Serie Historia y Ciencias Sociales

Editor General: Greg Dawes

Editor encargado de la serie: Carlos Aguirre
Crítica de la razón andina

Carlos Abreu Mendoza

Texas State University–San Marcos
&
Denise Y. Arnold
Instituto de Lengua y Cultura Aymara
Universidad Mayor de San Andrés, La Paz

Raleigh, NC
© 2017 Carlos Abreu Mendoza & Denise Y. Arnold

Reservados todos los derechos de esta edición para

© 2017 Editorial A Contracorriente

All rights reserved for this edition for

© 2017 Editorial A Contracorriente

ISBN: 978-1-945234-10-1

Library of Congress Control Number: 2017941672

Library of Congress Cataloging-in-Publication Data: pending

ISBN-10: 1-945234-10-5 (pbk)

ISBN-13: 978-1-945234-10-1 (pbk)
Una nueva contribución a un viejo debate / A new contribution to an old debate
Tabla de contenido

Tabla de Ilustraciones 9

Agradecimientosxi

Introducción: Crítica de la razón andina 1

Carlos Abreu Mendoza

Beyond “lo andino”: Rethinking Tiwanaku from the Amazonian Lowlands 23

Denise Y. Arnold

Carrying Water on Both Shoulders: Material Archives and Andean Ritual

in Mid-Colonial Huamanga, Peru  57
Caroline A. Garriott

Sobre la noción de lo andino: ciencia, literatura y consumo 89

Jorge Coronado

Gamaliel Churata y esa beligerencia estética conceptualizada como

“Andinismo” 107
Elizabeth Monasterios Pérez

Interrogating Indigeneity: A Comparative Perspective on Social Change in

the Andes and United States 127
Hannah Burdette

Sobre los autores 159

Tabla de Ilustraciones

Figure 1.1 The re-inauguration of President Evo Morales at the site of Tiwanaku in 2012.
Source: http://cdn.elpais.cr/wp-content/uploads/2015/01/Evo-Morales.jpg., p.
35.
Figure 1.2 Guaraníes wait for the Morning Star in the ancestral ceremony of that name.
Source: Government of the Autonomous Department of Santa Cruz web page:
http://www.santacruz.gob.bo/imagenes_galeria/18062012182026lucerodelalba
enscz4.jpg., p. 37.
Figure 1.3 A feline devouring an anthropomorph on a spoon handle, probably used for
measuring psychoactive substances (ca. AD 700-1000). Source: Object 093
(16.3 cm high) in the collection of the Museo arqueológico “R. P. Gustavo Le
Paige S. J.,” San Pedro de Atacama, Chile, in Llangostera & Torres (1988 [1984],
p. 41)., p. 41.
Figure 1.4 The San Pedro closed rectangular tunic with a feline above and two-headed ser-
pent below. Source: Quitor-2, nº 1983:15, in the Museo Arqueológico R. P.
Gustavo Le Paige, S. J., San Pedro de Atacama, Chile., p. 43.
Figure 2.1 The opening page of Talavera’s account, displaying the first textual insertion
(above the Biblioteca Nacional stamp) and the underlined proper nouns (the
three names of the Apu Guamacco)., p. 61.
Figure 2.2 The second textual insertion, below the unlinked double lines, displaying a shift
in size and handwriting of the text., p. 62.
Figure 2.3 Guaman Poma depicts a Christian-Andean couple holding rosaries and praying
before an image of the Crucified Christ. Source: The Guaman Poma website.
Digital photography and transcription of El primer nueva corónica y buen gobi-
erno 2006 (ca. 1615/2006). Royal Library of Denmark, Copenhagen, “30. The
chapter of the indians of this kingdom,” drawing 308, p. 821. See http://www.
 kb.dk/permalink/2006/poma/835/en/text/?open=idp546096&imagesize=XL.,
p. 66.
Figure 2.4 Indigenous artisans painting a sculpted crucifix, as represented by Guaman
Poma. Source: The Guaman Poma website. Digital photography and transcrip-
tion of El primer nueva corónica y buen gobierno 2006 (ca. 1615/2006). Royal
Library of Denmark, Copenhagen, “23. The chapter of the parish priests,” draw-
ing 267, p. 673. See http://www.kb.dk/permalink/2006/poma/687/en/text/?op
en=idp460272&imagesize=XL., p. 69.
Figura 3.1 Frontispicio, Rivero y Ustariz & von Tschudi, Antigüedades peruanas., p. 92.
Figura 3.2 Lámina LIV, Rivero y Ustariz & von Tschudi, Antigüedades peruanas., p. 93.
Figura 3.3 Izcue, detalle de lámina, El arte peruano en la escuela., p. 105.
Figura 4.1 Portada del poemario Ande, de Arturo Peralta. Grabado: Manuel Domingo Pan-
tigoso., p. 114.
Figura 4.2 Portada de la primera edición de El pez de oro (1957). Diseño: Carlos Salazar
Mostajo. Grabado: Timotheo Aliaga., p. 120.
Figura 5.1 Santy Quinde Barrera Baidal. Photo from YouTube. Source: https://www.youtu-
be.com/channel/UCBTV1DOxJwkk5ZTvrOX_zCA., p. 129.