Etape 1
History: the political and social structure From many mistakenly named "socialist", the status of the Incas had a political structure vertical: absolute head was the emperor, or Inca, primary source of all powers. He venerated as a son of...
provinces were entrusted to tukrikuk, or governors. There were no components of popular representation. Priests and military cooperated with the politicians in the management of power. The basic unit of society Inca was the ayllu, i
nstitution prior to formation of the empire and kept by the Incas, but organized so as to take away from him every autonomous trend. While the ayllu preincaico consisted of a human group parent or considered as such, seated in a given territory and venerante a common ancestor of which preserved the tomb or the mummy, the Inca empire deprived him of its characteristics "ethnic" and religious and made it a territorial unit at the administrative level. Founded new ayllu, in this function, entrusting them as fiefs to important personages who,
after the dead, took the place of the common ancestor. Every emperor also began a new royal ayllu referred were to join all the male children, excluding the firstborn, destined to become Emperor and as such to form their own ayllu. Each ayllu was governed by a chapter elected by its members and by a council of elders.
The goods were in the community, not of the individual. As regards the right to property, it belonged to the Inca, absolute monarch of divine origin; he does, however, had the enjoyment, dividing the State assets in three portions:
the first sold it to the Sun God and the second is reserved for himself, the third the confered to ayllu. The cultivation of the land of the sun and of the inca was the responsibility of the Community.
The common man was monogamous; polygamous could only be the noble. The Inca had a main wife (coya) - that for purity caste-based generally was his sister
- and various secondary wives or concubines. The villac umu, High Priest, belonged to the right to the real ayllu, confirming the spirit theocratic that informed the empire. You do not have evidence of literary works: You must therefore be satisfied of the oral traditions, collected and handed down by the chroniclers Spanish conquest.
It has news especially of songs and ballads which glorified the undertakings of the emperors and that were performed on the occasion of special ceremonies. The EYID of court composero even epic poems, said or sung before the sovereign.
Anything written, however. The only instrument which is somehow knows that could serve to "write" or "record" was the quipo:
a main cordella from which hanging off twines smaller, fixing with the language of the nodes the projections made by those maneggiava. And those who maneggiava was the quipu-kamayoc, i.e. a kind of scribe or official interpreter that served to government officials to carry out calculations and censuses.
As regards the communications, the Incas had a road system efficient enough. There were two main roads: the strada regia or Andean Cápac (-nan), long 5200 km, that from the northern limit through Ecuador, Peru, Bolivia, a band of Argentina and Chile until Maule, ran along the cordillera and ended at Purumauca, station more to the south; and the coastal road, long over 4000 km, who descended from Túmbes, north, also up to the river Maule.
Because they did not know the wheel, the Incas had no need for wide road funds: these were walking paths, both by the troops, both by officials, both by the courier.
The opera and the poetic language The poetry of Góngora part from reality, his poems more seem to even have a frame (the Polyphemus is do nothing less than a fable ovidiana; the Soledades tell of an unknown shipwrecked defined to find among fishermen and shepherds).
The frames are manifestly not of any importance, the real universe is integrally metaforizzato, poeticizzato, through an inexhaustible uptake of unsuspected relations between beings and things. From this derives the wondrous newness of the poetic language made of verbal formulations condensed, foreshortened fulminate (deletion of articles and verbal copule, allusion and stylization of the classical myths, syntactic capsizing, continuous innovations lexical units),
and the enormous abundance of nouns. Ultimately, a poem of "things" (with excessive hardness the secentista Jáuregui defined it as "soulless"), but things metamorphosed in virtue of a sovereign magisterium, almost magical, which transfers them in a world above-real, recreates them in a universe only artistic.
It is obvious that the trends "artisticizzanti" were already in the poetry of the late Renaissance (via capital, for Spain, the comment of Herrera to Canzoniere of Garcilaso), but Góngora and only Him (imitators, as always, there followed only the "manner") knew how to bring them to fulfillment: unique case, at least in Spain, "mystical material reality" (P. Salinas). Peruvian novelist Lima (1833-1919). Among the most significant ispanoamericani storytellers of the Nineteenth Century, is the greatest poet of the Peruvian romanticism.
Liberal, for his political activity had to repair in Chile. He returned to his homeland in 1876, after having traveled also for Europe, and he devoted himself entirely to the letters. From 1889 to 1912 he directed the National Library of Lima. The fame of Palma is mainly entrusted to the numerous volumes of Tradiciones peruanas started in 1852 but published only starting from 1872, which constitute a new genre, in vain imitated by many.
The Tradiciones are long stories, written in a style tasty and colorful atmosphere that is linked to the satirical tradition spanish, wherein Palma recalls with nostalgia and at the same time with irony the past of his country (especially the Lima of the XVIII century, frivolous and Galante), alternating deliberately history and legend, truth and invention, and also using the satires, anecdotes, pasquinate popular,
scenes of costume. In Tradiciones relive a whole society with its chiaroscuro and hundreds of characters of every kind: boriosi the Spanish viceroy, ecclesiastics bullies and cunning, famous actresses, servants cheaters, Santoni popular, etc. parade in front of the populace of Lima,
ignorant and superstitious, but also ready to mockery and satire, the revolt and revenge. In the creative activity of Palma you must also The Bohemia de mi tiempo (1863), which is interesting for the knowledge of generation Peruvian romantic, and books of poems, compounds for the more in the way of Zorrilla, even if sometimes tinged with scepticism and irony: Armonías (1865), Pasionarias (1870), Verbos y gerundios (1877), Traducciones (1887).
History: the political and social structure From many mistakenly named "socialist", the status of the Incas had a political structure vertical: absolute head was the emperor, or Inca, primary source of all powers. He venerated as a son of the Sun, gave the individual positions of government and li partitioned according to a rigid hierarchy of castes. The members of the imperial family were the aristocracy executive and among them the sovereign chose the most senior officials.