Covert Gestures: Crypto-Islamic Literature as Cultural Practice in Early Modern Spain

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U of Minnesota Press - 202 Seiten
Forcibly expelled from Spain in the early seventeenth century, the substantial Muslim community known as the moriscos left behind them a hidden yet extremely rich corpus of manuscripts. Copied out in Arabic script and concealed in walls, false floors, and remote caves, these little-known texts now offer modern readers an absorbing look into the cultural life of the moriscos during the hundred years between their forced conversion to Christianity and their eventual expulsion. Covert Gestures reveals how the traditional Islamic narratives of the moriscos both shaped and encoded a wide range of covert social activity characterized by a profound and persistent concern with time and temporality. Using a unique blend of literary analysis, linguistic anthropology, and phenomenological philosophy, Barletta explores the narratives as testimonials of past human experiences and discovers in them evidence of community resistance. In its interdisciplinary approach, Vincent Barletta's work is nothing less than a rewriting of the cultural history of Muslim Spain, as well as a replotting of the future course of medieval and early modern literary studies.

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Inhalt

1 Toward an ActivityCentered Approach to AljamiadoMorisco Narrative
1
2 Written Narrative and the Human Dimension of Time
31
3 Contexts of Rediscovery Contexts of Use
56
4 The Prophet Is Born Muslims Are Made
79
5 A Morisco Philosophy of Suffering and Action
104
6 Language Ideologies and Poetic Form
133
Conclusions
156
Acknowledgments
161
Notes
163
Bibliography
178
Index
197
Urheberrecht

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Beliebte Passagen

Seite 21 - Believing, with Max Weber, that man is an animal suspended in webs of significance he himself has spun, I take culture to be those webs, and the analysis of it to be therefore not an experimental science in search of law but an interpretive one in search of meaning.
Seite 113 - And Abraham lifted up his eyes, and looked, and behold behind him a ram caught in a thicket by his horns : and Abraham went and took the ram, and offered him up for a burnt offering in the stead of his son.
Seite 113 - My father: and he said, Here am I, my son. And he said, Behold, the fire and the wood: but where is the lamb for a burnt offering? And Abraham said, God will provide himself the lamb for a burnt offering, my son...
Seite 113 - And they came to the place which God had told him of ; and Abraham built an altar there, and laid the wood in order, and bound Isaac his son, and laid him on the altar upon the wood. And Abraham stretched forth his hand, and took the knife to slay his son. And the angel of the LORD called unto him out of heaven, and said, Abraham, Abraham: and he said, Here am I.
Seite 113 - Do not lay your hand on the lad or do anything to him; for now I know that you fear God, seeing you have not withheld your son, your only son from me.
Seite xxxiv - The chronotope in literature has an intrinsic generic significance. It can even be said that it is precisely the chronotope that defines genre and generic distinctions, for in literature the primary category in the chronotope is time.
Seite 113 - Abraham said, God will provide himself the lamb for a burnt offering, my son : so they went both of them together.
Seite 158 - En un lugar de la Mancha, de cuyo nombre no quiero acordarme, no ha mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.
Seite xiii - In short, the practically cognized present is no knife-edge, but a saddle-back, with a certain breadth of its own on which we sit perched, and from which we look in two directions into time.
Seite 22 - What makes Balinese cockfighting deep is thus not money in itself, but what, the more of it that is involved the more so, money causes to happen: the migration of the Balinese status hierarchy into the body of the cockfight.

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Über den Autor

Vincent Barletta is assistant professor of medieval Iberian literature at the University of Colorado at Boulder.

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