Abstract:

The Entremés de los compadres en celebridad del nacimiento del niño Dios and the Entremés gracioso—short comic pieces from the eighteenth century preserved in manuscripts from the Convent of Santa Teresa, Villa Imperial de Potosí (present-day Bolivia)—invite scrutiny of the comic characterization of the Black- and Africandescendant populations in the Andes region during the later colonial period. To begin, this study considers how the author or authors of the entremeses maintain an imperial gaze by characterizing Afro-descendants through a grotesque performativity. Yet on closer inspection, we find these texts place Blacks in a central position, conferring a visibility in a manner that draws attention to a history of discrimination. Notably, Black and Afro-descendant characters do not appear alone, but rather interact and share protagonism with characters representing Amerindians from this region of colonial Bolivia. Also notable is how the comic pieces blend the Quechua language with habla de negros and bear witness to the violence suffered by both ethnic groups.

 抽象的：

《Entremés de los compadres en celebridad del nacimiento del niño Dios》和《Entremés gracioso》——来自波托西帝国别墅（今玻利维亚）圣特雷莎修道院的手稿中保存的 18 世纪短篇漫画作品——邀请对漫画进行仔细审查殖民时期后期安第斯山脉地区黑人和非洲人后裔人口的特征。首先，本研究考虑了中间人的作者如何通过怪诞的表演来描绘非洲人后裔，从而保持帝国的目光。然而，经过仔细观察，我们发现这些文本将黑人置于中心位置，以引起人们对歧视历史的关注的方式赋予其可见性。值得注意的是，黑人和非洲人后裔角色并不是单独出现，而是与代表来自玻利维亚殖民地地区的美洲印第安人的角色互动并分享主角。同样值得注意的是，这些漫画作品如何将盖丘亚语与哈布拉德黑人融合在一起，并见证了两个种族群体所遭受的暴力。