - 155 - 156 - 156 - 157 - 15"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66302467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Teatro independiente. Historia y actualidad by Paula Ansaldo et al. (review)","authors":"Agustina Trupia","doi":"10.1353/ltr.2020.0026","DOIUrl":"https://doi.org/10.1353/ltr.2020.0026","url":null,"abstract":"","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"155 - 156"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49024777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In the course of his missionary work in Brazil in the latter half of the sixteenth century, the Jesuit José de Anchieta (1534-1597) authored multiple reports, lyric compositions, and dramatic spectacles about the lives and deaths of martyrs. Martyrdom thus became a consistent theme across his broad and variegated corpus—something in itself unsurprising, given the long history of martyrdom as an important religious subject for artistic portrayal, as well as the new avenues for martyrdom that confessional strife and missionary zeal opened up in the early modern period. And yet, there is no single kind of martyrdom typified in Anchieta's works. In this essay, I propose a comparative analysis of some of Anchieta's martyrological pieces as a way to highlight the different functions he assigns to classical and modern martyrs. We notice, for example, that the deaths of early Christians like Saint Laurence and Saint Ursula, already celebrated figures in medieval and early modern sources, are practically glossed over so as to focus instead on the saints' roles in the context of the nascent missions in Brazil, where they are treated as figures of inspiration and protection. In contrast, the misadventures of contemporary candidates for martyrdom, such as Pero Correia, João de Sousa, and Inácio de Azevedo, are rendered in much more careful detail. Especially when it comes to the last words and gestures of his fellow Jesuits, Anchieta writes with the sweeping eye of the chronicler, the mythmaker, and of course, the prospective martyrologist. Through strategic variation, Anchieta makes the martyr a nexus between the early history of Christendom and its recasting in the New World.
{"title":"Variations on Martyrdom by José de Anchieta","authors":"C. Egan","doi":"10.1353/ltr.2020.0020","DOIUrl":"https://doi.org/10.1353/ltr.2020.0020","url":null,"abstract":"Abstract:In the course of his missionary work in Brazil in the latter half of the sixteenth century, the Jesuit José de Anchieta (1534-1597) authored multiple reports, lyric compositions, and dramatic spectacles about the lives and deaths of martyrs. Martyrdom thus became a consistent theme across his broad and variegated corpus—something in itself unsurprising, given the long history of martyrdom as an important religious subject for artistic portrayal, as well as the new avenues for martyrdom that confessional strife and missionary zeal opened up in the early modern period. And yet, there is no single kind of martyrdom typified in Anchieta's works. In this essay, I propose a comparative analysis of some of Anchieta's martyrological pieces as a way to highlight the different functions he assigns to classical and modern martyrs. We notice, for example, that the deaths of early Christians like Saint Laurence and Saint Ursula, already celebrated figures in medieval and early modern sources, are practically glossed over so as to focus instead on the saints' roles in the context of the nascent missions in Brazil, where they are treated as figures of inspiration and protection. In contrast, the misadventures of contemporary candidates for martyrdom, such as Pero Correia, João de Sousa, and Inácio de Azevedo, are rendered in much more careful detail. Especially when it comes to the last words and gestures of his fellow Jesuits, Anchieta writes with the sweeping eye of the chronicler, the mythmaker, and of course, the prospective martyrologist. Through strategic variation, Anchieta makes the martyr a nexus between the early history of Christendom and its recasting in the New World.","PeriodicalId":41320,"journal":{"name":"LATIN AMERICAN THEATRE REVIEW","volume":"54 1","pages":"124 - 99"},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/ltr.2020.0020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41338899","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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