<p>Réplica del autor a una reseña critica, que el historiador soviético Mashbits hizo a su obra <em>Historiografía </em><em>soviética iberoamericanista </em>(194519ó0). Transcribe el texto crítico de Mashbits, traducido de la revista <em>Problemas de Historia. </em>Critica y replica se centran en el método histórico de los latinoamericanistas Alperovich, Rudenko, Lavrov y Lavretskii</p>
For the English, as well as for the Spanish of the sixteenth century, the first vision of America was highly paradisical and full of promise: this new land was without doubt the best of the world. The Indian who inhabited this land was the beautiful and docile “noble savage” of the Renaissance, favored with the highest physical and ethical qualities. The English at first defended the Indian, using all the niceties of expression and representation then in vogue. Even though the Indian was innocent, he was civilized: that is to say, he was outside the scheming, egoistical, harsh world of Europe. This stereotyped image was accepted by such writers as Le Moyne, De Bry, and White, who embellished and poetized the gentleness and goodness of the redskin; but it was not sufficient to assure the Indian a place in the Protestant spiritual milieu since it did not measure up to the biblical and predestinarian model. The first attempts at evangelization, for instance, the identification of the Indians as human, were carried out by simple Anglican colonists. These men, lacking true evangelical spirit, soon forgot about their earlier mission and instead of impressing spiritual ideas on the hearts of the Indians, they dedicated themselves almost exclusively to exploiting them and to demanding temporal riches of them without giving them in exchange the necessary doctrinal truths. However, since the Protestant God was much less patient and casuistic than the God of the Catholics, He soon became angry and the divine punishments were so terrible that the Anglican colonizers were wiped out in the sixteenth century. The English explanation for the failure was a spiritual one and not a material one. In reality the men of that age seemed to be able to find an excuse for their failures only from a religious point of view.
<span>Síntesis histórico-ideológica. Orígenes del liberalismo europeo. Analiza sustentos espirituales de la nueva moral capitalista y el impacto del liberalismo en Nueva España frente a la propiedad comunal y el paternalismo colonial.</span>
Resumen. Uno de los experimentos llevados a cabo por el cineasta y teórico Lev Kuleshov, conocido bajo el nombre de "geografía creadora", propone que el montaje cinematográfico es capaz de producir un espacio imaginario en la mente del espectador, mediante la yuxtaposición de imágenes pertenecientes a distintas coordenadas espacio-temporales. Asumiendo ese legado teórico, el trabajo propone un análisis textual fílmico centrado en la revisión de dicho espacio ficcional en dos ensayos audiovisuales del cine de los años ochenta: Madrid e Innisfree. En ambos casos el montaje edifica un discurso metalingüístico que emplea textos cinematográficos pretéritos destinados a estimular la participación afectiva del espectador para la generación de una geografía creadora. Si en Madrid el montaje construye una geografía en conflicto entre el pasado republicano de la ciudad durante la Guerra Civil y su presente democrático en la primera etapa socialista, en Innisfree la geografía funciona como un gozne entre su presente real y etnográfico y el pasado ficcional del filme de John Ford El hombre tranquilo, rindiendo homenaje a la auténtica geografía que albergó sus localizaciones y, simultáneamente, a los habitantes de la Irlanda mitificada en la película. Palabras clave: Montaje; ensayo audiovisual; memoria histórica; geografía creadora; Lev Kuleshov. [en] Creative Geography: Reflections about the film editing in Madrid and Innisfree Abstract. Creative geography, one of the experiments carried by the filmmaker and theorist Lev Kuleshov, proposes that an imaginary landscape can be produced into the mind of the viewers by the editing of the film, only juxtaposing several images from different locations. Driven by this theoretical legacy, this paper presents a revision of this fictional landscape in two film essays from the eighties production: Madrid and Innisfree. The editing builds in both cases a metalinguistic discourse by the use of precedent films with the objective of stimulate the affective participation of the public to achieve the goal of a creative geography. While the editing in Madrid constructs a conflictive space between the republican past of the city during the Spanish Civil War and its democratic present, in the case of Innisfree a bond is achieved between the ethnographic present and the fictional past portrayed in John Ford's The Quiet Man, and also a tribute is payed to the real geography that held its locations and, simultaneously, the inhabitants of the mythologized Ireland of the movie.
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