Analysis of how a religious festival dramatized the subaltern status of indigenous converts and how these converts used this to construct positive colonial identities.

When Christianity was imposed on Native peoples in the Andes, visual images played a fundamental role, yet few scholars have written about this significant aspect. Object and Apparition proposes that Christianity took root in the region only when both Spanish colonizers and native Andeans actively envisioned the principal deities of the new religion in two- and three-dimensional forms. The book explores principal works of art involved in this process, outlines early strategies for envisioning the Christian divine, and examines later, more effective approaches. Maya Stanfield-Mazzi demonstrates that among images of the divine there was constant interplay between concrete material objects and ephemeral visions or apparitions. Three-dimensional works of art, specifically large-scale statues of Christ and the Virgin Mary, were key to envisioning the Christian divine, the author contends. She presents in-depth analysis of three surviving statues: the Virgins of Pomata and Copacabana (Lake Titicaca region) and Christ of the Earthquakes from Cusco. Two-dimensional painted images of those statues emerged later. Such paintings depicted the miracle-working potential of specific statues and thus helped to spread the statues’ fame and attract devotees. “Statue paintings” that depict the statues enshrined on their altars also served the purpose of presenting images of local Andean divinities to believers outside church settings. Stanfield-Mazzi describes the unique features of Andean Catholicism while illustrating its connections to both Spanish and Andean cultural traditions. Based on thorough archival research combined with stunning visual analysis, Object and Apparition analyzes the range of artworks that gave visual form to Christianity in the Andes and ultimately caused the new religion to flourish.

"In 1576 a catastrophic epidemic devastated Indigenous Mexican communities and left the colonial church in ruins. With its horrific final symptom of hemorrhage from the nose, the unfamiliar disease, which the Nahua named cocoliztli, took almost two million lives. In the crisis and its immediate aftermath, Spanish missionaries and surviving pueblos de indios held radically different visions for the future of church in the Americas"--

Colonial Loyalties is an insightful study of how Lima’s residents engaged in civic festivities in the eighteenth century. Scholarship on festive culture in colonial Latin America has largely centered on “fiestas” as an ideal medium through which the colonizing Iberians naturalized their power. María Soledad Barbón contends that this perspective addresses only one side of the equation. Barbón relies on unprecedented archival research and a wide range of primary sources, including festival narratives, poetry, plays, speeches, and the official and unofficial records of Lima’s city council, to explain the level at which residents and institutions in Lima were invested in these rituals. Colonial Loyalties demonstrates how colonial festivals, in addition to reaffirming the power of the monarch and that of his viceroy, opened up opportunities for his subjects. Civic festivities were a means for the populace to strengthen and renegotiate their relationship with the Crown. They also provided the city’s inhabitants with a chance to voice their needs and to define their position within colonial society, reasserting their key position in the Spanish empire with respect to other competing cities in the Americas. Colonial Loyalties will appeal to scholars and students interested in Latin American literature, history, and culture, Hispanic studies, performance studies, and to general readers interested in festive culture and ritual.

In 1295, a house fell from the evening sky onto an Italian coastal road by the Adriatic Sea. Inside, awestruck locals encountered the Virgin Mary, who explained that this humble mud-brick structure was her original residence newly arrived from Nazareth. To keep it from the hands of Muslim invaders, angels had flown it to Loreto, stopping three times along the way. This story of the house of Loreto has been read as an allegory of how Catholicism spread peacefully around the world by dropping miraculously from the heavens. In this book, Karin Vélez calls that interpretation into question by examining historical accounts of the movement of the Holy House across the Mediterranean in the thirteenth century and the Atlantic in the seventeenth century. These records indicate vast and voluntary involvement in the project of formulating a branch of Catholic devotion. Vélez surveys the efforts of European Jesuits, Slavic migrants, and indigenous peoples in Baja California, Canada, and Peru. These individuals contributed to the expansion of Catholicism by acting as unofficial authors, inadvertent pilgrims, unlicensed architects, unacknowledged artists, and unsolicited cataloguers of Loreto. Their participation in portaging Mary’s house challenges traditional views of Christianity as a prepackaged European export, and instead suggests that Christianity is the cumulative product of thousands of self-appointed editors. Vélez also demonstrates how miracle narratives can be treated seriously as historical sources that preserve traces of real events. Drawing on rich archival materials, The Miraculous Flying House of Loreto illustrates how global Catholicism proliferated through independent initiatives of untrained laymen.

Uses a multidisciplinary approach to investigate the transcultural phenomenon of the devil in early modern Peru. This work demonstrates that the interaction between the Christian and the Andean worlds was far more complex than any interpretation that posits a clear dichotomy between conversion and resistance would suggest.

A major contribution to both art history and Latin American studies, A Culture of Stone offers sophisticated new insights into Inka culture and the interpretation of non-Western art. Carolyn Dean focuses on rock outcrops masterfully integrated into Inka architecture, exquisitely worked masonry, and freestanding sacred rocks, explaining how certain stones took on lives of their own and played a vital role in the unfolding of Inka history. Examining the multiple uses of stone, she argues that the Inka understood building in stone as a way of ordering the chaos of unordered nature, converting untamed spaces into domesticated places, and laying claim to new territories. Dean contends that understanding what the rocks signified requires seeing them as the Inka saw them: as potentially animate, sentient, and sacred. Through careful analysis of Inka stonework, colonial-period accounts of the Inka, and contemporary ethnographic and folkloric studies of indigenous Andean culture, Dean reconstructs the relationships between stonework and other aspects of Inka life, including imperial expansion, worship, and agriculture. She also scrutinizes meanings imposed on Inka stone by the colonial Spanish and, later, by tourism and the tourist industry. A Culture of Stone is a compelling multidisciplinary argument for rethinking how we see and comprehend the Inka past.