Photos • Biography • Facebook • Twitter

From Wikipedia, the free encyclopedia
In this Spanish name, the first or paternal surname is Sánchez de Velazco and the second or maternal family name is Trillo.
Mariquita Sánchez
Detail of a 1845 portrait painting of Sánchez by Johann Moritz Rugendas.
Born
María Josepha Petrona de Todos los Santos Sánchez de Velazco y Trillo

(1786-11-01)1 November 1786
Buenos Aires, Viceroyalty of the Río de la Plata, colonial Spanish America
Died23 October 1868(1868-10-23) (aged 81)
Buenos Aires, Argentina
Resting place La Recoleta Cemetery, Buenos Aires
Other names
Married names
  • María Sánchez de Thompson
  • María Sánchez de Mendeville
  • María Sánchez de Thompson y Mendeville
Occupations
Spouse
​
​
( m. 1805; died 1819)​
Jean Baptiste Washington de Mendeville
​
​
( m. 1820; sep. 1837)​
Children8
Writing career
Genre Letter writing
Literary movement Romanticism
Signature
President of the Society of Beneficence of Buenos Aires
In office
22 January 1830 – 17 January 1832
Preceded byMaría Josefa Sosa de Marín
Succeeded byMaría del Rosario de Azcuénaga
In office
4 July 1866 – 7 September 1867
Preceded byMaría de las Carreras
Succeeded byPetrona Gutiérrez de Nouguier

María Josepha Petrona de Todos los Santos Sánchez de Velazco y Trillo (1 November 1786 – 23 October 1868), commonly known as Mariquita Sánchez (pronounced [maɾiˈkita ˈsanʧes]), [note 1] was a prominent society hostess from Buenos Aires, one of the most notable women of the Independence era in the Southern Cone. [1] She is best known for her influential salons (or tertulias), which brought together many of the leading political and cultural personalities of the time.

Strongly committed to the cultural and literary spheres, she was also a prolific writer whose texts include letters, memoirs, diaries and poetry. [6]

Sánchez was a well-read woman and an avid letter writer, although she never published nor did she write with that intention. Her figure has been revalued as a notable writer posthumously, even before her letters began to be compiled and published in the 1950s. Her writings fall within the Romanticism movement,

Life

1786–1805: Early life and marriage to Thompson

Letter of attorney written by Sánchez on July 11, 1804 to Martín Thompson to present to Viceroy Rafael de Sobremonte as part of their disenso case.

María Josepha Petrona de Todos los Santos Sánchez de Velazco y Trillo was born on 1 November 1786 in Buenos Aires, the then capital of the Viceroyalty of the Río de la Plata, a dependency of the Spanish Empire that mainly extended over the Río de la Plata Basin. [7] [8] She was the only child of 41-year-old Magdalena Trillo, a porteño woman, and 45-year-old Cecilio Sánchez de Velazco, an Andalusian merchant from Granada. [7] [9] Thus, within the caste system that the Spanish Empire established in its colonies, her father was a peninsular (a Spaniard born in mainland Spain) and her mother was a criolla (a Spaniard born in the American colonies). [10] Magdalena was the daughter of Domingo Trillo, a Spanish merchant from Galicia, and Micaela de Cárdenas, a lady of an old family from Buenos Aires. [11] Before her marriage to Sánchez de Velazco in 1771, Trillo had been married to the powerful Argentine merchant Manuel del Arco y Soldevilla, who died in 1768. [11]

The Sánchez de Velazco family belonged to a well-off elite class of merchants, a social group with unique cultural characteristics, such as allowing girls to learn to read, write and count, so as to collaborate or support the family business in the event of the death of their husband. [7]

According to Hispanic legislation and the established uses of the Río de la Plata, Mariquita—as she was nicknamed from an early age—was sole heir to the family heritage, which made her an attractive match for the prosperous merchants of Buenos Aires. [11]

The Sánchez family lived in a large house located three blocks away from the main plaza (today the Plaza de Mayo), which fronted three streets and occupied most of the block. [12]

In her memoirs, Mariquita Sánchez gave a critical account of the rigid social context of the Spanish colonial tradition in which she grew up: [7] [11] "These countries, as you know, were Spanish colonies for 300 years. The most elaborate and most admirable system was formed and executed with great wisdom." [13]

https://rua.ua.es/dspace/bitstream/10045/111915/1/ASN_25_10.pdf

It is necessary for me to defend my rights: or Your Excellency will call me to your presence, but without being accompanied by that of my mother, to give my last resolution, this being that of marrying my cousin, because my love, my salvation and my reputation so desire and demand it, Your Excellency will order me to be deposited by a subject of character so that I may be in more freedom and my cousin may take all the competent steps for the effect. Our cause is too just, as I understand, for your Excellency to dispense us justice, protection and favor. [14]

[15]

1806–1809: British Invasions

Sánchez recalled: "What a night! How to describe the situation of this viceroy, who is blamed for all that confusion and who did too much to get out and save the treasury! Much has been written about this; I will only say one thing: all the people entrusted by the viceroy that night to defend the city were so surprised by the situation and the impossibility of saving the country, that this cannot be explained enough." [16] Sanchez's version of events appears to be sympathetic to civilian and military leaders, given that the viceroy had recently approved her controversial marriage and that Thompson, her husband, was captain of the port. [17] [18]

However, Sánchez does not specify whether Beresford attended his salon, something argued by historians such as Octavio Bottalla. [16]

According to family tradition, Sánchez lent their estate in the San Isidro ravine for the troops of the reconquest to disembark, or to attend to them on their way to Buenos Aires. [16]

In these years of political instability, there are no historical sources to follow Sanchez's activities, as the public scene was totally dominated by men. [16] However, it can be assured that the Thompson salon was among the most prestigious in the city given the high reputation of the couple. [16]

Members of the local elite began to organize themselves into different groups that debated the path that Buenos Aires should take in view of the events in Europe. [16] Thompson belonged to the group of intellectuals more inclined to seek Independence, those who considered that the intermediate solution could consist of bringing a representative of the House of Bourbon to reign the Río de la Plata. [16] His name appears together with those of 124 notable members of the society of the Viceroyalty who supported a petition sent to Rio de Janeiro in October 1808, to request that Infante Pedro Carlos take charge of the government in Buenos Aires. [16]

1810–1818: Independence era

An early 20th-century painting depicting the Patricias Argentinas gathered in 1812 to make their famous joint donation to buy rifles for the patriot army.

In retaliation for his adherence to the patriotic cause, Thompson was expelled from the Spanish Royal Navy in December 1811, although this did not prevent him from continuing an intense social, political and professional activity. [19] According to Sáenz Quesada, "Thompson's position, as captain of the port of Buenos Aires, allowed him to control all maritime traffic; but by being not a neutral official, but someone seriously committed to the patriot party, he ran the risk that threatened that party as Bonaparte's star in Europe faded and the chances of Ferdinand VII's return to the throne increased." [19] Thompson aligned himself with the most radicalized wing of the patriots, led at first by Mariano Moreno, Castelli and Belgrano, who argued that Independence should be declared as soon as possible and that any attempt at an arrangement with Spain should be set aside. [19]

Sánchez always acknowledged her friendship with Monteagudo, even after her husband's death, when fierce rivalries divided that sector of the patriot party. [19]

In one of her letters of her old age, Sánchez makes a brief reference to this, writing to Matilde Capdevila de Calvo: "You favor me by asking me to put my name in your album where you have received great illustrations and abilities: well, what do you want me to say that deserves to mingle with all those gentlemen! I fear so much the ridicule and pedantry that men lavish on us poor women so easily that I have not dared to put a somewhat curious memory and I do so in this confidential and just for you. At my husband's place, one of the first revolutionaries of the year 10, I was commissioned to make the blue and white cockades, which were to replace in Buenos Aires and in the Army of General Belgrano in [Upper] Peru, and that of General Artigas in the Banda Oriental. All were made by the hand that writes these lines, I am sorry I do not have the letters of these generals." [19]

I ask you to see if there are two large silver medals: one of the Battle of Salta and the other of Tucumán, and a gold one of San Martín's entry into Lima. These medals were sent to me by the two generals [Belgrano and San Martín], an honor that few people had, but that no lady of my country had, and you understand how much I would like to recover them. [19]

Although Sánchez hosted tertulias for much of her life, their main period of activity came between 1810 and the early 1830s, reaching its heyday in the 1820s. [20]

Her house became a hub for pro-revolutionary politics and culture. [21]

The 1843 memoirs Letters on South America by British merchants John Parish and William Parish Robertson—who stayed in Buenos Aires in the 1810s—lists Sánchez among the main hostesses in Buenos Aires: [22]

There were, among my more intimate acquaintance, three remarkable ladies; and as I think they belong to the domestic history of Buenos Ayres, I must not pass them over in silence. They were Doña Ana Riglos, Doña Melchora Sarratea, and Doña Mariquita Thompson. They were the heads of three distinct parties, which I can scarcely call political, but which I may designate as public. One heard all the news at their morning levees : learned all the movements of the great men of the state, in power and out of power : the best of these men you met at their houses. Public events were discussed good humouredly, almost philosophically; and as the three ladies in question were all favourable to European alliances, their houses were the constant resort of both English and French naval commanders, consuls-general and other foreign envoys and diplomatists. There they got much better acquainted with all the on dits of the day than at the government palace; and there they indirectly promulgated their own opinions and views, in the certainty that they would reach the proper quarter. [23]

Robertson then devotes a passage to describing each of these three women, especially highlighting Sánchez as his "dear friend" and describing her as a "handsome, gay and fascinating young widow when I had first the honour of making her acquaintance in 1817." [24] Unlike Riglos and Sarratea, he pointed out that Sánchez's forte was foreign relations, writing:

... sure I am that Lord Palmerston, with all his acknowledged tact, with all his splendid talent, and with all his savoir faire, never swayed the affairs of Downing-street with more success and brilliancy than did Doña Mariquita exercise her female diplomacy in her splendid mansion of the Calle del Empedrado. She played the parts of the easy English countess, the vivacious and witty French marquise, the elegant, graceful Portena patrician, in such wise that each country might have claimed her for its own, so happy an art had she of identifying herself for the time being, with the nation to which her friends or visitors belonged. [25]

1819–1836: Marriage to Mendeville

Sánchez with her three children from her second marriage to Mendeville, portrayed by Charles Pellegrini c. 1830.

On 20 April 20 1820, Sánchez married Jean Baptise Washington de Mendeville, a young Frenchman who had arrived in Buenos Aires two years earlier and was dedicated to teaching piano. [26]


From the very circumstance of Doña Mariquita having married a French consul-general, you may infer that her rule lay in the foreign department; and sure I am that Lord Palmerston, with all his acknowledged tact, with all his splendid talent, and with all his savoir faire, never swayed the affairs of Downing-street with more success and brilliancy than did Doña Mariquita exercise her female diplomacy in her splendid mansion of the Calle del Empedrado. She played the parts of the easy English countess, the vivacious and witty French marquise, the elegant, graceful Portena patrician, in such wise that each country might have claimed her for its own, so happy an art had she of identifying herself for the time being, with the nation to which her friends or visitors belonged. [27]

On April 12, 1823, government minister Bernardino Rivadavia inaugurated the Society of Beneficence, a new organization of which Sánchez was a founding member along with ten other women of Buenos Aires. [28]

https://www.infobae.com/historia/2018/06/02/alta-sociedad-filantropia-y-feminismo-la-historia-de-la-sociedad-de-beneficencia/

1837–1852: Self-exile in Montevideo

From 1837 on, Sánchez was de facto separated from her husband, although she planned to meet him from time to time. [29]

Origen y desenvolvimiento de la Sociedad de beneficencia de la capital 1823-1912

She was elected President of the Sociedad de Beneficiencia on 14 January 1830. https://books.google.com.ar/books?id=yMJCAQAAIAAJ&pg=PA235&dq=%22mar%C3%ADa+s%C3%A1nchez%22+%22sociedad+de+beneficencia%22&hl=en&sa=X&ved=2ahUKEwjSyKzo2ez6AhUDpZUCHbuFAGcQ6AF6BAgGEAI#v=onepage&q=%22mar%C3%ADa%20s%C3%A1nchez%22%20%22sociedad%20de%20beneficencia%22&f=false

1852–1862: Return to Buenos Aires

The only known photograph of Sánchez, a daguerreotype attributed to Antonio Pozzo from c. 1854.

Marriage to Mendeville inaugurated a new stage in Sánchez's life, allowing her to recover and expand her role in the social and political life of Buenos Aires. [30]

1863–1868: Final years and death

Sánchez's tomb in La Recoleta Cemetery is listed as a National Historic Monument of Argentina.

Sánchez died on October 23, 1868 in Buenos Aires. [31] Her remains were transported to La Recoleta Cemetery accompanied by a large procession, where they were welcomed by the members of the Society of Beneficence and each lady placed a bouquet of flowers on the coffin. [31] Prayers were led by presbyter Martín Piñeiro and her coffin was placed in the Lezica family tomb. [32] Subsequently, Héctor Varela, José Tomás Guido and the school inspector spoke, reminiscing about her public achievements and personal qualities. [31] Her son Juan Thompson expressed gratitude on behalf of the relatives and himself, urging those present to remember her in their prayers. [31] Since 1946, Sánchez's tomb is listed as a National Historic Monument of Argentina. [33]

Legacy

Historical figure

This famous painting by Pedro Subercaseaux, made on the occasion of the Centennial of 1910, contributed to the transformation of Sanchez into a national hero for her alleged role in the presentation of the National Anthem.

Sánchez is one of the most notable women of the Independence era in the Southern Cone, [1] and perhaps the most famous of 19th-century Argentina. [2] There are few texts about her published in English, with most of them mentioning her because of her account of the 1806 English invasion of Buenos Aires. [5] On the other hand, she has "received consistent, though not voluminous, attention from scholars" in Spanish since the early 20th century. [5] Although she does not appear as a leading figure of the revolution in history books, the figure of Sánchez has been consolidated as that of a patriot in the Argentine collective memory since the 20th century, especially remembered as the owner of the house where the National Anthem was sung for the first time. [34] The 20th-century biographical and literary works around Sánchez turned her into a sort of female national hero who acts as a correlate to the male heroes already enthroned in the national pantheon, who had been mostly military men or politicians. [2] Several attributes contributed to her coming to be regarded as a " Mother of the Homeland", including being a "conspicuous member of the traditional bourgeoisie of Buenos Aires, hostess of a salon visited by the most relevant male personalities of the moment, both national and foreign, anti-Rosas and exiled, witness of the founding events of the country for almost a century, and holder of the rare privilege of being an enlightened woman." [2]

Writing in 2009, Soledad Vallejos argued that Sánchez's historiographic figure could be characterized as a "fine chronicler with a good memory and an awareness of the historical projection that her writings (more or less private) could have and capable, in any case, of being delightful and politically incorrect; also a full-fledged political woman who operated behind the scenes with sharp rhetorical tactics and ambitions of her own; a Frenchified intellectual who never knew Paris and well deserves to transcend, in addition, as a writer; a widow remarried, mother of five children and activist in favor of women's education, even when sustaining that need led her to confront [even] [Domingo F.] Sarmiento." [1]

Recognition as a writer

https://ridaa.unq.edu.ar/handle/20.500.11807/2654

https://revistas.unc.edu.ar/index.php/recial/article/view/11904/html

In a letter of unknown date addressed to Juan María Gutiérrez, Sánchez congratulates him on the recent release of one of his works and expresses a seldom stated aspiration, that of being an author: "I had a thousand desires to write you days ago to congratulate you for the idea of your work; but I had no one to send the letter to. What sympathies we have! I would have thought and wished to do that work, that is to say, I would have wanted to know how to do it, and to console myself for my impotence, I said to myself: and who will read it?" [35] Sanchez's concern about who would read her is typical of 19th-century female authors, leading to procrastination or repression of writing. [35]

Within a biographical sketch of Juan María Gutiérrez written after his death in 1870, Juan Bautista Alberdi introduced an aspect of Sánchez that had been little known to the general public up to that time: her ability as a letter writer. [35] This prompted Alberdi to compare her to Madame de Sévigné because of her "talent, culture and good taste, without a shadow of literary pretension. If her correspondence has not been collected and published, it is not because she does not deserve it; but the varied and numerous circle of her correspondents has made up for the publication of a work that may remain unpublished forever, to the detriment of Argentine literature and of the most distinguished and original merit, for being the most simple, natural and domestic". [35]

In 1937, Pedro Henríquez Ureña and Jorge Luis Borges included a few of Sánchez's letters in a compilation titled Antología clásica de la literatura argentina (Spanish for: "Classic Anthology of Argentine Literature"), and wrote about her in the prologue:

All the authors appearing in the anthology are known as writers, with the exception of María Sánchez, admirable woman who in her letters knew how to reveal with lively expression her always active and generous spirit. We believe that her presence completes the picture of Argentine life in the past. It has been said that her voluminous collection of letters, when published, will be a significant portion of Argentine literature; we regret not having had at hand other materials than the few already printed. [36]

Feminist interpretations

My life is that of a philosopher man rather than a woman, with the misfortune of having the heart of a woman, the head of a volcano, and not having the frivolity of sex to distract me.

Sánchez, letter to Juan Bautista Alberdi, 1852. [37]

Several modern writers have celebrated Sánchez an early feminist and a pioneering activist in the struggle for women's rights. [38] [39] On the one hand, her famous legal battle against her parents to marry who she wanted and not who they imposed on her is considered a social transgression to the gender roles of late colonial society. [1] [38]

On the other hand, several fragments of her private writings have been highlighted for her expressions about women and their right to access to education. [1] Gabriela Mizraje noted that, although "with the exception of her daughter, Mariquita's real interlocutors are men", her "main concerns are women". [1] According to María Clara Medina, the "main concerns reflected in the writings of Mariquita Sánchez are the free choice of a partner, the education of women and the way to insert the female sex in the national revolutionary process." [1] In a letter from her old age, Sánchez sent a poem to her friend Candelaria Somellera de Espinosa, in which she recalls the situation of women in colonial society: "And if you're tempted / To start life over again, / Think of the work / You'd have to do. / We only knew / How to go to mass and pray / Make up our clothes / And darn and mend." [31] Sánchez was also concerned about the fate of her contemporaries and fellow women of her social class, who were dependent on pensions from their husbands or the state. [1] For example, in 1847 she wrote to her daughter Florencia about her wish of living in a community of women only: "If I listened only to my heart and my taste, look what I would do: we would unite in the big house, you and the Larrea women, we would live as best we could and we would all console ourselves together. The trees in your house, I would commission Mr. Picolet to make up the orchard for me with them. We would make a good chicken coop and we would arrange everything very well (...) If this could be done! (...), what a consolation for all of us! [1] In another letter to Florencia in 1852, she said: "I am going to write the history of the women of my country. They are people." [40]

while others have argued that these approaches use 20th and 21st century gender concepts anachronistically. [2] In this regard, Santiago Javier Sánchez wrote in 2014: "Is it feasible to mantain that letters were for this lady of the Buenos Aires bourgeoisie a feminine space of resistance? Is it feasible to think that they supposed a principle of subversion of the dominant patriarchal values? Would it not be more reasonable to think that María Sánchez was, simply, a lady of a certain education, a little above the female average of her time and social class who, thanks to her lineage and fortune, had contact with prestigious men and wrote to them, without pretending to emulate them or question them?" [2]

In popular culture

Fanny Navarro as Sánchez and Carlos Cores as Martín Thompson in the 1954 film El grito sagrado, directed by Luis César Amadori.

Sánchez was arguably represented on film for the first time in the 1909 silent film La creación del Himno (Spanish for "The Creation of the Anthem"), directed by Mario Gallo. [41] Although her name does not appear in the credits, the film's mise-en-scène and treatment of the subject—including a visual reference to Subercaseaux's painting–attest to her depiction in the film. [41] La creación del Himno was part of a series of one-act films (between 8 and 12 minutes) that Gallo released on the occasion of the Argentina Centennial celebrations, which were the first fiction films in the history of Argentine cinema. [42] Some historians consider La creación del Himno the second fiction film of the country behind La Revolución de Mayo, which Gallo released earlier that year. [43]

In 1954, the biographical film El grito sagrado (Spanish for "The Sacred Cry") was released, with Sánchez being played by Fanny Navarro. [44] Directed by Luis César Amadori, the film had its first premiere at the first edition of the Mar del Plata International Film Festival and then a commercial release close to the National Day of Argentina (May 25), in reference to the film's patriotic content. [44] Although the historical epic depicts several events, the main subject of the film is the popular myth that links Sánchez to the National Anthem. [44] Released during the Peronist era, El grito sagrado portrays Sánchez's character in a manner akin to the figure of Eva Perón, represented as a fighter for the poor and disadvantaged. [45] According to film historian César Maranghello, through its depiction of Sánchez, the film "openly paid homage to another historical figure: María Eva Duarte de Perón. From this point of view, El grito sagrado is the first and—until now—the most accurate portrait of the mythical Evita and her political deed." [46]

In 1969, folklore singer Mercedes Sosa released the song "En casa de Mariquita" (Spanish for "In Mariquita's House") as part of her celebrated studio album Mujeres argentinas. [47] The concept album focuses on different important women in Argentine history and includes songs written by musician Ariel Ramírez and historian Félix Luna. [47] The release of Mujeres argentinas marked a milestone in the history of folkloric music in Argentina, and its songs have become classics in Sosa's repertoire. [47] [48] "En casa de Mariquita" continues the myth that associates Sánchez with the first performance of the National Anthem, telling the story of a woman who arrives at Sánchez's house and is moved by hearing the song from outside. [49]

In the 1972 biographical film Juan Manuel de Rosas, directed by Manuel Antín, Sánchez appears very briefly portrayed by the actress Silvia Legrand. [41] The scene shows Sánchez as the hostess of her luxurious salon, in which she converses with Juan Bautista Alberdi, Vicente López y Planes—with whom she alludes verbally to the performance of the Anthem in her salon—and Pedro de Angelis. [41] According to researcher Ricardo J. A. Ercolalo, Sánchez is "represented as an active social subject, both in body and word, gifted with the gift of conversation, interested in political issues, current affairs and concerning the future of the Homeland." [41]

In 1999, Sánchez was portrayed by Marcela Ferradas in the television documentary Mariquita y Ana, which also focused on Marie Anne Périchon (portrayed by Soledad Villamil) and was directed by Clara Zappettini. [50] It was the first of a five-episode documentary series on Argentine women called Seis mujeres (Spanish for "Six Women"), which was broadcast on Canal (á), produced by Lita Stantic, Ana De Skalon and the national Secretariat of Culture, and scripted and directed by women. [51]

More recently, Sánchez was portrayed by pop singer Zoe Gotusso in the documentary film Mariquita, mujer revolución, directed by Sabrina Farji, which premiered in INCAA theaters and its Cine.ar streaming platform on 25 May 2023. [52]

See also

References

Footnotes

  1. ^ In historical sources, Sánchez appears under a number of different names. [1] She was not publicly known as Mariquita—a diminutive for María—during her lifetime, but the name was established and popularized by 20th-century historiography. [2] [3] Instead, she signed her writings as María while Mariquita was an informal nickname for private use, [2] and her friends preferred the diminutive Marica. [4] She is also commonly known by her married names: María Sánchez de Thompson, María Sánchez de Mendeville, or María Sánchez de Thompson y Mendeville. [1] [3] [5]

Notes

  1. ^ a b c d e f g h i j k Medina, María Clara (2009). "Loca por la Independencia: género y razón ilustrada en Mariquita Sánchez hasta su exilio (Río de la Plata, primera mitad del 1800)" (PDF). Anales N. E. (in Spanish) (12). Gothenburg: University of Gothenburg: 135–164. Retrieved November 12, 2023 – via CORE.
  2. ^ a b c d e f g Sánchez, Santiago Javier (2014). "Mariquita Sánchez: ¿Madre de la Patria o feminista patriótica?". Procesos Históricos: Revista de Historia y Ciencias Sociales (in Spanish) (25). Mérida: Escuela de Historia. Universidad de Los Andes: 18–37. ISSN  1690-4818. Archived from the original on 8 November 2022. Retrieved 15 October 2022.
  3. ^ a b Guillamon, Guillermina (2012). "Construyendo la excepción: Mariquita Sánchez desde lo biográfico". Cambios Y Permanencias (in Spanish) (3). Bucaramanga: Grupo de Investigación: Historia, Archivística y Redes de Investigación. Universidad Industrial de Santander: 102–115. ISSN  2027-5528. Retrieved 18 October 2022.
  4. ^ Sáenz Quesada 2011, "22. Su lugar en la historia".
  5. ^ a b c Shumway 2019, p. 7.
  6. ^ Batticuore 2022b, pp. 13–14.
  7. ^ a b c d "Mariquita: una mujer tenaz" (in Spanish). Buenos Aires: Museo Histórico Nacional. Retrieved October 12, 2022.
  8. ^ Sáenz Quesada 2011, "2. Una niña en la capital virreinal".
  9. ^ "Cecilio Sánchez de Velazco". Diccionario Biográfico electrónico (in Spanish). Madrid: Real Academia de la Historia. Retrieved 12 October 2022.
  10. ^ Shumway 2019, p. 19.
  11. ^ a b c d Sáenz Quesada 2011, Una niña en la capital virreinal.
  12. ^ Shumway 2019, p. 20.
  13. ^ Luna, Félix (2009). Breve historia de la sociedad argentina. Buenos Aires: Editorial El Ateneo. pp. 27–30. ISBN  978-950-020-470-5. Retrieved 12 October 2022 – via the Internet Archive.
  14. ^ Olivero Guidobono, Sandra (2012). "Mariquita Sánchez : una mujer, una vida, el nacimiento de una nación". Nuevo Mundo Mundos Nuevos (in Spanish). Paris: École des hautes études en sciences sociales. ISSN  1626-0252. Retrieved 11 October 2022 – via OpenEdition Journals.
  15. ^ Vallejos, Soledad (16 July 2004). "Recuperando a Mariquita". Las12. Página/12 (in Spanish). Retrieved 11 October 2022.
  16. ^ a b c d e f g h Sáenz Quesada 2011, Patriota del año 10.
  17. ^ Sáenz Quesada 2011, p. 35.
  18. ^ Shumway 2019, p. 54.
  19. ^ a b c d e f Sáenz Quesada 2011, El grito sagrado.
  20. ^ Shumway 2019, p. 68.
  21. ^ Barrancos 2007, pp. 77–78.
  22. ^ Rimbot, Emmanuelle (2021). "Una mirada al Buenos Aires prerrevolucionario: Los Recuerdos del Buenos Ayres virreynal de María Sánchez de Thompson y Mendeville" [A closer look at the pre-revolutionary Buenos Aires: Los Recuerdos del Buenos Ayres virreynal written by María Sánchez de Thompson y Mendeville] (PDF). América sin Nombre (in Spanish) (25). Alicante: Universidad de Alicante: 113–123. ISSN  1989-9831.
  23. ^ Robertson 1843, p. 109.
  24. ^ Robertson 1843, p. 112.
  25. ^ Robertson 1843, p. 113.
  26. ^ Sáenz Quesada 2011, La irresistible seducción de Francia.
  27. ^ Robertson 1843, pp. 112–113.
  28. ^ Shumway 2019, p. 118.
  29. ^ Sáenz Quesada 2011, No lo diré.
  30. ^ Batticuore 2022b, pp. 128–129.
  31. ^ a b c d e Sáenz Quesada 2011, El final de una larga peregrinación.
  32. ^ Sáenz Quesada 2011, pp. 276–277.
  33. ^ "Listado de Monumentos 2022" (in Spanish). Argentina.gob.ar, official website of the Argentine State. 2022. Retrieved 3 March 2023.
  34. ^ Batticuore 2022b, La casa del Himno.
  35. ^ a b c d Batticuore 2022a, Los fantasma de la escritora. "¿Quién me leerá?".
  36. ^ Henríquez Ureña, Pedro; Borges, Jorge Luis, eds. (1937). "Prólogo". Antología clásica de la literatura argentina (in Spanish). Buenos Aires: Editorial A. Kapelusz y Cía. p. 8.
  37. ^ Sáenz Quesada 2011, Por el progreso de nuestra tierra.
  38. ^ a b "Mariquita Sánchez de Thompson: patriota y feminista" (in Spanish). Argentina: Ministry of Culture. 31 October 2019. Retrieved 3 March 2023.
  39. ^ O'Donnell, Pacho (12 February 2023). "Mariquita Sanchez, "patrona" del feminismo argentino" (in Spanish). Infobae. Retrieved 3 March 2023.
  40. ^ Sáenz Quesada 2011, "Esa tierra de mis lágrimas".
  41. ^ a b c d e Ercolalo, Ricardo J. A. (2020). "Mariquita Sánchez de Thompson: representación de su figura en la cinematografía argentina durante el siglo XX". Actas de Periodismo y Comunicación (in Spanish). 6 (2). La Plata: Universidad Nacional de La Plata. ISSN  2469-0910. Retrieved November 18, 2023.
  42. ^ Peña, Fernando Martín (2012). "Comienzos de la ficción". Cien años de cine argentino (eBook) (in Spanish). Buenos Aires: Biblos. ISBN  978-987-691-098-9.
  43. ^ "Reestrenan hoy una obra clave del cine nacional: "La creación del himno"". Clarín (in Spanish). Buenos Aires. May 11, 2013. Retrieved November 18, 2023.
  44. ^ a b c Balmaceda, Daniel (8 August 2017). "El desembarco de El grito sagrado en el cine". La Nación. Buenos Aires. Retrieved 11 November 2023.
  45. ^ Dillon, Alfredo; Téramo, María Teresa (2020). "El militar: San Martín y el poder por la fuerza (del Padre de la Patria al paternalismo criollo)". Biopics: historia y poética en el cine argentino reciente (eBook) (in Spanish). Buenos Aires: Biblos. ISBN  978-987-691-893-0. Retrieved 11 November 2023 – via Google Books.
  46. ^ Peña, Fernando Martín (2012). "Artistas Argentinos Asociados". Cien años de cine argentino (eBook) (in Spanish). Buenos Aires: Biblos. ISBN  987-691-098-1. Retrieved 11 November 2023 – via Google Books.
  47. ^ a b c Plaza, Gabriel (26 September 2019). "Mujeres Argentinas, la obra cumbre de Ariel Ramírez y Mercedes Sosa, celebra cincuenta años". La Nación (in Spanish). Buenos Aires. Retrieved 19 November 2023.
  48. ^ Strozza, Pablo (5 October 2009). "Top 3: los mejores discos de Mercedes Sosa". Rolling Stone Argentina (in Spanish). Buenos Aires: La Nación. Retrieved 19 November 2023.
  49. ^ "Proyecto de declaración (S-0440/19)" (in Spanish). Buenos Aires: Senado de la Nación. 2019. Retrieved 19 November 2023.
  50. ^ "Historias del país con una mirada de mujer". La Nación (in Spanish). Buenos Aires. 2 October 1999. Retrieved 16 March 2024.
  51. ^ "Seis mujeres". La Nación (in Spanish). Buenos Aires. 1 October 1999. Retrieved 16 March 2024.
  52. ^ Mattio, Javier (23 May 2023). "Cómo es Mariquita, mujer revolución, la película que protagoniza Zoe Gotusso: ícono de época". La Voz del Interior (in Spanish). Córdoba. Retrieved 16 March 2024.

Bibliography

External links

Category:1786 births Category:1868 deaths Category:19th-century Argentine people Category:19th-century Argentine women Category:19th-century Argentine women writers Category:19th-century letter writers Category:Argentine people of Spanish descent Category:Argentine political people Category:Argentine revolutionaries Category:Argentine salon-holders Category:Burials at La Recoleta Cemetery Category:Patricias Argentinas Category:People from Buenos Aires Category:People of the Viceroyalty of the Río de la Plata Category:Unitarianists (Argentina) Category:Women letter writers Category:Writers of the Romantic era

Retrieved from " https://en.wikipedia.org/?title=User:Bleff/sandboxm&oldid=1218139036"