Casting a Literary Mammy in Diego Sánchez de Badajoz’s Farsa de la hechizera.
This article analyses the theatrical representation of an unnamed black woman in Diego Sánchez de Badajoz’s Farsa de la hechizera (1523/1540–49). In doing so, I employ the term “mammy” – and, more loosely, the Castilian word “nodriza” – in order to capture an interdisciplinary mode of literary criti...
| Publicado en: | University of Toronto Quarterly Vol. 88; no. 4; pp. 323 - 346 |
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| Formato: | Artículo |
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University of Toronto Press
Fall2019
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=146154234&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 146154234 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00420247 UTQ jtl: University of Toronto Quarterly issn: 00420247 maglogo: Y pubinfo: dt: Fall2019 vid: 88 iid: 4 pid: 678 pub: University of Toronto Press artinfo: ui: 146154234 10.3138/utq.88.4.02 ppf: 323 ppct: 23 formats: fmt: @attributes: type: P size: 1.1MB tig: atl: Casting a Literary Mammy in Diego Sánchez de Badajoz’s Farsa de la hechizera. aug: au: JONES, NICHOLAS R. affil: Assistant Professor, Spanish Department and Africana Studies Program, Bucknell University. su: African diaspora Theater production & direction Black women Masculinity Sexual objectification Renaissance in art sug: subj: African diaspora Theater production & direction Black women Masculinity Sexual objectification Renaissance in art keyword: African diaspora studies black women blacks in Renaissance Spain mammy Spanish theatre studies ab: This article analyses the theatrical representation of an unnamed black woman in Diego Sánchez de Badajoz’s Farsa de la hechizera (1523/1540–49). In doing so, I employ the term “mammy” – and, more loosely, the Castilian word “nodriza” – in order to capture an interdisciplinary mode of literary criticism that resituates Sánchez de Badajoz’s black woman character in Renaissance Iberian cultural and literary studies. A non-passive agent who possesses traits analogous to maternal mammy figures across the African diaspora, this study argues that Sánchez de Badajoz’s black woman personage subverts the work’s suicidal galán’s aristocratic might and ultimately destabilizes his masculinity. To that end, this article sets out to demonstrate, more broadly, that scholarly interpretations of black women in early modern Iberia have overlooked the heterogeneous and subversive ways in which these women paradoxically oscillate between the antinomies of objectification and personhood pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of University of Toronto Quarterly is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: University of Toronto Quarterly holder: University of Toronto Press dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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