The destruction of one of the world’s great civilizations. The 屠宰数以千计的土著人，还有数千的奴役。这些暴行的阿兹特克帝国的西班牙征服的后果在1519年那又戴维·卡拉斯科还注意到在导致联盟，通婚，宗教和文化的新形式欧洲人对北美大陆的到来，并诞生了我所谓的“新的人类大家庭。”
“欧洲人土著人滥用马上开始他们到达之后，”我说。 “他们也爱上了土著妇女和儿童ADH与他们。他们土著人战死，但盟友也成为了他们。他们形成的混合物墨西哥。在这样做时，欧洲人和美国人 Indians—and later Asians and Africans—made 墨西哥 one of the crossroads of the world.”
Conflict and connection. Subjugation and collaboration. Enmity and affection. Conventional scholarship struggles to convey the complex origins of Mesoamerican history after colonization. That’s why Carrasco, Harvard’s Neil L. Rudenstine Professor of the Study of Latin America, uses art to tell the story. In his classes, literature, music, and especially visual art help students experience firsthand the richness of postcolonial Mesoamerican culture—and the contradictions that lie at its foundations.
Carrasco begins at the beginning, exploring 墨西哥’s origin story through José Clemente Orozco’s painting 礼貌和Malinche。 这里位于西班牙conquis
“This really graphic image is understood in a stereotypical way to be the mother and father of the Mexican people,” Carrasco explains. “You see them naked here and have this idea of the sexual 这种关系将成为墨西哥历史的一部分。 But there’s violence there too. Cortés’s arm in front of Malinche is a gesture of control and dominance. So is his foot on the body of an indigenous man.”
This triangle—Spaniard, indigenous mistress, subdued indigenous man is critical, Carrasco says, for understanding the psychology of colonialism.
“The indigenous woman is the goal,” he says. “To claim her, the Spanish have to dominate or get rid of the indigenous partner. That may also be one reason that Cortés is so white, like a ghostly figure. He’s the father, but also the death-bringer.”
Malinche, or Doña Marina, was one of a group of females given to Cortés by an indigenous 酋长