Las pastorelas
Una de las manifestaciones más bellas de la natividad del Niño Jesús es la pastorela. De acuerdo con Hijar Ornelas (2008) la pastorela “es una de las reliquias más genuinas del teatro popular” (p. 23). La pastorela “pertenece al género del teatro popular y su estructura argumental se apoya en el pasaje del evangelio de San Lucas 2, 1-20” (p. 23). En este capítulo de la Biblia, un ángel se aparece ante un grupo de pastores y los insta a ir a Belén a adorar al Mesías. Las pastorelas, o “coloquios de pastores” como antes se les llamaba, fueron introducidas en México por los misioneros durante la conquista española y hoy en día se han convertido en una de las tradiciones navideñas más populares y arraigadas de México.
Las pastorelas surgieron de los primeros comienzos del teatro medieval en España llamados autos sacramentales. Según explica Hijar Ornelas (2008) “…los autos sacramentales eran dramatizaciones de pasajes de la historia sagrada presentados en formas de dialogo” (p. 25). Las dramatizaciones de carácter religioso se representaban para celebrar el Día de Corpus Christi. Hijar Ornelas escribe que “su formato fue el de un entremés corto, de carácter catequístico y edificante, compuesto para facilitar al pueblo la comprensión de los misterios de la fe, en especial de los sacramentos” (p. 34). Tiempo después, en Italia al finalizar la Edad Media y a principios del Renacimiento, el poeta Torcuato Tasso introdujo un nuevo género teatral con su obra “Aminta”. El género de Tasso nombrado “fabula pastoril” era una “pastorela o villancico escenificado” (Fernández Martin, 2009, p. 86), y de aquí surgieron muchas otras obras. Entre ellas “El sacrificio” de Agustín Beccari y “Pastor Fido” de Battista Guarini.
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... el “Auto de la Adoración de los Reyes Magos”” (México Desconocido, n.d., para 4).
Las pastorelas en la actualidad
Hoy en día se acostumbra escenificar las pastorelas durante la época navideña. Las pastorelas mexicanas difieren de un lugar a otro, pero el tema central sigue siendo el mismo: la lucha entre el bien y el mal. Las pastorelas suelen presentarse en teatros, escuelas, iglesias y museos. Fernández Martin (2003) señala que “se han incorporado cantos y música tradicionales que dan tinte particular a las pastorelas de cada región estado, pueblo o ciudad donde se representan” (p. 93). Verti (1991) señala que las pastorelas son piezas jocosas y alegres, con sentido del humor inocente y campirano” (p. 177), pero en México, las pastorelas mexicanas tienen una fuerte dosis de doble sentido, conocido como albur mexicano, y están llenas de ironía y burla política.
Alfredo Corchado — is the author of the book named " Midnight in Mexico:A Reporter's Journey through a Country's Descent into Darkness”. We are, probably, all interested in finding out the facts, news, and gossips about Mexico. This country was always associated with something mysterious. For me personally, the title of the book seemed to be very gripping, I was interested in revealing the secrets of life in Mexico, thus I decided to read this book. I was really curious, what can Alfredo Corchado tell me about the life in this country, the country, where the constant massacre is the picture, people used to see. In his book, the author tells the reader about the real situations, which took place in Mexico, reveals the secrets of the people’s lives and tells the story from the “inside”. He describes the way he lives his life, and does his work. The " Midnight in Mexico: A Reporter's Journey through a Country's Descent into Darkness” is a memoir. Author tries to transform his own experience into the story line. Corchado shows the reader the darkest episodes of Mexican society, while relying on his own experience.
One of the most interesting aspects of Diaz’s narrative is towards the end when Cortés broaches the subject of Christianity with Montezuma. Conversion and missionary work was one of the most important and lasting goals of the conquistadors and other contemporary explorers, they were charged with this duty by the rulers who sent t...
C. W. Hackett, ed., Historical Documents relating to New Mexico, Nueva Vizcaya, and Approaches Thereto, to 1773, vol. III (Washington: Carnegie Institution of Washington, 1937), 327-35.
Bowden’s idea of why this happened focused mainly on the old misunderstood traditions of the tribes living in Mexico. He shows how the friars, churches and icons took the blunt of the revolts force. Bowden points out the religious differences and similarities be...
Castillo first shows the reader her distrust of patriarchy and its vertical structures through La Loca Santa’s death. The first structure under scrutiny here is the Catholic Church. After La Loca awakens she throws herself into the air and lands on the top of the Church, saying that those below her carry the same scent that she had smelled while in hell. With Loca high above the others she can be seen as a “substation” for a new Chicana Christ figure (Delgadillo 895). She tells those gathered below that she has been sent back to pray for them so that they would be able to see their Creator in heaven. Father Jerome pleads with her to come down so that the congregation could pray for her. She then reminds him that it is she that was sent to pray for them. With La Loca in the position of a Christ figure of the system, the structure of the system, in this case religion,...
Dutto, Rev. L. A. The Life of Bartolomé de Las Casas and the First Leaves of American Ecclesiastical History St. Louis, MO: B. Herder 1902
During the late 19th century and early 20th century, a form of Mexican folk music called the corrido gained popularity along the Mexico-Texan border (Saldívar). Growing from the Spanish romance tradition, the corrido is a border ballad “that arose chronicling the history of border conflicts and its effects on Mexican-Mexican culture” (Saldívar). A sort of “oral folk history,” the corrido was studied intensely by Américo Paredes, who then constructed his masterpiece, George Washington Gomez, around the “context and theme” of the corrido (Mendoza 146). But the novel is not a traditional corrido, in which the legendary hero defends his people and dies for his honor. Instead, through its plot, characterization, and rhetorical devices, George Washington Gomez is an anti-corrido.
In the late nineteenth and early twentieth century the cultural and societal foundations were laid for the newly formed nations of the America. Both José Enrique Rodó and Jose Marti made large contributions to the development of Latin America through their literature. Both sought to improve and encourage the people of The America’s, however it is Jose Marti who truly succeeds in inspiring a national pride in his writing Our America.
“The Conquest of New Spain” is the first hand account of Bernal Diaz (translated by J.M. Cohen) who writes about his personal accounts of the conquest of Mexico by himself and other conquistadors beginning in 1517. Unlike other authors who wrote about their first hand accounts, Diaz offers a more positive outlook of the conquest and the conquistadors motives as they moved through mainland Mexico. The beginning chapters go into detail about the expeditions of some Spanish conquistadors such as Francisco Hernandez de Cordoba, Juan de Grijalva and Hernando Cotes. This book, though, focuses mainly on Diaz’s travels with Hernando Cortes. Bernal Diaz’s uses the idea of the “Just War Theory” as his argument for why the conquests were justifiable
Catholicism glorifies and represents mothers as the main foundation of the family through the example of the passive and unconditional loving Mary, the mother of Jesus Crist. This idea of the mother as unconditional lover beings has been passed on and reproduced in the Chicana/o community. Gil Cuadros and Reyna Grande through their autobiographical work testify against this predominate idea of the mothers being caring and loving persons. Even though most mothers fall into the norm of a normal mother, normality is subjective, therefore Cuadros and Grande’s work represent the complexities of reality. Grande’s The Distance Between Us and Cuadro’s City of God are autobiographical narratives that incorporate reality as a form of testimonial of existence, an act of healing and resilience. Given that these author’s life experiences can be
The Sanchez Family is a large family that emigrated to the United States of America from Mexico. The family is deeply rooted in the Catholic faith and retains their Mexican culture. The family members that this case analysis will focus on are Hector Sanchez and his daughter, Gloria Sanchez. This analysis will provide a review of the family members and how each lens and theory is related to the family member and their presenting concerns.
In the book “Bless Me Ultima”, by Rudolpho Anaya, there were two families represented, the Marez family and the Lunas family. These two families were very different, but were brought together by the marriage of Gabriel Marez and Maria Lunas. Through the eyes of their son Antonio one may see the comparison of the two. The differentiation of these two families is very clearly noticeable, such as in their personalities, the expression of their religion, and their everyday ways of life.
The tendencies of Baroque translated differently in parts of Europe. In Italy, it reflected the return of intense piety through dense church ornamentations, complex architecture, and dynamic painting. Calabrese’s work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired Caravagesque style that alters how paintings were composed from then on. Executed at the height of Calabrese’s most creative phase, St. John the Baptist Preaching is indicates the monumentality of change in urbanization as well as the return of Catholic permanence in the 1600’s. Aside from the Baroque power of the artwork, Calabrese’s St. John is a piece worth gravitating to and stands as reminder of the grandiose excesses of Baroque art.
de la Cruz, Juana Ines. "Hombres Necios." A Sor Juana Anthology. Ed.Alan S. Trueblood. Cambridge, Mass.: Harvard UP, 1988.
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the