Cosmopolitanism in Mexican Visual Culture

Notes

N otes 305 i n t ro d u c t i o n 1. For Spivak relevant questions include how power appropriates knowledge, who produces knowledge, and who authorizes it and validates it. Gayatri Chakravorty Spivak , “Can the Subaltern Speak?” and “French Feminism in an International Frame.” 2. Walter D. Mignolo, “The Many Faces of Cosmo-polis: Border Thinking and Critical Cosmopolitanism,” 160. 3. After Michel Foucault, subjectivity here refers to the individuals’ unique ways of perceiving the world and to the relation of the subject to power. Identity refers to self-construction and expression emerging from interaction between self and other. Identity partakes in the process of subjectivity by informing self-recognition and recognition of the self by others. For a historical examination of notions of identity and subjectivity in relation to Foucault’s thought, see Robert Strozier, Foucault, Subjectivity and Identity. 4. Serge Gruzinski, The Mestizo Mind: The Intellectual Dynamics of Colonization and Globalization, translated by Deke Dusinberre, 62. 5. Armand Mattelart, Networking the World, 1794–2000, 4–5. 6. Fredric Jameson, “Notes on Globalization as a Philosophical Issue,” in The Cultures of Globalization, edited by Fredric Jameson and Masao Miyoshi, 55. 7. Kevin Terraciano’s recent analysis of native accounts of the Spanish invasion of Mexico makes evident the violence inherent in that project as well as the ideological differences between the perception of the invasion as war or as conquest. Kevin Terraciano , “Three Texts in One: Book XII of the Florentine Codex.” Also see Rebecca P. Brienen and Margaret A. Jackson, eds., Invasion and Transformation: Interdisciplinary Perspectives on the Conquest of Mexico. Many art-historical texts prefer the more neutral word “encounter” and focus on the points of compatibility between indigenous and European cultures. See, for example, Elizabeth Hill Boone and Thomas B. F. Cummings , “Colonial Foundations: Points of Contact and Compatibility,” in The Arts in Latin America, 1492–1820, organized by Joseph J. Rishel with Suzanne Stratton-Pruitt, 11–22; and Converging Cultures: Art and Identity in Spanish America, edited by Diana Fane. 8. William T.Sanders,Jeffrey R.Parsons,andRobert S.Santley,The Basin of Mexico,176. 9. Charles Gibson, The Aztecs under Spanish Rule, 38. 306 ■ Notes to Pages 3–5 10. Gibson estimates the population loss at one-third. Gibson, Aztecs, 62. Various Spanish chronicles estimated the losses at five-sixths. See J. I. Israel, Race, Class, and Politics in Colonial Mexico (1610–1670), 13. 11. Nicolás Sánchez Albornoz, The Population of Latin America, 56; Vicente Riva Palacio, México a través de los siglos, 2:478–479. 12. Cities for Spaniards such as Puebla de los Ángeles and towns designated as towns for indigenous peoples such as Tlaxcala, Cholula, Texcoco, and Tlatelolco adhered to this order. Mexico City and later municipalities were planned with an administrative Spanish center and the indigenous peoples’ quarters in the outskirts. George Kubler, Mexican Architecture of the Sixteenth Century; Edmundo O’Gorman, Reflexiones sobre la distribución urbana colonial de la ciudad de México; Gibson, Aztecs, 370–377. 13. See, for example, Black Africans in Renaissance Europe, edited by T. F. Earle and K. J. P. Lowe (Cambridge: Cambridge University Press, 2005). 14. Santiago Sebastián López, José de Mesa Figueroa, and Teresa Gisbert de Mesa, Arte iberoamericano desde la colonización a la independencia: Primera parte, 28:142–149; Manuel Toussaint, Colonial Art in Mexico, edited and translated by Elizabeth Wilder Weismann, 26–31; John McAndrew, Open-Air Churches of Sixteenth-Century Mexico: Atrios, Posas, Chapels, and Other Studies. 15. Posa chapels are small processional edifices placed at the corners of the atrium. Toussaint, Colonial Art, 21–26. Also see Rafael López Guzmán et al., Arquitectura y carpintería mudéjar en Nueva España; and Mario Sartor, Arquitectura y urbanismo en Nueva España: Siglo XVI. 16. Jeanette Favrot Peterson, The Paradise Murals of Malinalco. See, for example, Figures 28, 46, and 55. 17. For an explanation of the incorporation of feather painting into Christian ritual, see Alessandra Russo, “Plumes of Sacrifice: Transformation in Sixteenth-Century Mexican Feather Art.” For previous discussions of The Mass of Saint Gregory, the earliest fully documented feather painting in relation to print culture, see Elena Isabel E. de Gerlero and Márita Martínez del Río de Redo, “The Mass of St. Gregory,” catalog entry in Mexico: Splendors of Thirty Centuries, 259–260; Elena Isabel E. de Gerlero, “School of San José de los Naturales, Mass of Saint Gregory...