Find an image of Malintzin on the web and post it here. Explain what Townsend would say about it.
Would she say it is an accurate portrayal of Malintzin? A portrayal of
particular historical ideas about Malintzin? Something else?
I think Townsend would have like this image for all it does and could represent. This painting called “La Malinche” shows how Malintzin can been portrayed in different ways. The eye is draw to the white smoke, which marks her importance as an interpreter, to her image. However, that is not all the only important aspect of her, as she has opposing opinions about her reasons for working with the Cortes and what this means to the heritage of Mexicans. She is interpreting in two different directions at the same time, as she literally has two faces. The metaphorical implications that this can have shows how her role of interpreter is still controversial. There is so much that can be taken from this painting. This might be representing, her two popular interpretations, that of a traitor, or that of an enslaved woman trying to survive. This could be showing how she had one face for her people, and one for the Spanish. Townsend does mention that while interpreting, Malintzin had to adjust herself accordingly to her audience, while speaking to them (59). As I personally see the left side of her face bigger than the right this could also have meaning. As in the Indian early depictions Malintzin was drawn big, and sometimes bigger than Cortes, this slight difference could be significant in it interpretation. That her lips are painted could push to the idea of her being a seductress. Another important aspect of the painting is the lizard in she hands. Whether you see her as a traitor, victim, or anything between she had another important aspect of her life, her role as a mother of first generation mestizos (9). The lizard could represent the fate of the past Aztecs or the current Mexican decedents, and her role in their future development. The view, in its self that she had future of the Aztec people in her hands, shows how important of a figure she is seen as. Over all Townsend would agree even if Malintzin was not important to the actual conquest, her image is important to history, so pictures like this exemplify her idea that Malintzin was and still is important to understand (5).
Sorry, picture wont come up, here is URL: http://www.google.com/imgres?imgurl=http://lastresyuncuarto.files.wordpress.com/2009/11/malinche_marquardt_rosario_02.jpg%3Fw%3D500&imgrefurl=http://lastresyuncuarto.wordpress.com/tag/octavio-pazlos-hijos-de-la-malinche/&usg=__iXBWz-uyrOofbZG4cuQY2gFc-9c=&h=420&w=307&sz=28&hl=en&start=9&sig2=Hgs6OUgtdkQWn1IGSl5DKg&zoom=1&tbnid=B3AeT0tLFHVHAM:&tbnh=125&tbnw=91&ei=w3JRUuHlL8rE4APtioD4Bg&prev=/search%3Fq%3Dla%2Bmalinche%2Bby%2Brosario%2Bmarquardt%26um%3D1%26sa%3DN%26hl%3Den%26gbv%3D2%26tbm%3Disch&um=1&itbs=1&sa=X&ved=0CDwQrQMwCA
I think that in this image Dona Marina is effectively portrayed. She is illustrated as a beautiful Indian girl who due to her beauty stands out and possibly due to that she stood out Cortes. She is also drawn in the picture right next to Cortes. Townsed would say that in drawing this, this way, it is shown that she was of a lot of importance to Cortes. She is also sitting to the right of Cortes, which also portrays that she was kind of like Cortes' right hand man (in this case woman). Dona Marina was also portrayed to be wearing a lot of jewelry, which during those times could only signify a sort of rank in her society and wealth. Townsend would say that Dona Marina is adequately represented especially due to her jewelry because she (Dona Marina), earned that through her work in being a translator and by being the most important tool to the Spaniards in their conquest.
Camilla Townsend in Malintzin’s Choices rejects all the previous myths about la Malinche and tries to restore dignity to the profoundly human men and women who lived and died in those days. If she were to examine and analyze the picture presented above, I believe that Townsend would describe Malinalli, as a victim of her situation. Malinalli was not only a victim of her own people, given that they marginalized her, enslaved her and sold her to Cortez; but she was also a victim of Cortez himself, who used her for his own benefit, and rarely ever gave her any credit for her brilliance. He used her not only as a translator but also as a concubine and when he was done using her, took their child away from her, sent him to Spain and gave Malintzin away to another man.
In the picture above Malinalli is clearly portrayed as a victim. She is naked, not in a provocative way but in a way in which her fragility and dependence can be seen. Her clothes have been taken away from her and the only thing left is a “corte” on her head, which looks like an aura compared to that of the Virgin Mary, an aura of innocence. She is looking down with sadness to an agave plant, which is a national symbol of the Mexican identity. Here, she is represented not only as the mother of the Mexican nation but also as the mother of all the Mestizos. As she looks down to the plant, she seems to be heartbroken, because she knows the faith of her children, whom would have to live in the cruel reality that’s depicted in the background; full of hate, pain, and bloodshed.
I believe Townsend would see Malinalli in this picture as a victim and as an anguished mother; not as a traitor like others portray her.
Aida, that is a very intriguing artistic rendering of Malintzin. I very much enjoyed it.
There are so many elements to it. You have already pointed many out. The death and destruction in the background representing the rape of Mesoamerica with crosses reflecting both the religious justification of Spanish actions in the New World and their mistreatment of the natives. The hanging of a native juxtaposed with a priest waving a cross. The artist clearly has difficulty with the religious symbolism of the Spanish and reflects it in his painting. The religious symbolism would be present in any Spanish painting but in an entirely different context. The artist cleverly complicates our understanding of the symbolism of the cross that we are accustomed to seeing.
That the artist appears to be Mexican, or at least of Mexican heritage is important. That it is recent is also pertinent. Townsend mentions that “after the people who had actually known Malintzin had all died, almost no one mentioned her for well over two hundred years” (2). Townsend goes on to say that upon her rediscovery, the depictions by Mexican artists was predominately negative. Even today “the majority of the Mexican populace…looks on Malinche with shame and loathing” (3). The artist seems to reveal the complicated national feelings toward Malinche in this painting. That she is to be in some way responsible for the carnage behind her is evident. She is the dominant figure in the painting. You mentioned the agave plant which was nourishing in many ways to Mesoamerican civilizations. The “flower” of the plant is also a baby, clearly Malinche’s and clearly Cortés’s, who stands behind her gazing on, due to its fair skin and red hair.
While she may be depicted as a victim (a depiction Townsend would disagree with), she also has elements of empowerment. First is the nurture and begetting of a new nation, as symbolized by the child and the agave plant. Second, her headdress is clearly native and not Spanish. Third is that Cortés is barred from this moment of intimacy and can only look on. He cannot simply victimize her at will. All in all, it appears that Malinche is in the position she is in by choice, hence the background which reveals the results of that choice. Yet it is an ambiguous painting. Malinche is begetting a new nation in the midst of destroying the old. She is Spanish, as evidenced by her child, yet Mexican as shown by her headdress.
I think Townsend would disagree with this interpretation of Malinche to an extent but would appreciate what it reveals about Mexican attempts to grapple with what Malinche means to their heritage. That she is clearly their mother is evident and accepted, but the morality of how she became their mother is still unresolved.
This image wonderfully symbolizes many ideas discussed in Malintzin’s Choices. It shows Malintzin flanked by Cortes, standing sorrowfully and helplessly amidst a scene of carnage. I believe the image is consistent with the way Townsend attempts to portray Malintzin. The main focus of Townsend’s novel is to dispel the myth that the female interpreter for Hernan Cortes was somehow a scheming woman, in control of her own fate, using wit and seduction to manipulate those around her for her own desired ends. This belief in her being a traitor to her people is the rationale behind the modern cases of resentment of Malintzin. Townsend instead suggests that from the moment of her birth, long before the arrival of Cortes, and thereafter, Malintzin’s fate was not her own. Her talents, actions, and accomplishments were dictated by necessity. Slavery was a common phenomenon in her society and it was a shame she would suffer at the hands of her people and later at the hands of Cortes. Townsend makes this brutally clear stating she was Marina because “…The Spanish were not in the habit of interviewing their Indian slaves in order to come up with a European name that seemed particularly fitting.” (Townsend 12.) Her beauty was perhaps a truth and the cause of Cotes’ fondness of her. Though regardless of anything they shared (such as the infant shown in the painting symbolizing their mutual offspring who would be the first of the Mestizo) she would live her entire life as nothing more than a concubine and a strategic asset completely removed from choice.
This image of Malinche can be described as the stereotypical portrayal of the seductress woman who helped Hernan Cortes. In the image she is depicted as a very attractive woman, posing near a Spanish soldier that can be assumed to be Hernan Cortes. Her pose suggest that she had a personal relationship with the Spanish soldier.
I do not think the image suggests that she is a victim, in fact I think the image suggests that she is a strong woman. She is gazing straight out suggesting that she is confident and strong, which is a depiction Camilla Townsend would agree with. Although Townsend would agree with the depiction of Malinche as a strong woman who to an extend knew what she was doing, I think Townsend would have a problem with the fact that Malinche was being portrayed as a sex symbol or seductress in this image.
The image suggests that Hernan Cortes is under Malinche's "spell" as he is looking down in what can be inferred to be a "sexy" pose. She also has hands wrapped around his knees suggesting a sense of possessiveness over Cortes. '
In the image Malinche is wearing an attire that suggests that she was a person of wealth, which is something that Townsend would disagree with. The necklaces, earrings, and bracelets suggests that she was financially stable.
In all I do not think Townsend would agree with this portrayal of Malinche as it falls into the stereotypical myths of Malinche as a woman sexual object that mesmerized Hernan Cortes.
I think Townsend would have like this image for all it does and could represent. This painting called “La Malinche” shows how Malintzin can been portrayed in different ways. The eye is draw to the white smoke, which marks her importance as an interpreter, to her image. However, that is not all the only important aspect of her, as she has opposing opinions about her reasons for working with the Cortes and what this means to the heritage of Mexicans. She is interpreting in two different directions at the same time, as she literally has two faces. The metaphorical implications that this can have shows how her role of interpreter is still controversial. There is so much that can be taken from this painting. This might be representing, her two popular interpretations, that of a traitor, or that of an enslaved woman trying to survive. This could be showing how she had one face for her people, and one for the Spanish. Townsend does mention that while interpreting, Malintzin had to adjust herself accordingly to her audience, while speaking to them (59). As I personally see the left side of her face bigger than the right this could also have meaning. As in the Indian early depictions Malintzin was drawn big, and sometimes bigger than Cortes, this slight difference could be significant in it interpretation. That her lips are painted could push to the idea of her being a seductress. Another important aspect of the painting is the lizard in she hands. Whether you see her as a traitor, victim, or anything between she had another important aspect of her life, her role as a mother of first generation mestizos (9). The lizard could represent the fate of the past Aztecs or the current Mexican decedents, and her role in their future development. The view, in its self that she had future of the Aztec people in her hands, shows how important of a figure she is seen as. Over all Townsend would agree even if Malintzin was not important to the actual conquest, her image is important to history, so pictures like this exemplify her idea that Malintzin was and still is important to understand (5).
ReplyDeleteSorry, picture wont come up, here is URL: http://www.google.com/imgres?imgurl=http://lastresyuncuarto.files.wordpress.com/2009/11/malinche_marquardt_rosario_02.jpg%3Fw%3D500&imgrefurl=http://lastresyuncuarto.wordpress.com/tag/octavio-pazlos-hijos-de-la-malinche/&usg=__iXBWz-uyrOofbZG4cuQY2gFc-9c=&h=420&w=307&sz=28&hl=en&start=9&sig2=Hgs6OUgtdkQWn1IGSl5DKg&zoom=1&tbnid=B3AeT0tLFHVHAM:&tbnh=125&tbnw=91&ei=w3JRUuHlL8rE4APtioD4Bg&prev=/search%3Fq%3Dla%2Bmalinche%2Bby%2Brosario%2Bmarquardt%26um%3D1%26sa%3DN%26hl%3Den%26gbv%3D2%26tbm%3Disch&um=1&itbs=1&sa=X&ved=0CDwQrQMwCA
DeleteI think that in this image Dona Marina is effectively portrayed. She is illustrated as a beautiful Indian girl who due to her beauty stands out and possibly due to that she stood out Cortes. She is also drawn in the picture right next to Cortes. Townsed would say that in drawing this, this way, it is shown that she was of a lot of importance to Cortes. She is also sitting to the right of Cortes, which also portrays that she was kind of like Cortes' right hand man (in this case woman). Dona Marina was also portrayed to be wearing a lot of jewelry, which during those times could only signify a sort of rank in her society and wealth. Townsend would say that Dona Marina is adequately represented especially due to her jewelry because she (Dona Marina), earned that through her work in being a translator and by being the most important tool to the Spaniards in their conquest.
ReplyDeletehttp://coursesite.uhcl.edu/HSH/Whitec/LITR/5731/images/historic%20figures/malinche3.jpg
ReplyDeletehttp://faculty.pasadena.edu/mnjimenez/topic4b_gallery/pages/topic4b_22.htm
Santa Barraza, La Malinche, 1991.
Camilla Townsend in Malintzin’s Choices rejects all the previous myths about la Malinche and tries to restore dignity to the profoundly human men and women who lived and died in those days. If she were to examine and analyze the picture presented above, I believe that Townsend would describe Malinalli, as a victim of her situation. Malinalli was not only a victim of her own people, given that they marginalized her, enslaved her and sold her to Cortez; but she was also a victim of Cortez himself, who used her for his own benefit, and rarely ever gave her any credit for her brilliance. He used her not only as a translator but also as a concubine and when he was done using her, took their child away from her, sent him to Spain and gave Malintzin away to another man.
In the picture above Malinalli is clearly portrayed as a victim. She is naked, not in a provocative way but in a way in which her fragility and dependence can be seen. Her clothes have been taken away from her and the only thing left is a “corte” on her head, which looks like an aura compared to that of the Virgin Mary, an aura of innocence. She is looking down with sadness to an agave plant, which is a national symbol of the Mexican identity. Here, she is represented not only as the mother of the Mexican nation but also as the mother of all the Mestizos. As she looks down to the plant, she seems to be heartbroken, because she knows the faith of her children, whom would have to live in the cruel reality that’s depicted in the background; full of hate, pain, and bloodshed.
I believe Townsend would see Malinalli in this picture as a victim and as an anguished mother; not as a traitor like others portray her.
Aida, that is a very intriguing artistic rendering of Malintzin. I very much enjoyed it.
DeleteThere are so many elements to it. You have already pointed many out. The death and destruction in the background representing the rape of Mesoamerica with crosses reflecting both the religious justification of Spanish actions in the New World and their mistreatment of the natives. The hanging of a native juxtaposed with a priest waving a cross. The artist clearly has difficulty with the religious symbolism of the Spanish and reflects it in his painting. The religious symbolism would be present in any Spanish painting but in an entirely different context. The artist cleverly complicates our understanding of the symbolism of the cross that we are accustomed to seeing.
That the artist appears to be Mexican, or at least of Mexican heritage is important. That it is recent is also pertinent. Townsend mentions that “after the people who had actually known Malintzin had all died, almost no one mentioned her for well over two hundred years” (2). Townsend goes on to say that upon her rediscovery, the depictions by Mexican artists was predominately negative. Even today “the majority of the Mexican populace…looks on Malinche with shame and loathing” (3). The artist seems to reveal the complicated national feelings toward Malinche in this painting. That she is to be in some way responsible for the carnage behind her is evident. She is the dominant figure in the painting. You mentioned the agave plant which was nourishing in many ways to Mesoamerican civilizations. The “flower” of the plant is also a baby, clearly Malinche’s and clearly Cortés’s, who stands behind her gazing on, due to its fair skin and red hair.
While she may be depicted as a victim (a depiction Townsend would disagree with), she also has elements of empowerment. First is the nurture and begetting of a new nation, as symbolized by the child and the agave plant. Second, her headdress is clearly native and not Spanish. Third is that Cortés is barred from this moment of intimacy and can only look on. He cannot simply victimize her at will. All in all, it appears that Malinche is in the position she is in by choice, hence the background which reveals the results of that choice. Yet it is an ambiguous painting. Malinche is begetting a new nation in the midst of destroying the old. She is Spanish, as evidenced by her child, yet Mexican as shown by her headdress.
I think Townsend would disagree with this interpretation of Malinche to an extent but would appreciate what it reveals about Mexican attempts to grapple with what Malinche means to their heritage. That she is clearly their mother is evident and accepted, but the morality of how she became their mother is still unresolved.
This image wonderfully symbolizes many ideas discussed in Malintzin’s Choices. It shows Malintzin flanked by Cortes, standing sorrowfully and helplessly amidst a scene of carnage. I believe the image is consistent with the way Townsend attempts to portray Malintzin. The main focus of Townsend’s novel is to dispel the myth that the female interpreter for Hernan Cortes was somehow a scheming woman, in control of her own fate, using wit and seduction to manipulate those around her for her own desired ends. This belief in her being a traitor to her people is the rationale behind the modern cases of resentment of Malintzin. Townsend instead suggests that from the moment of her birth, long before the arrival of Cortes, and thereafter, Malintzin’s fate was not her own. Her talents, actions, and accomplishments were dictated by necessity. Slavery was a common phenomenon in her society and it was a shame she would suffer at the hands of her people and later at the hands of Cortes. Townsend makes this brutally clear stating she was Marina because “…The Spanish were not in the habit of interviewing their Indian slaves in order to come up with a European name that seemed particularly fitting.” (Townsend 12.) Her beauty was perhaps a truth and the cause of Cotes’ fondness of her. Though regardless of anything they shared (such as the infant shown in the painting symbolizing their mutual offspring who would be the first of the Mestizo) she would live her entire life as nothing more than a concubine and a strategic asset completely removed from choice.
Deletehttp://lujanfraix.blogspot.com/2012_06_01_archive.html
ReplyDeleteThis image of Malinche can be described as the stereotypical portrayal of the seductress woman who helped Hernan Cortes. In the image she is depicted as a very attractive woman, posing near a Spanish soldier that can be assumed to be Hernan Cortes. Her pose suggest that she had a personal relationship with the Spanish soldier.
I do not think the image suggests that she is a victim, in fact I think the image suggests that she is a strong woman. She is gazing straight out suggesting that she is confident and strong, which is a depiction Camilla Townsend would agree with. Although Townsend would agree with the depiction of Malinche as a strong woman who to an extend knew what she was doing, I think Townsend would have a problem with the fact that Malinche was being portrayed as a sex symbol or seductress in this image.
The image suggests that Hernan Cortes is under Malinche's "spell" as he is looking down in what can be inferred to be a "sexy" pose. She also has hands wrapped around his knees suggesting a sense of possessiveness over Cortes. '
In the image Malinche is wearing an attire that suggests that she was a person of wealth, which is something that Townsend would disagree with. The necklaces, earrings, and bracelets suggests that she was financially stable.
In all I do not think Townsend would agree with this portrayal of Malinche as it falls into the stereotypical myths of Malinche as a woman sexual object that mesmerized Hernan Cortes.