B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 1 r e v i e w s Catherine Infante. The Arts of Encounter: Christians, Muslims, and the Power of Images in Early Modern Spain. U of Toronto P, 2022. 264 pp. Lisette Balabarca-Fataccioli Siena College In this exhaustive study, Catherine Infante explores a topic sometimes overlooked in studies about the relationship between Christians and Muslims in early modern Spain. Following on the steps of Felipe Pereda’s book on image worship among religious minorities in his Images of Discord: Poetics and Politics of the Sacred Image in Fifteenth-Century Spain (trans. by Consuelo Lopez-Morillas, Harvey Miller Publishers, 2019), Infante draws on portrayals of religious icons in fictional narratives, poetry, theater, and nonfictional sources such as historical chronicles, religious treatises, Inquisition cases, travel accounts, and testimonies of Christian captives. She bases her analysis on sources written in Spanish, Arabic, and Aljamiado. The book also highlights paintings and engravings, as well as relics and effigies that accompanied depictions of Christians and Muslims’ encounters. Drawing on W. J. T. Mitchell’s concept of “vernacular visuality,” she explores how daily-life encounters with devotional images and objects shaped the ways in which Christians understood both Moriscos and Muslims, and vice versa. One of the ultimate goals of The Arts of Encounter is to shed light on visual images as they expressed the intricacies of interreligious connections and the fluidity of religious identities. Infante’s most sustained focus throughout is Christian iconography, especially images of the Crucifixion, the Virgin Mary, and Christ. She studies their role in literary works by writers like Lope de Vega and Miguel de Cervantes, as well as in chronicles written by the apologists of the expulsion of the Moriscos in 1609 or in texts that depict Mediterranean sites of contact where devotional icons worked as mediators in the context of warfare resulting from Christian–Muslim rivalries. The first three chapters focus on Moriscos and their conflictive relationship with Old Christians in Spain during the years before and immediately after their expulsion. The final three chapters consider the confrontations between Christian and Muslims in the Mediterranean, mainly in North Africa. Chapter 1, “Moriscos between Cross and Crescent,” opens with the decree of expulsion of Moriscos, exploring how the apologists of the edict justified the B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 2 drastic measure by centering their claims on Moriscos’ desecration of Christian icons, specifically the cross. Such works by Jaime Bleda, Marcos de Guadalajara y Xavier, Pedro Aznar Cardona, and Damián Fonseca are highlighted here. This chapter emphasizes the analysis of the cross, construed by Church and Crown authorities as the symbol of Muslims’ defeat and the response to the crescent moon, interpreted by Christians as a Muslim symbol but used by some Moriscos as a talisman, which in their view had to be replaced by the Christian crucifix. Opposing the apologists’ propagandistic texts, the chapter proposes Cervantes’s Los trabajos de Persiles y Segismunda as an alternate example of how early modern Spanish writers understood the Moriscos’ relationship to Christian religious icons. Here, Infante emphasizes the role of the novel’s Morisca character Rafala, whose actions challenge the intolerant apologists’ view of Moriscos inseventeenth-century Spain. Additionally, she matches the literary images of Moriscos with visual representations, such as their depictions in Francisco Heylán’s engravings in Justino Antolínez de Burgos’s Historia eclesiástica de Granada and Pere Oromig’s depiction of the embarkation of expelled Moriscos at the Valencian waterfront. Chapter 2, “Text against Image in...

喜剧演员 TES 公告 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 prepublic at ion (projectmuse) 1 条评论 Catherine Infante。相遇的艺术：基督徒、穆斯林和近代早期西班牙的图像力量。多伦多大学 P，2022 年。264 页。Lisette Balabarca-Fataccioli 锡耶纳学院 在这项详尽的研究中，Catherine Infante 探讨了在有关近代早期西班牙基督徒和穆斯林之间关系的研究中有时被忽视的一个主题。继费利佩·佩雷达 (Felipe Pereda) 在其著作《不和的图像：十五世纪西班牙神圣图像的诗学与政治》(Consuelo Lopez-Morillas 译，哈维·米勒出版社，2019 年) 中关于宗教少数群体中的图像崇拜的书的步骤之后，因方特绘制了关于虚构叙事、诗歌、戏剧中宗教偶像的描绘，以及非虚构来源，例如历史编年史、宗教论文、宗教裁判所案件、旅行记录和基督徒俘虏的证词。她的分析基于用西班牙语、阿拉伯语和阿尔贾米亚多语写成的资料。这本书还重点介绍了绘画和雕刻，以及描述基督徒和穆斯林相遇的文物和肖像。她借鉴 WJT 米切尔的“乡土视觉性”概念，探讨了日常生活中与虔诚图像和物体的接触如何塑造了基督徒理解摩里斯科人和穆斯林的方式，反之亦然。《相遇的艺术》的最终目标之一是阐明视觉图像，因为它们表达了宗教间联系的复杂性和宗教身份的流动性。凡特自始至终最关注的焦点是基督教图像，尤其是受难、圣母玛利亚和基督的图像。她研究了他们在洛佩·德·维加 (Lope de Vega) 和米格尔·德·塞万提斯 (Miguel de Cervantes) 等作家的文学作品中的角色，以及在 1609 年驱逐摩里斯科人的辩护者所写的编年史中，或在描绘地中海接触地点的文本中的角色，虔诚的偶像在这些地方充当调解人在基督教与穆斯林之间的对抗导致的战争背景下。前三章重点关注摩里斯科人以及他们在被驱逐之前和之后与西班牙旧基督徒之间的冲突关系。最后三章探讨了地中海地区（主要是北非）基督徒和穆斯林之间的对抗。第一章，“十字与新月之间的摩里斯科人，》以驱逐摩里斯科人的法令开场，探讨该法令的辩护者如何为《喜剧公报》辩护 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 prepublic at ion (projectmuse) 2 将他们的主张集中在摩里斯科人对基督教圣像（特别是十字架）的亵渎上，采取了严厉措施。这里重点介绍了 Jaime Bleda、Marcos de Guadalajara y Xavier、Pedro Aznar Cardona 和 Damián Fonseca 的作品。本章强调对十字架的分析，十字架是由教会和王室当局构建的，作为穆斯林失败的象征和对新月的回应，基督徒将其解释为穆斯林的象征，但被一些摩里斯科人用作护身符，在他们看来必须被基督教的十字架所取代。反对辩护者的宣传文本，本章提出塞万提斯的《Los trabajos de Persiles y Segismunda》作为早期现代西班牙作家如何理解摩里斯科人与基督教宗教偶像的关系的另一个例子。在这里，因凡特强调了小说中摩里斯科人拉法拉的角色，他的行为挑战了十七世纪西班牙不宽容的辩护者对摩里斯科人的看法。此外，她还将摩里斯科人的文学形象与视觉表现相匹配，例如胡斯蒂诺·安托林内斯·德布尔戈斯的《格拉纳达教会史》中弗朗西斯科·海兰 (Francisco Heylán) 的版画中对摩里斯科人的描绘，以及佩雷·奥罗米格 (Pere Oromig) 对被驱逐的摩里斯科人在巴伦西亚海滨登船的描绘。第 2 章，“……中的文本与图像” 他们的行为挑战了十七世纪西班牙不宽容的辩护者对摩里斯科人的看法。此外，她还将摩里斯科人的文学形象与视觉表现相匹配，例如胡斯蒂诺·安托林内斯·德布尔戈斯的《格拉纳达教会史》中弗朗西斯科·海兰 (Francisco Heylán) 的版画中对摩里斯科人的描绘，以及佩雷·奥罗米格 (Pere Oromig) 对被驱逐的摩里斯科人在巴伦西亚海滨登船的描绘。第 2 章，“……中的文本与图像” 他们的行为挑战了十七世纪西班牙不宽容的辩护者对摩里斯科人的看法。此外，她还将摩里斯科人的文学形象与视觉表现相匹配，例如胡斯蒂诺·安托林内斯·德布尔戈斯的《格拉纳达教会史》中弗朗西斯科·海兰 (Francisco Heylán) 的版画中对摩里斯科人的描绘，以及佩雷·奥罗米格 (Pere Oromig) 对被驱逐的摩里斯科人在巴伦西亚海滨登船的描绘。第 2 章，“……中的文本与图像”