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By Henry Stobart

The purpose of this e-book is to discover the present study into the ways that Andean peoples create, transmit, preserve and remodel their wisdom in culturally major methods, and the way strategies of educating and studying relate to those. The contributions, from eminent researchers in anthropology, sociology, cultural reviews and linguistics, comprise cross-disciplinary ways, and canopy a various geographic zone from Ecuador to Peru, Bolivia and northerly Chile. The case experiences think of the variously harmonious and conflictive relationships among wisdom, strength, communicative media and cultural identities in Andean societies, from inside neighborhood, nationwide and worldwide views.

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Sample text

In the subsequent section, I shall consider the nature of this source as evidence of the colonisation of knowledge in the Andes. The play opens with Atahuallpa reporting to the Inka princesses on two troublesome dreams he has had, the meaning of which he cannot comprehend; he describes his emotional state as one of extreme sorrow and anguish, and his mental condition as a loss of reason:17 16 Itier’s proposition may prove controversial in Bolivia, perhaps for ideological reasons not unlike those that gave rise to the Tragedia’s composition in the first place.

Pin kayta unanchaq kasqa. Mana mana atiymanchu unanchayta, apullay.  be able to know. Looked at from this angle it looks like an ants’ nest. Looked at from this other angle it looks just the same as the traces of birds’ feet on a muddy river bank. Looked at from this direction it resembles deer standing on their heads. And if we look at it just like this it is identical to upside down llamas with deer horns. Who could even decipher this. I should not be able to interpret it, my lord. (Lara : ) The verb yachay appears in this extract, characterising Waylla Wisa’s overall aim of achieving knowledge.

The vocabulary of knowing and learning in Jesús Lara’s Tragedia del fin de Atawallpa. UNANCHAY interpret signs        account with a degree of deconstructive cynicism, for it is, after all, the result of Lara’s remodelling. The sequence in which Waylla Wisa attempts to read the parchment (Extract viii above) is an example of the kind of creativity I have in mind: wonderment at the marvels of European alphabetic script is perhaps imputed to the indigenous population in this literary ‘reinvention’ of the moment of conquest in such a way, whether consciously intended or not, as to stress European superiority (cf.

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