The Times of Al-Andalus: Performing Alternative Temporalities in Spanish New Historical Novels, Festive Reenactment, and Conversion Narrative
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THE TIMES OF AL-ANDALUS: PERFORMING ALTERNATIVE TEMPORALITIES IN SPANISH NEW HISTORICAL NOVELS, FESTIVE REENACTMENT, AND CONVERSION NARRATIVE by Julia C. Baumgardt A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland September, 2015 Abstract With the current rise in popularity of the historical novel and “medieval” fantasy renderings in television and film, as well as the increasingly charged political rhetoric centered on notions of medieval conflict and territorial rights, the Middle Ages have become a repository for a diversity of contemporary cultural significance. Many of these meanings are resonant with Spanish National-Catholic ideology and historiographic praxis and invested with a temporal logic that makes the medieval both essence and antithesis of the modern West. This dissertation examines contemporary renovations of al-Andalus—in two historical novels, one fiesta de moros y cristianos “reenactment,” and one hybrid conversion narrative-historical novel by a Spanish convert to Islam—that contrast with or attempt to contrast with these ideological uses of the Middle Ages. Following the temporal critiques of Johannes Fabian, Wai Chee Dimock and Dipesh Chakrabarty, it investigates the texts’ reconstructions of the Iberian Middle Ages through an interrogation of both the temporalities the works renounce and those they create. Furthermore, it analyzes the function of these texts’ attempts to vindicate the role of two groups both marginalized and appropriated by National-Catholic discourses—women and Muslims—and the intersection of this vindication with the texts’ resultant temporality. Through an emphasis on discourse and communal ritual, several of the texts manage to move away from a conflict-based, teleological concept of Spanish history in time, establishing an alternative temporality and a more inclusive version of al-Andalus, past and present. Advisor: Dr. Nadia Altschul ii Acknowledgements This project would not have been possible without the support and guidance of many wonderful individuals. First and foremost, to my husband Marc: thank you. Your constant encouragement and unrelenting belief in me have provided my most necessary and important supports. I am so grateful for the many sacrifices you and Emma-Josephine have made in sharing me with this project. You are my partner, my cheerleader, my advocate, and my deepest and truest friend. To my advisor, Dr. Nadia Altschul: your passion, rigor, and commitment to the importance of your/our work has been my central inspiration for this project and for my continuing desire to work in the field. Your thorough and constructive feedback—not to mention your willingness to read draft upon draft and sift through many paragraphs to arrive at the kernels of my arguments when I myself could not articulate them—has been absolutely essential. Thank you for giving both criticism and praise liberally; you have continually challenged and motivated me to think deeper and work harder. I am also deeply indebted to my professors and graduate student colleague-friends for sharing their expertise and insights and for creating such a rich and stimulating environment. Thank you especially to Cathleen Carris for your study help, your editing, and most of all, your friendship. I am also so grateful to the GRLL and library staff for providing such pleasant, prompt, thorough and helpful support. Last but certainly not least, I want to thank my family for their ongoing support of my academic pursuits, from pre-K to PhD. iii Table of Contents Abstract ii Acknowledgements iii I. Performing the Past as Present: An Introduction “Going Medieval”: Imagining the West Versus Islam……………………………1 Spanish Moors?: The Iberian Middle Ages and Contemporary Spain……………4 Out of Time: A Critique of Progressive Temporality and Historiography………14 Closing Temporal Distance: Deep Time…………………………………………28 Closing Emotional Distance: Alternative (Performative) Historiography……….33 Introduction to the Corpus……………………………………………………….38 II. Playing Scheherazade: Women, Time and Destiny in La estirpe de la mariposa and El viaje de la reina Imagining a Feminist al-Andalus………………………………………………..41 Plot Summaries and Critical Perspectives………………………………………50 La estirpe: Reproductive Protagonism or Divinely Ordained Fertility?..............56 Man's Secret Weapon…………………………………………………………...60 God and History: La estirpe de la mariposa and Francoist Discourse…………66 A New Scheherazade: Nur’s Discursive Protagonism…………………………70 El viaje de la reina: Female Protagonists and the Masculine Void……………78 El viaje: Performative Orality………………………………………………….91 El viaje and La estirpe: Women’s Narratives and the Production of History…96 Female-Protagonized Historical Fiction……………………………………...104 iv III. Playing at War: Representing Morisco Conversion in the Fiesta de moros y cristianos in Válor The Válor Festive Weekend…………………………………………………113 Critical Perspectives…………………………………………………………116 Reverse Reenacting: From Cyclical Conflict to Sympathetic Refocus……...123 Historical Antecedents……………………………………………………….128 Reenacting Reconciliation: The Rebellion as Subtext……………………….131 La Tropa Cristiana……………………………………………………………133 La Tropa Mora………………………………………………………………..137 Conversion: Already Christians?......................................................................144 Dramatic Structure……………………………………………………………148 The Spy Dialogue and the Festival’s Comic Core……………………………150 The War in Africa as Context…………………………………………………155 Deep Time and a Vision of Future…………………………………………….169 IV. Performing the Paradox of Past: Conclusions Alternative History as A Critique or a Revision?: Summary of Arguments…..177 Morisco Genocide and Crypto-Muslims………………………………………184 The Failures and Powers of (History) Text……………………………………193 Unity Through Liturgy…………………………………………………………204 Beyond a Dichotomous Notion of Spiritual Time……………………………..209 Performing Monologues……………………………………………………….214 Works Cited………………………………………………………………………….220 Curriculum Vitae……………………………………………………………………..232 v “Time, much like language or money, is a carrier of significance, a form through which we define the content of relations between the Self and the Other” (Fabian ix). “[…] a seam has materialized before our eyes at which the past and present touch […] enabling the hand of the past to reach out and illuminate the events of the present, this seam is palpably invested by desire: a desire for an intelligibility that was, and still is, urgently wanted” (Heng, “Sex, Lies” 3). Chapter One Out of Time: An Introduction “Going Medieval”: Imagining the West Versus Islam The “Middle Ages” does not refer to a specific, well-defined, and closed-off period in the past, but to a time in between two better defined periods. Nevertheless, cultural and political references to the Medieval as an agreed-upon, well-defined moment abound. In the West in the twentieth and twenty-first centuries, many of these political references and some of the popular ones take the form of disparaging comments in which contemporary events, ideas, communities and peoples are disdained for being “medieval”: backward, ruthless, violent and uncivilized. Particularly in the last several decades, in the wake of violent attacks from various militant Islamist sects, the (U.S.- lead) Western War on Terror, and the formation of the self-proclaimed Islamic State, many cultural stereotypes about the widespread medieval conflict between Christians and Muslims—often formed from historical misreadings and ideologically manipulated 1 overgeneralizations—are being revived and extended. For both the (“Secular”-Christian) West and militant Islamist groups—two sides of an imagined dichotomy that in reality do not exist as monolithically as described—the Middle Ages form part of a renewed rhetorical strategy to support a conflictive political and ideological position. Both parties refer to and revive the medieval past as the primitive kernel of their essential character as well as the essential mode of interaction with their (religious) enemy. Spanish former prime minister José María Aznar (PP, 1996-2004) and U.S. former president George W. Bush (R, 2001-2009) present two notorious examples of recent prominent political figures that refer to the Middle Ages in these terms, reviving and furthering the “clash-of-cultures” historical understanding that the Middle Ages was a “dark” monolithic block characterized by religious confrontation. Aznar condemns the current state of Spanish regional discord as “taifismo” (Interview by Prego).1 He also made waves in his address at Georgetown, “Seven Theses,” in which he connected al- Qaida’s attacks—what he called Bin Laden’s war “on us, on democratic, prosperous, free and basically secular western society”—to the eighth-century “invasion” by the “Moors” (Aznar). Aznar is certainly not alone in this type of politically and ideologically charged interpretation of the Middle Ages. As Bruce Holsinger and Geraldine Heng have illuminated, the Bush administration built the justification of its policy of war in the Middle East and torture of P.O.W.s around the premise of fighting with a “medieval” 1 “Taifismo” comes from “taifa,” the term for the independent, Muslim-ruled city-states that arose after the destruction of the Caliphate of Cordoba in 1031. Along with describing the general political environment of rival cities and their rulers vying for power and territory, the term “taifa,” as evidenced by Aznar’s use of it, also has a strong