Contenu du sommaire : Autour de Manuel GONZÁLEZ PRADA (Lima, 5 janvier 1844 – Lima, 22 juillet 1918)

The recurrent use by Manuel González Prada of quotations and references is analysed here as being a signifiant aesthetic from a semiotic point of view. This paper focuses on how the author expresses his opinion on the theme of property, first the intellectual property, second the ownership of means of production, which is finally related to his thoughts on the Indian question in Peru. It brings to the fore a radical ideological evolution that is preferentially expressed through intertexts.

In 1885, Abelardo Gamarra created Pelagatos, an imaginary town in the Peruvian sierra, with rough geographical details and marked social deficiencies. I propose Gamarra with Pelagatos tried to represent Lima's fears of not being a modern city.

This paper brings to light the evolution of the consideration of principal Peruvian radical thinckers about Indians's situation in the country : real serfs, outcasts, cannon fodders but heart of the Nation. To Manuel González Prada, they are the real Peru. It is necessary to make them citizens, indeed free men. To José Carlos Mariátegui (1894-1930), the Indian is the cement of the growing Peruvian nationality. He wants to build the socialist state on the model of Inca ayllu and Indians themselves must be architects of this construction. The cover-page illustrations of the review Amauta (1926-1930), that favour the Andean world and its culture, are meant to serve this political project.

In this article we aim to address Manuel González Prada's conception about the indigenous matter, analyzing through history, theory and literature, the piece of work in which he has referred to this subject during his intellectual trajectory.

This article aims to illustrate the importance of the thought of Manuel González Prada in the debate on the relationship between civilization and barbarism. González Prada sought to demonstrate and criticize in the works Páginas Libres and Horas de Lucha, the dichotomy between the imaginary constructed by the Peruvian elite of civilization, showing that the barbarism attributed to the Peruvian people represented nothing more than a form of social control. That only this through his struggle is that he could overcome the situation to which he was subjected.

In the last two decades of the nineteenth century, and in the context of national reconstruction following the Pacific War (1879-1883), a new thought influenced by liberalism and positivism emerges about the question of women. Manuel González Prada and others contemporary women writers of the generation of 1870 like Clorinda Matto and Mercedes Cabello criticized the role of the Church in the education of women, denounced the inequalities and the alienation of the woman in the institution of the wedding. Thus, they put in the middle of the debate the fate of the “angel of the home” exalted by the previous romantic generation. In this work, we will present a comparative analysis of the three writers cited around three key ideas: the function of women in the development of societies; the woman as agent of transformation of her own condition; and the visibility of women's work.

The Peruvian poet and essayist Manuel González Prada deserves to be considered among the authors known worldwide as post-colonial theorists. Like José Carlos Mariátegui and José María Arguedas, González Prada is accorded a primary place in Peruvian decolonial thought, but mainly in Peru. In the international orbit of literary criticism or of cultural or postcolonial studies, however, he is only remembered in anthologies with the inclusion of a poem or his perceived-as-representative essay “Our Indians”; or with sporadic critical articles appearing on some aspect of his oeuvre. While authors such as Achebe (Nigeria), Ngũugĩ (Kenya), and Bhabha (India/UK/USA) are included in the category “postcolonial”, rarely are authors from Latin America or Latino authors from the United States included. This article attempts a small step toward rectifying the paradoxical colonialist exclusion of Hispanics from Anglophone Postcolonial Studies by studying González Prada's early twentieth-century writing that compared women's subordinate condition to men as “slavery”, a slavery resulting in part from the Church's view of women. The primary essay studied, “The Slaves of the Church”, dates from 1904.