Poole's article, "Landscape and the Imperial Subject: U.S. Images
of the Andes, 1859-1930," provides a suitable case study for Salvatore's
"enterprise of knowledge." Church's The Heart of the Andes
(1859), Squier's Desaguadero (1868), and Bingham's The Land
beyond the Ranges (1912) were all created out of curiosity for the
unknown and a desire to show the North American masses images of the
mysterious Peruvian Andes. Furthermore, these images helped the public
attach a visual picture to a distant place and this image in many ways
justified imperial interests in South America. The uncivilized landscape
portrayed by the paintings depicted a land ripe for penetration. Throughout
her article, Poole mentions that there was a void in North Americans'
visual consciousness and therefore these depictions (or representational
machines) complimented and inevitably shaped the scientific studies,
travelers' guides, and moral missions in Latin America. This example
of how artists were motivated to explore and depict Latin America is
emblematic of what Salvatore is pointing to in his article. The U.S.
empire was a variegated enterprise, comprised of a kaleidoscope of interests
in the name of knowledge and beyond the realm of the economic and diplomatic.
Critique and conclusion
In this essay I have discussed how Joseph and Salvatore question assumptions
made in dependency and imperialism theories and add to the canon of
methodology new ways of looking at U.S.-Latin American relations. Both
Joseph and Salvatore offer compelling and convincing new slants on the
old dependency and imperialist theories. I think it is important that
each of these scholars is not attempting to cast away the old paradigms-they
are instead trying to nuance, complicate, supplement, and call into
question some of the assumptions made about U.S.-Latin American relations.