Titlebook: Hydrocriticism and Colonialism in Latin America; Water Marks Mabel Mora?a Book 2022 The Editor(s) (if applicable) and The Author(s), under

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Introduction: Texts, Textures, and Water Marks, a fundamental role, as the medium for reaching and controlling people, lands, and/or natural resources. As environmental variables, bodies of water generate specific strategies for the exercise of power and resistance, and for the sustainability of life. Concurrently, collective imaginaries integra

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The Pacific Ocean as a Space of Freedom, Danger, and Economic Success for the Colonial Project in ,nd a direct and more secure route from Quito to the Pacific Ocean. This article considers the far-reaching implication of hydrocolonialism, as a tool of imperial expansion and advancement of geographical knowledge, as well as a strategy for maintaining racialized ideologies. The relationship that Es

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Imagining a Multi-Modal Digital Corpus of Early Modern Maritime Texts,ve of colonial Latin American textual studies. Articulated at the intersection of corpus computing, scholarly editing, book history, and bibliography, this study proposes a model for a digital resource that could support the production of scholarship writings related to Spain’s overseas empire. This

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,Alonso Ramírez’s Circumnavigation of the World (1675–1689) and the Universal Claim to the American ora. This makes Ramírez the first person from the New World known to have circumnavigated the globe. The story of this first American to claim universal stature is an invitation to partake in a sense of freedom and social possibilities born on the open seas, where ambivalence and versatility reigned

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,Pantitlán or ,: Technology and Secularization in Colonial Mexico City, odds with technological solutions emerging from polytheistic societies. This can be seen in the contrasting way the Mexica first, and the Spaniards later, dealt with the hydrological conditions in the basin where Tenochtitlan was located. Via the complex of Tláloc (represented here by Pantitlán), t

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,“Water, Only Water on All Parts”: Re/imagining the Middle Passage in Teresa Cárdenas’ , Mermaid” of the text. In so doing, Cárdenas invites us to imagine a different Middle Passage, not a fantasy where it did not happen, but to imagine it from the perspective of the enslaved. . allows to explore how such artistic imaginings can help us re/imagine (Western) modernity’s founding and end

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