Concesiones Malinchistas: Teresa de la Parra’s Identification with Do?a Marina

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• 作者：Levilson C. Reis (1) lreis123@yahoo.com
• 关键词：Do?a Marina – Teresa de la Parra – Cortés ; Hernán – History of the Conquest of Mexico – Twentieth ; century women’s Venezuelan literature – Women’s identification – Female historical revisionism – Nomadism – Malinchismo
• 刊名：Neophilologus
• 出版年：2011
• 出版时间：October 2011
• 年：2011
• 卷：95
• 期：4
• 页码：579-591
• 全文大小：172.0 KB
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  2. Bosch, V. (1979). Esta pobre lengua viva: relectura de la obra de Teresa de la Parra. Caracas, Venezuela: Ediciones de la Presidencia de la República.
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  10. de Tapia, A. (1963). Relación. In A. Yá?ez (Ed.), Crónicas de la conquista (pp. 42–96). Biblioteca del Estudiante Universitario 2. Mexico City, Mexico: Universidad Nacional Autónoma. (Original work published 1939).
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  34. Russ, E. (2006). Disordering history, denying politics: Performative strategies in Teresa de la Parra’s Influencia de la mujer en la formación del alma americana. Latin American Literary Review, 34, 161–169.
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• 作者单位：1. Department of Foreign Languages, Otterbein University, Westerville, OH 43081-2006, USA
• 刊物类别：Humanities, Social Sciences and Law
• 刊物主题：Linguistics
  Historical Linguistics
  Comparative Linguistics
  Philology
  Comparative Literature
  Syntax
  
• 出版者：Springer Netherlands
• ISSN：1572-8668

文摘

In the first of a series of three lectures delivered in 1930 in Bogota, Colombia, on the roles women played in the history of Latin America, Venezuelan writer Teresa de la Parra (Ana Teresa Parra Sanojo) set out to revise Do?a Marina’s role in Cortés’s Conquest of Mexico. By deflating the epic elements of the official historiography, Parra downplays Cortés’s heroic exploits to re-present Do?a Marina as an exemplary female historical figure. While rectifying Do?a Marina's story in the historical accounts, Parra commits a glaring omission. She glosses over the Cholula episode which has tarnished Do?a Marina’s participation in the Conquest with the stigma of betrayal in the eyes of postcolonial nationalists. In this essay, I argue that this omission is particularly revealing about Parra’s life and writing. Haunted by a sense of national disaffection, Parra uses her “revised” portrait of Do?a Marina to rehabilitate her own image as a Venezuelan writer vis-à-vis a nation that she had “betrayed” and a Latin American public that she had abandoned when she left Venezuela for France in 1923.