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BORGES's MEDIEVAL IBERIA by Maria Ruhlmann a Dissertation

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BORGES's MEDIEVAL IBERIA by Maria Ruhlmann a Dissertation BORGES’S MEDIEVAL IBERIA by Maria Ruhlmann A dissertation submitted to Johns Hopkins University in conformity with the requirements for the Degree of Doctor in Philosophy Baltimore, Maryland March 1, 2017 © Maria Ruhlmann All Rights Reserved Abstract This dissertation examines how and why famed Argentine writer Jorge Luis Borges conjures up images of Medieval Iberia in the vast majority of his anthologies of essays, poems and stories. Following an introduction to Borges’s attitude to the multiple and often contradictory appropriations of Medieval Iberia in the Spanish-speaking world of his day, it considers the philological and postcolonial implications of Borges’s references to al-Andalus and Sepharad. Relying on New Philology as defined by Karla Mallette and on postcolonial approaches to medievalisms of the postcolonial world, Borges’s Medieval Iberia offers a contribution to the mostly unchartered territory of critical approaches to the uses of medievalisms in twentieth- century Argentina. Advisors: Nadia Altschul Eduardo González ii Table of Contents Abstract ........................................................................................................................................... ii Table of Contents ........................................................................................................................... iii A Note on Translation, Spelling and Terminology ......................................................................... 1 Introduction: Borges’s Unacknowledged Medieval Iberia ............................................................. 3 Chapter 1: A Polychromatic Spanish Language and History ....................................................... 19 Islamicate Nature Poetry ............................................................................................................... 25 On the “Loss” and “Reconquest” of Spain ................................................................................... 30 Borges’s Version of the “Loss” of Spain ...................................................................................... 35 Borges’s Version of the Moor’s Last Sigh ................................................................................... 40 Spanish-Speaking Anti-Semites.................................................................................................... 43 Judería/s ........................................................................................................................................ 45 A Medievalist Hebrew Style ......................................................................................................... 54 Forging a Polychromatic Spanish Language ................................................................................ 67 PART 1: A BORGESIAN NEW PHILOLOGY .......................................................................... 72 Chapter 2: “Spain of Islam, of the Kabbalah” .............................................................................. 73 Manrique’s Stanzas on the Death of His Father ........................................................................... 75 A Spanish Classic Tale as Part of the Thousand and One Nights ................................................ 79 Zajals in The Book of Good Love ................................................................................................ 83 An Islamicate and Judaic Quixote ................................................................................................ 89 iii “The Arabs Living Nowadays Are Not Those Who Raised The Alhambra” ............................. 103 Chapter 3: How “Western” was the Rest of Medieval Europe? ................................................. 111 From Islamic Eschatology to al-Andalus to Dante to Buenos Aires .......................................... 121 The Nights Travel from Egypt to al-Andalus to Roncesvalles to the Rest of Europe ................ 137 From the Nights to Chaucer to Shakespeare ............................................................................... 141 PART 2: ARGENTINE MEDIEVALISMS ............................................................................... 150 Chapter 4: Epic Tango ................................................................................................................ 151 Epics as Artificial Ruins ............................................................................................................. 162 Spain’s Artificial Ruin: The “Rude” Poem of the Cid ................................................................ 170 The Medievalization of Compadritos ......................................................................................... 179 A Non-Exclusively European Medievalism? .............................................................................. 189 A Latin American Post-Occidentalist Epic ................................................................................. 199 Chapter 5: Averroes in Midcolonial Argentina .......................................................................... 203 Hispanista Medievalism .............................................................................................................. 205 The Context of Borges’s Averroes ............................................................................................. 209 The Anti-hispanismo of Borges’s Averroes ............................................................................... 229 In Closing: A Map of Maps ........................................................................................................ 240 Bibliography ............................................................................................................................... 252 Curriculum Vitae ........................................................................................................................ 281 iv A Note on Translation, Spelling and Terminology All translations are mine unless otherwise noted. In order to facilitate the reading of the dissertation, I use the version of the foreign word that I assume is more accessible to the reader. I use Reconquest rather than Reconquista, Koran rather than Qur’an (or Quran), and Kabbalah rather than Kabbala (or Cabala, or Kabala). Koran is used in e.g. Cook, and Kabbalah is used in Scholem and Alazraki, for example. I have chosen to, in general, avoid the use of diacritics or accent marks whenever possible: I use Cordoba rather than Córdoba, Count Julian rather than Count Julián, Volk rather than völk. When choosing an English equivalent, I have opted for the most conventional English version. Thus, Asín Palacios will be Asín (as in Mallette 41-4) and Ibn Rushd will be Averroes. I will indistinctly use the terms “Catholicism” and “Christianity,” and “Castilian” and “Spanish.” The dissertation, however, engages with the specific branch of Christianity that is Roman Apostolic Catholicism, and with the specific language which was born in Castile and which is now spoken in Borges’s native Argentina. Even when I use the words “Christianity” and “Spanish,” it should be understood that I am referring to “Catholicism” and “Castilian” respectively. I will avoid the word “Reconquest,” as in Wacks. I use the term al-Andalus when referring to Arabic-speaking culture and Sepharad when alluding to Hebrew-speaking culture. Al-Andalus will be referred to with the Arabic article al assimilated into the name, and ha- Sepharad will be called simply Sepharad because while it is conventional to refer to al-Andalus this is not the case with ha-Sepharad. I will use Sepharad rather than Sefarad as in Bejarano and Aizenberg, and Elkin, for example. 1 As much as possible, I will also steer clear from the term “medieval Spain.” In some circumstances, however, I find that this term is appropriate—as, for instance, when discussing how Borges connects the nation Spain with medieval history. But in general I will avoid the nationalistic implications of “medieval Spain” as if the nation could be superimposed in the past of the territory in which “Spain” happened to develop. For the same reason, I will try, as much as possible, to not refer to medieval Spanish or Andalusian culture or peoples, and instead use the term “Andalusi.” This adjective is used to describe the provenance of the cultural practices and inhabitants of al-Andalus by Menocal and Wacks, for example. I am aware, however, that whatever term I choose will carry ideological connotations. Even the seemingly neutral “Medieval Iberia” still includes within it the ideas of “Iberia” and of the “medieval.” Some scholars, as L. P. Harvey, think that “Iberians” is an “expression limited to ancient history, or to the contrived ecumenism of modern times” (2-3). The adjective “medieval” is even more problematic, as it is intricately tied with the undoubtly non-neutral term “modernity,” and it encompasses a ten-centuries-long era of European history, both idealized as the origins of European nations and reviled as the “Dark Ages” of savagery and ignorance. 2 Introduction: Borges’s Unacknowledged Medieval Iberia During the twentieth century, the sons and daughters of Ashkenazi Jews who had immigrated to Argentina were growing up. They spoke Yiddish at home and Spanish everywhere else. They became farmers, businessmen, psychoanalysts, doctors, philologists, poets and lawyers. They had no reason to suspect that they descended from the Jews who were expelled from the Iberian Peninsula in 1492. Their last names were not Abravanel, Acevedo or Pinelo—they
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