The thematic issue\, n. 25 coordinated by \; Anat Falbel and Patricia Mendez is dedicated to "The Construction of Lati n-American Historiography: An Inter-Cultural Dialogue."
In t
he 1920s\, Marc Bloch addressed the question of national history by emphas
izing the potential of comparative history to &ldquo\;[&hellip\;] study&nb
sp\;[&hellip\;] neighboring and contemporary \;[&hellip\;] societies\,
exercising a constant mutual influence\, that due to their closeness and
synchronicity are exposed throughout their development to the action of th
e same broad causes\, and owing their existence at least partially to a co
mmon origin.&rdquo\;
Almost a century later\, the
se reflections remain highly relevant. As of the 1980s\, French historians
Michel Espagne and Michael Werner provided a deeper understanding of loca
l and regional cultural transformation\, formulating the concept of cultur
al transfer. Similarly\, Michael Werner and Bé\;né\;dicte Zimm
ermann broadened conceptual aspects of this approach with the idea of
histoire croisé\;e.
In the field of ar
chitecture and urban history\, the issue of cultural transfers has become
a significant theme in the discipline\, discussing the artifact in the spa
ce &mdash\;i. e.\, the architectural object or the urban fabric&m
dash\; considering different mediations\, from the circulation of images o
r printed texts to the circulation of practitioners. Neverthele
ss\, the same approach can be applied to the writing of history itself\, d
efined by Bloch as &ldquo\;the study of the past\, which explains the pres
ent\, makes it possible \;[...] to devise the future destinies of huma
n societies.&rdquo\;
Therefore\, this call for pa
pers does not discuss the artifact but intends to question Latin America&r
squo\;s architecture\, urban and landscape historiographical operations that covered the long interval from the colonial p
eriod to the end of the 20th \;century. Our historiographic
al inquiring can be inscribed in Ramon Gutié\;rrez&rsquo\;s periodiz
ation\, as suggested in his introduction to Historiografí\;a Ibe
roamericana. Arte y Arquitectura (XVI-XVIII)\, i. e.\, antecedents (1
870-1915)\, pioneers (1914-1935)\, consolidation (1935-1970)\, revision of
the late 20th \;century (1970-2000).
Accordingly\, it invites the analysis of Latin American historiographi
cal operations in distinct cultural contexts and the identification of the
dialogues among &ldquo\;neighboring and contemporary&rdquo\; historians\,
which configured the cultural transfer processes that took place in both
directions between Europe\, North America and South America over the time
frame proposed by Gutié\;rrez.
Much like th
e humanities and social sciences\, Latin American architectural and urban
historiographical operations echoed the cultural atmospheres that traverse
d the continent and its national unities over the decades. In this sense\,
they were sensitive to the issues raised by continental and intercontinen
tal ideological\, political and social movements. Visions of Latin America
fusing architectural cultures with Europe as communicating vessels can be
found in the continent&rsquo\;s histories. One can mention the early essa
ys by Lampé\;rez and Romea in the 1920s or
\, later\, Enrique Marco Dorta&rsquo\;s exhaustive work\, dealing exclusiv
ely with Ibero-American art and architecture alongside Diego Angulo &Iacut
e\;ñ\;iguez and Mario Buschiazzo\, whose research led to the His
toria del Arte Hispanoamericano. Published in three volumes\, the wor
k was a turning point in the discipline&rsquo\;s historiography\, discussi
ng the continent&rsquo\;s architecture and foreign contribution. Hardoy (1
988) and Gutié\;rrez (1997) publications followed the same approach\
, which would be resumed by Arturo Almandoz in his book Entre livros d
e historia urbana. Para una historiografia de la ciu
dad y el urbanismo en Amé\;rica Latina (2008).
The troubling journey of the term Latin America\, es
pecially more intense since the latter half of the 19th century\, demonstr
ates the quest for a regional identity in different cultural contexts. Ind
eed\, the emergence of architectural and urban historical narratives searc
hing to recognize a unique identity can be observed under similar circumst
ances. This same issue was present in historical narratives in the early 2
0th \;century\, as shown in the work of historian and architect Lucio
Costa in Brazil. Conversely\, in \;1945\, the American historian Henry
-Russell Hitchcock opened his book on Latin American architecture by point
ing out that Latin American countries were more closely linked to North Am
erica and Europe than to each other. From another point of view\, the Arge
ntinian art historian Damiá\;n Bayon asserted in the \;1970s tha
t: &ldquo\;We who are the first to be concerned with ourselves\, we do not
know each other well enough. We ignore each other with absolute unconscio
usness.&rdquo\;
Throughout the second half of the
20th \;century\, the convergence of theoretical developmen
ts on a continental and intercontinental scale appeared in the discipline
through a series of institutional initiatives. Among them was the creation
of the Instituto de Arte Americano e Investigaciones Esté\;ticas (I
AA) at the Universidad de Buenos Aires \;(1946) that mirrored Manuel d
e Toussaint&rsquo\;s launch of the Instituto de Investigaciones Esté
\;ticas (IIE)\, in \;1936\, at the Universidad Nacional Autó\;no
ma de Mé\;xico (UNAM). The same movement would continue with the fou
ndation of the Instituto de Histó\;ria de la Arquitectura (IHA\, 194
8) at the Universidad da Republica (Uruguay)\, the Instituto de Historia (
1952) at the Universidad de Chileand the Instituto Interuniversitario de E
specializació\;n de la Arquitectura (1958) based in Cordoba\, Argent
ina. In 1967\, they would be followed by the Sem
inario Internacional sobre a situació\;n de la Historiografia de la
arquitectura latinoamericana in 1967\, organized by Graziano Gasparini in
Venezuela\, and the Seminarios de Arquitectura Latinoamericana (SAL) as of
\;1985.
The theoretical and analytical path
of Latin American architecture was constantly advancing. Ciudades Prec
olombianas (1962) by Argentinian architect and historian Jorge Enriqu
e Hardoy\, for example\, illustrates the dialogue with European architects
and historians who were pursuing an anthropological and cultural perspect
ive throughout the 1950s and 1960s. Against the current of bureaucratic mo
dernism\, they believed that past experiences\, whether in Western antiqui
ty\, Asia\, Africa or the Americas\, would enhance contemporary design thi
nking. In the 1980s\, Ramó\;n Gutié\;rrez presented his book A
rquitectura y urbanismo en Iberoamé\;rica under th
e influence of postmodernist skepticism towards metanarratives. He conceiv
ed Latin America as a cultural unity and proposed a historiographical appr
oach engaged with &ldquo\;our reality.&rdquo\; For the Argentinian histori
an and his colleagues at SAL\, this commitment implied &ldquo\;trying to u
nderstand ourselves from within and deciphering without doubt the forms of
our cultural dependence\, our achievements and our multiple deficiencies.
&rdquo\; While incorporating the historiographical perspectives concerning
&ldquo\;other&rdquo\; architectures that appeared with the &ldquo\;insurr
ection of oppressed particularisms\,&rdquo\; as expressed by the Mexican O
ctavio Paz\, Gutié\;rrez understood that specific passages of Latin
American historiography addressed based on Eurocentric principles &mdash\;
such as the colonial period and the 19th century&mdash\; should be reconsi
dered according to the continent&rsquo\;s reality. Following the same trac
k\, Marina Waisman consolidated her ideas in El \;Interior de la H
istoria: Historiografí\;a arquitectó\;nica para uso de latinoa
mericanos (1990) reformulating the theoretical instrumental that allo
ws the understanding of Latin American architecture and urban history in l
ight of the continent reality. She dismantled the multiple traditional mec
hanisms of Eurocentric historiographical analysis to expand them through a
critical reading based on the causal relationships that determined and ac
centuated the dichotomies between center/periphery and center/margins. Bot
h Gutié\;rrez and Waisman\, along with other Latin American research
ers\, initiated the discussions on Latin American cultural unity\, which d
eveloped over the following decades within the theoretical framework of po
st-colonial.
In this scenario\, the 1980s present
ed a new paradigm justifiable due to the expansion of doctoral programs th
roughout the continent and the presence of Latin American researchers in t
he continental and international research networks that emerged from organ
izations such as SAL\, DOCOMOMO and ICOMOS. National narratives were then
revised by incorporating contemporary conceptual tools\, including the for
mulation of cultural transfers.
Also\, from the 1
980s\, one observes the development of a foreign historiographical product
ion dedicated to the continent\, with an interdisciplinary character open
to new protagonists and issues.
It is worth menti
oning that over the centuries\, Latin America&rsquo\;s space has been desc
ribed and represented by travelers of different origins and backgrounds. N
evertheless\, it was not until the 19th century that this representation a
ssumed the attributes of a historiographical tool\, such as in the oeuvre
of French artist and professor Jean-Baptiste Debret\, Voyage pittoresq
ue et historique au Bré\;sil\, ou Sé\;jour d&rsquo\;un artiste
franç\;ais au Bré\;sil (1834-1839). Later\, between the
1920s and 1930s\, the continent received waves of French\, Italian\, and n
umerous German intellectuals\, who also left their impressions through bot
h the written word and the image. Moreover\, the emergence of a new Pan-Am
ericanism between the 1920s and 1930s and cultural exchanges fostered by t
he &ldquo\;good neighbor policy&rdquo\; during the Second World War opened
new avenues for American researchers investigating the colonial period\,
which would also impact local historiographical production suggesting inno
vative approaches. The political and economic tensions of the interwar and
postwar periods\, as well as developments of the Cuban Revolution (1959)\
, sparked the further arrival of European intellectuals who\, from their p
erspective\, contributed as well to the development of the discipline and
the history of the built environment and the landscape in the continent. N
evertheless\, during the 1960s and 1970s\, the Latin American dictatorship
s in some ways diverted the attention of foreign researchers\, albeit with
some exceptions\, i. e.\, the presence of historian Yves Bruand
in Brazil\, Antonio Bonet Correa in Mexico\, as well as the rise of Americ
anist studies in the USA\, focusing more specifically on social and politi
cal sciences.
In this context\, the notable shift
from the 1980s onwards represented a turning point in Latin American hist
oriography. It suggests the importance of considering Latin American histo
riography&rsquo\;s construction not as an isolated subject but within a br
oader cultural context involving dialogues\, exchanges and the crossing of
concepts and methodologies over oceans. Consequently\, it also entails an
alyzing the foreign regard produced within institutional or independent sp
aces.
Therefore\, the current call for papers int ends to discuss original research dedicated to the historiography of Latin American architecture and urban space across a broad chronological and ge ographical spectrum\, proposing three main analytical approaches:
1. Case studies that address from an interdisciplinary pe
rspective the dialogues and exchanges within the historiographical operati
on of Latin American historians\, understood as representatives of specifi
c cultural contexts implying their origins\, backgrounds\, and political\,
social and identity engagements.
2. Essays focus ing on the production of foreign intellectuals\, artists\, critics and his torians who journeyed the continent from the second half of the 18th< /sup> \;century up to modernity\, whose particular vision left its mar k on the discipline&rsquo\;s teaching methods and historiography.
3. Analyses of the cultural dialogue developed between La
tin American and foreign intellectuals and historians\, as well as amid na
tional and international networks that enabled and accelerated the circula
tion of concepts\, critical analyses\, historical research methodologies a
nd historiographical perspectives on Latin American architecture and urban
ism.
Proposals for completes
articles should be sent by e-mail before 2 \;June&nbs
p\;2025 to the Craup&rsquo\; editorial office: craup.secretariat@g
mail.com
For more information\, contact Aude
Clavel on 06 \;10 \;55 \;11 \;36 or by email
<
/p>
The journal expects completed articles\,
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The articles must not exceed 40 \;000 cha
racters\, including spaces.
Lang
uages accepted: French\, English.
Articl
es must be accompanied by:
&minus\; \; \;
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test publications\, e-mail address).
&minus\; \; \; \;&nb
sp\; \; \; \; \; 2 \;abstracts in French and English.<
br />&minus\; \; \; \; \; \; \; \; \; 5&nb
sp\;key words in French and English.
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sp\; \; \; \; \; The title of the article must also be tra
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1.
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