This dissertation explores the literary articulation of place in the aftermath of conquest particularly through a re-examination of chorography, that overlooked genre dedicated to the description and praise of cities. Tracing chorography's complex articulations with an array of sixteenth- and seventeenth-century writings about the recently-conquered urban worlds of Granada and New Spain (and for the latter a renewed consideration of the role of the Orient), my project argues that the ostensibly discrete purviews of history and geography are in fact mutually constitutive categories shaping the literary elaboration of empire. Questioning received interpretive frameworks of 'imperial hegemony' and the 'erasure of the local', the dissertation examines how authors in the chorographic tradition engage in place-making. Exalting the local by drawing on diverse topographic, etymological, genealogical, historical, and other materials, these authors make and remake historical-geographical panoramas to articulate the local with new projects of empire. This study's interpretive framework brings into dialogue the theoretical concepts of "emplacement" (Edward Soja) and "emplotment" (Hayden White) to illuminate literary efforts to impose formal coherence upon disparate conquered worlds.; The work explores a variety of literary genres and non-literary intertexts. It also reaches across the conventional division between Colonial Latin American and Golden Age Spanish studies, informed by a belief that the Hispanic world of the sixteenth and seventeenth centuries is best understood trans-geographically. Contextualizing chorography in relation to its inherited traditions and contemporary intertexts, the dissertation examines Peninsular and New World works of Antiquities, Excellences, and "Grandezas" and local historiographies as a prelude to close examination of the chorographic elaborations of Granada and Mexico City by Gines Perez de Hita (Guerras Civiles de Granada) and Bernardo de Balbuena (La Grandeza Mexicana). Deploying an array of literary tools, each author seeks to insert a newly-conquered place into a re-imagined Spanish world. These works, their sources, and their contexts, complicate the received notion of a monolithically hegemonic empire. In its place we glimpse something different: an emerging Spanish world where the local is no mere cog in a vast imperial machine, but rather an active source of particular visions, projects, and contestations that influence the whole.
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机译：本文探讨了征服后的文学表达方式，特别是通过重新审视了编舞，而这种编排却忽略了致力于描述和赞美城市的体裁。我的项目认为，在最近被格拉纳达和新西班牙占领的城市世界（以及对西班牙的重新审视中，东方的作用得到重新审视）的十六世纪和十七世纪的著作中，追踪了舞蹈学的复杂表现。历史和地理的范围实际上是构成帝国文学阐述的相互构成的范畴。在质疑了“帝国霸权”和“地方霸权”的解释框架之后，论文研究了编舞传统的作者如何参与场所营造。这些作者通过利用各种地形，词源，家谱，历史和其他材料来崇高本地，这些作者制作并重制了历史地理全景图，以用新的帝国计划表达本地。该研究的解释框架将“进驻”（爱德华·索亚）和“进位”（海登·怀特）的理论概念进行了对话，以阐明文学上的努力，以在不同的被征服世界上施加正式的连贯性。该作品探讨了各种文学体裁和非文学互文。它还涉及殖民地拉丁美洲研究和黄金时代西班牙研究之间的常规划分，这得益于一种信念，即十六世纪和十七世纪的西班牙裔世界最好是从地理上理解的。论文将舞蹈学与其传承的传统和当代互文联系起来，研究了半岛和新世界的文物，精品，“大公国”和地方史学，以此作为对吉恩斯·佩雷斯（Gines Perez）仔细研究格拉纳达和墨西哥城的舞蹈学前奏的序幕。 de Hita（格拉纳达平民）和Bernardo de Balbuena（墨西哥拉格兰德萨）。每位作者都部署了一系列文学工具，试图将一个新征服的地方插入一个重新构想的西班牙世界中。这些作品，它们的来源和它们的背景使所获得的整体霸权帝国的概念变得复杂。取而代之的是，我们瞥见了一些不同的东西：一个新兴的西班牙世界，当地人不仅仅是巨大的帝国机器中的齿轮，而是影响整个世界的特殊愿景，项目和竞赛的活跃来源。
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