Nicholas R. Jones - Böcker

In this volume, Nicholas R. Jones analyzes white appropriations of black African voices in Spanish theater from the 1500s through the 1700s, when the performance of Africanized Castilian, commonly referred to as habla de negros (black speech), was in vogue.Focusing on Spanish Golden Age theater and performative poetry from authors such as Calderón de la Barca, Lope de Rueda, and Rodrigo de Reinosa, Jones makes a strong case for revising the belief, long held by literary critics and linguists, that white appropriations and representations of habla de negros language are “racist buffoonery” or stereotype. Instead, Jones shows black characters who laugh, sing, and shout, ultimately combating the violent desire of white supremacy. By placing early modern Iberia in conversation with discourses on African diaspora studies, Jones showcases how black Africans and their descendants who built communities in early modern Spain were rendered legible in performative literary texts.Accessibly written and theoretically sophisticated, Jones’s groundbreaking study elucidates the ways that habla de negros animated black Africans’ agency, empowered their resistance, and highlighted their African cultural retentions. This must-read book on identity building, performance, and race will captivate audiences across disciplines.

In this volume, Nicholas R. Jones analyzes white appropriations of black African voices in Spanish theater from the 1500s through the 1700s, when the performance of Africanized Castilian, commonly referred to as habla de negros (black speech), was in vogue.Focusing on Spanish Golden Age theater and performative poetry from authors such as Calderón de la Barca, Lope de Rueda, and Rodrigo de Reinosa, Jones makes a strong case for revising the belief, long held by literary critics and linguists, that white appropriations and representations of habla de negros language are “racist buffoonery” or stereotype. Instead, Jones shows black characters who laugh, sing, and shout, ultimately combating the violent desire of white supremacy. By placing early modern Iberia in conversation with discourses on African diaspora studies, Jones showcases how black Africans and their descendants who built communities in early modern Spain were rendered legible in performative literary texts.Accessibly written and theoretically sophisticated, Jones’s groundbreaking study elucidates the ways that habla de negros animated black Africans’ agency, empowered their resistance, and highlighted their African cultural retentions. This must-read book on identity building, performance, and race will captivate audiences across disciplines.

There is no shortage of Black characters in Miguel de Cervantes’s works, yet there has been a profound silence about the Spanish author’s compelling literary construction and cultural codification of Black Africans and sub-Saharan Africa. In Cervantine Blackness, Nicholas R. Jones reconsiders in what sense Black subjects possess an inherent value within Cervantes’s cultural purview and literary corpus.In this unflinching critique, Jones charts important new methodological and theoretical terrain, problematizing the ways emphasis on agency has stifled and truncated the study of Black Africans and their descendants in early modern Spanish cultural and literary production. Through the lens of what he calls “Cervantine Blackness,” Jones challenges the reader to think about the blind faith that has been lent to the idea of agency—and its analogues “presence” and “resistance”—as a primary motivation for examining the lives of Black people during this period. Offering a well-crafted and sharp critique, through a systematic deconstruction of deeply rooted prejudices, Jones establishes a solid foundation for the development of a new genre of literary and cultural criticism. A searing work of literary criticism and political debate, Cervantine Blackness speaks to specialists and nonspecialists alike—anyone with a serious interest in Cervantes’s work who takes seriously a critical reckoning with the cultural, historical, and literary legacies of agency, antiblackness, and refusal within the Iberian Peninsula and the global reaches of its empire.

There is no shortage of Black characters in Miguel de Cervantes’s works, yet there has been a profound silence about the Spanish author’s compelling literary construction and cultural codification of Black Africans and sub-Saharan Africa. In Cervantine Blackness, Nicholas R. Jones reconsiders in what sense Black subjects possess an inherent value within Cervantes’s cultural purview and literary corpus.In this unflinching critique, Jones charts important new methodological and theoretical terrain, problematizing the ways emphasis on agency has stifled and truncated the study of Black Africans and their descendants in early modern Spanish cultural and literary production. Through the lens of what he calls “Cervantine Blackness,” Jones challenges the reader to think about the blind faith that has been lent to the idea of agency—and its analogues “presence” and “resistance”—as a primary motivation for examining the lives of Black people during this period. Offering a well-crafted and sharp critique, through a systematic deconstruction of deeply rooted prejudices, Jones establishes a solid foundation for the development of a new genre of literary and cultural criticism. A searing work of literary criticism and political debate, Cervantine Blackness speaks to specialists and nonspecialists alike—anyone with a serious interest in Cervantes’s work who takes seriously a critical reckoning with the cultural, historical, and literary legacies of agency, antiblackness, and refusal within the Iberian Peninsula and the global reaches of its empire.

The sermon as crafted by the early New England preachers was the most prominent literary form of its day, yet the earliest Puritan texts have as a rule been available only in rare-book collections. This anthology of sermons of the first generation of preachers fills a serious gap in American literature. The preachers collected here, the most widely published of their time, were among the eighty or more who emigrated to Massachusetts Bay during the 1630s. They are John Cotton of Boston, Thomas Shepard of Cambridge, and Thomas Hooker of Hartford, the three foremost "lights of the western churches," and two eminent colleagues, Peter Bulkeley of Concord and John Davenport, first of New Haven and later of Boston.The selections are chosen to be representative of the lengthy works from which they are drawn, to reflect the major concerns and styles of the preachers' work as a whole, and to demonstrate the genre of the sermon as developed by the early American Puritans. Not only does this anthology represent an important contribution to literary history, but the sermons also illustrate a doctrine uniquely elaborated in this period-a consistent and emphatic narrative, mythlike in its repetition and heroics, of the progress of the soul from a state of nature to a state of salvation. This theme may be seen as a three-stage-development, although individual sermons may vary. These stages-preparation, vocation, and regeneration-determine the order of the selections. The editors' introductory material supplies a comprehensive and thorough discussion of the early New England sermons, concentrating on their role, history, structure, style, and subject matter. A separate essay on the texts of the sermons describes the relationship between the early printed versions and their form as delivered in the pulpit. The introduction preceding each selection presents original research on the historical circumstances of the preaching and publication of the work from which the sermon is drawn. The editors have also provided brief biographies of the preacfiers represented here, an annotated list of recommended background reading, and the most exhaustive checklist available of authoritative editions of the sermons of these five preachers. This book will be useful to colonial specialists as well as to students of early American literature, religion, and history. The texts are critically edited for readability, with modernized spelling and annotations of unfamiliar phrases and allusions.

Pornographic Sensibilities stages a conversation between two fields—Medieval/Early Modern Hispanic Studies and Porn Studies—that traditionally have had little to say to each other. The collection offers innovative new approaches to the study of gendered and sexualized bodies in medieval and early modern textual production, including literary and historical documents. The volume’s embrace of the interpretative tools of Porn Studies also inscribes a critical provocation: in what ways can contemporary modes of reading the past serve to freshly illuminate not only the contours of that same past but also the very critical assumptions of the present upon which fields like medieval and early modern Hispanic Studies are built? In this way, Pornographic Sensibilities encourages at once both rigorous historicizations of pre- and early-modern culture, and playful engagement with "presentism," considered here as a critical tool to undress the hidden assumptions of both past and present. This move substantively challenges long-held critical orthodoxies among scholars of pre-Enlightenment periods, for whom the very category of "pornography" itself has often problematically been framed as an anachronism when applied to their work.

Pornographic Sensibilities stages a conversation between two fields—Medieval/Early Modern Hispanic Studies and Porn Studies—that traditionally have had little to say to each other. The collection offers innovative new approaches to the study of gendered and sexualized bodies in medieval and early modern textual production, including literary and historical documents. The volume’s embrace of the interpretative tools of Porn Studies also inscribes a critical provocation: in what ways can contemporary modes of reading the past serve to freshly illuminate not only the contours of that same past but also the very critical assumptions of the present upon which fields like medieval and early modern Hispanic Studies are built? In this way, Pornographic Sensibilities encourages at once both rigorous historicizations of pre- and early-modern culture, and playful engagement with "presentism," considered here as a critical tool to undress the hidden assumptions of both past and present. This move substantively challenges long-held critical orthodoxies among scholars of pre-Enlightenment periods, for whom the very category of "pornography" itself has often problematically been framed as an anachronism when applied to their work.

A Poetry Precise and Free collects 150 lyric poems by the Renaissance Italian poet Giovanni Battista Guarini in new translations, accompanied by the Italian originals and commentary that will enlighten and engage both scholars and general readers. Guarini’s madrigals provide insight into northern Italian court culture of the late Renaissance, when poetry and music were enjoyed as companion arts. Hundreds of composers of Guarini’s day set his lyric poems to music. Primarily known today in their vocal settings, most famously those of Claudio Monteverdi, the poems merit appreciation in their own right.This volume is organized into ten sections, grouping the madrigals around themes such as the anguish of passion, the asymmetry of desire, the incursions of jealousy, and the possibility of mutual bliss. Nicholas R. Jones renders Guarini’s poetry into accessible contemporary English verse that nevertheless stays true to the substance and form of the original texts, reflecting their roots in the Petrarchan poetic tradition and displaying the emotion and musicality that made these lyrics so popular from the start. A substantive introduction provides cultural context for the madrigals and their musical settings; brief commentaries follow each translation to illuminate aspects of poetic and rhetorical craft. An extensive appendix lists the madrigal compositions that set these lyrics for vocal performance.The book fills a major gap in the scholarship on Guarini’s literary legacy. It will appeal to scholars of literature, Renaissance studies, and musicology, early-music performers, and general readers interested in poetry and classical music.

Five hundred years ago, working from hints in classical Greek and Latin poets, the young author Jacopo Sannazaro crafted the book called Arcadia, a narrative in richly descriptive Italian prose interwoven with elegant and passionate poems. A young man—transparently a stand-in for the author—leaves his home in Naples to join a community of shepherds in the remote Greek region of Arcadia. Yet he finds that this seemingly idyllic land is as fraught as the homeland he fled. Like the author’s humanist community in Naples, ravaged in the fifteenth century by invasion and regime change, the eloquent shepherd-poets of Arcadia are driven to distraction and depression by the frustrations of desire and the social unrest that threatens their pastoral lives. Amidst all that, they tell each other their personal histories and share their sorrows in song.Sannazaro’s Arcadia is widely recognized as a foundational text of pastoral poetry, humanism, and Italian literature. But the book itself has been largely inaccessible to English-language students and readers. This new translation uses contemporary American English to convey Arcadia’s youthful vigor, narrative energy, and poetic inventiveness. The extensive introduction and commentaries place Arcadia in the context of late fifteenth-century humanist thought and writing, as well as the complicated crisis of Naples in the years just before 1500. This translation is designed to facilitate the re-entry of Arcadia into scholarly discourse and general readership while outlining its lasting cultural influence on poetry, drama, art and music.

This companion analyzes, frames, and provokes race in insightful ways that center non‑white communities’ artistic and visual expression in the early modern period, rather than presenting the bias of European artistic and visual depictions of the colonization, enslavement, and subordination of People of Color.The organization of the book moves chronologically, taking a conceptual and thematic framework. This collection provides a spectrum of object‑based case studies of artistic production—objects and object‑types—from six continents between the 1400s and 1800s. Contributions take an art historical approach characterized by a close analysis of form, function, and meaning, with a particular focus on questions of cross‑cultural dialog and provenance. Additionally, there is an emphasis on material culture.The book will interest scholars working in African diaspora studies, art history, visual culture, material culture, Indigenous studies, Renaissance studies, musicology, early modern studies, decolonial studies, and race and racism studies.

The Renaissance Reader: Beyoncé and Black Queer Popular Culture offers a groundbreaking exploration of Beyoncé’s acclaimed album Renaissance, examining its celebration of Black queer aesthetics through disco, house, and bounce music.Building on the success of The Lemonade Reader, this interdisciplinary collection brings together popular culture writers and scholars to analyse the album’s profound impact on contemporary culture and artistic expression. Through the lens of Black feminist and queer theory, contributors examine how Renaissance engages with and reimagines African American musical traditions while centring Black women’s experiences and queer aesthetics. This timely volume tackles crucial questions about Beyoncé’s evolving artistry, celebrity, and cultural impact, while exploring how her work intersects with contemporary Black feminist and queer theoretical methodologies.The Renaissance Reader: Beyoncé and Black Queer Popular Culture is an essential text for scholars and students in Black women’s studies, queer studies, and popular culture, as well as for fans seeking deeper insight into Beyoncé’s artistic vision and cultural significance.

The Renaissance Reader: Beyoncé and Black Queer Popular Culture offers a groundbreaking exploration of Beyoncé’s acclaimed album Renaissance, examining its celebration of Black queer aesthetics through disco, house, and bounce music.Building on the success of The Lemonade Reader, this interdisciplinary collection brings together popular culture writers and scholars to analyse the album’s profound impact on contemporary culture and artistic expression. Through the lens of Black feminist and queer theory, contributors examine how Renaissance engages with and reimagines African American musical traditions while centring Black women’s experiences and queer aesthetics. This timely volume tackles crucial questions about Beyoncé’s evolving artistry, celebrity, and cultural impact, while exploring how her work intersects with contemporary Black feminist and queer theoretical methodologies.The Renaissance Reader: Beyoncé and Black Queer Popular Culture is an essential text for scholars and students in Black women’s studies, queer studies, and popular culture, as well as for fans seeking deeper insight into Beyoncé’s artistic vision and cultural significance.

Early Modern Black Diaspora Studies brings into conversation two fields—Early Modern Studies and Black Studies—that traditionally have had little to say to each other.