Citation: L. Schoepflin (2024) 'De los famossos hechos de los yndios cañares y de sus privilegios... more Citation: L. Schoepflin (2024) 'De los famossos hechos de los yndios cañares y de sus privilegios'. Don Pedro Purqui and the Early Modern Andean Chronicle by Martín de Murua. Jems. 13: pp. 193-214.
Calíope: journal of the Society for Renaissance and Baroque Hispanic Society, Apr 1, 2022
The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrat... more The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrated Andean legend in his first manuscript version (1590) of his chronicle (Historia general del Perú [1616]). The poem faces a depiction by the Andean artist, don Felipe Guaman Poma de Ayala (c. 1560s-c. 1616), of a woman sitting in the middle of a four-cornered, enchanted Inca fountain. Murua reimagined Guaman Poma’s image in a form reminiscent of the Latin Rotas-Sator Square. This article considers the confluence of Andean sacredness with early Christian occult beliefs, leaving multiple and divergent interpretations determined by the viewer/reader’s perspective.
Memoria del 56º Congreso Internacional de Americanistas [Recurso electrónico]: Historia y patrimonio cultural, 2018, ISBN 978-84-9012-927-2, págs. 454-465, 2018
The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrat... more The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrated Andean legend in his first manuscript version (1590) of his chronicle (Historia general del Perú [1616]). The poem faces a depiction by the Andean artist, don Felipe Guaman Poma de Ayala (c. 1560s-c. 1616), of a woman sitting in the middle of a four-cornered, enchanted Inca fountain. Murua reimagined Guaman Poma’s image in a form reminiscent of the Latin Rotas-Sator Square. This article considers the confluence of Andean sacredness with early Christian occult beliefs, leaving multiple and divergent interpretations determined by the viewer/reader’s perspective.
Citation: L. Schoepflin (2024) 'De los famossos hechos de los yndios cañares y de sus privilegios... more Citation: L. Schoepflin (2024) 'De los famossos hechos de los yndios cañares y de sus privilegios'. Don Pedro Purqui and the Early Modern Andean Chronicle by Martín de Murua. Jems. 13: pp. 193-214.
Calíope: journal of the Society for Renaissance and Baroque Hispanic Society, Apr 1, 2022
The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrat... more The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrated Andean legend in his first manuscript version (1590) of his chronicle (Historia general del Perú [1616]). The poem faces a depiction by the Andean artist, don Felipe Guaman Poma de Ayala (c. 1560s-c. 1616), of a woman sitting in the middle of a four-cornered, enchanted Inca fountain. Murua reimagined Guaman Poma’s image in a form reminiscent of the Latin Rotas-Sator Square. This article considers the confluence of Andean sacredness with early Christian occult beliefs, leaving multiple and divergent interpretations determined by the viewer/reader’s perspective.
Memoria del 56º Congreso Internacional de Americanistas [Recurso electrónico]: Historia y patrimonio cultural, 2018, ISBN 978-84-9012-927-2, págs. 454-465, 2018
The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrat... more The friar Martín de Murua (1566?-1615) composed a Quechua palindrome poem as part of an illustrated Andean legend in his first manuscript version (1590) of his chronicle (Historia general del Perú [1616]). The poem faces a depiction by the Andean artist, don Felipe Guaman Poma de Ayala (c. 1560s-c. 1616), of a woman sitting in the middle of a four-cornered, enchanted Inca fountain. Murua reimagined Guaman Poma’s image in a form reminiscent of the Latin Rotas-Sator Square. This article considers the confluence of Andean sacredness with early Christian occult beliefs, leaving multiple and divergent interpretations determined by the viewer/reader’s perspective.
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