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es of the Ordina

Contact:nces of Discovery, it does so fi
rst by referencing the action of Cortes, the "great" conqu
istador of New Spa

in. As this was a very common "plot" in missionary drama of New Spain, we can be quite confident that the role of Cortes/conquistador would have been enacted; either Onate himself or an actor-soldier acting in his place would have played the role. Through this comedia, then, Onate is able to act both in the name of the monarch and, more importantly, in the image of Cortes. Following the comedia, Onate delivers the Requerimiento. We remember that the Catholic monarchs in 1512 had mandated the reading of the Requerimiento upon entry into the land to be conquered, to syEMRTCstematize and articulate royal claims on new territory and its peoples as grounds for just war. By 1598, the Requerimiento has been substantially edited. More te

xt is devoted to its evangelical mandate and mission and less to threats of war. Here Onate cannot quite repeat Cortes. But the many conquests enacted by Cortes's generation have been distilled into this "new-improved" text; the Requerimiento signals a continual bureaucratization of warfare, which does not so much replace conquest as displace and defer it. Once these words are spoken, the land and all its peoples thereafter belong to Spain; all future Indian resistance could be, would be, and indeed was interpreted as treasonousÑa violation of this RequerimientoÑ and punished accordingly. When the Spaniards proceed to enter the Pueblos

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heir great grief . . . Because of this and other annoyances,