This geographic expedition, led initially by Agustín Codazzi and Manuel Ancízar, explored and mapped the country from 1850 to 1859. The mid-nineteenth-century Colombian Chorographic Commission drew on geology, archaeology, and history to project a patriotic past onto the Andean landscape of the young republic then known as New Granada. This paper not only furthers the recovery work of the most prominent woman writer in nineteenth century Colombia, but investigates the ambivalent relation of the Spanish American Creoles with their ex colonizer through her writings.
#Marta animal pincel archive#
Believing Colombia to be more advanced than Spain, Acosta de Samper depicted the former metropole as unable to reach modernity but rather serving as an archive or museum of Hispanic tradition through which Colombians could create their own concept of modernity. However, the reality of Spanish society she faced during her trip to Spain in 1892 would lead her to question her original project.
Acosta de Samper conceived of this identification as a means not only to ‘deindigenize’ Colombia but to counteract the French and British influence that she considered corrupting. This paper focuses on the work of the Colombian author Soledad Acosta de Samper to examine how this Hispanist discourse did not promote an imitation of subordination to Spanish culture but an instrumentalization of this Hispanic identity for Creole nation-building projects.
At the turn of the nineteenth century, conservative Creoles subscribed to a Hispanist discourse that promoted the idea of a Hispanic Transatlantic community that shared race, culture and religion.
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