Abstract:

This essay examines how Lope de Vega's Los melindres de Belisa, a comedia urbana composed circa 1608, represents the intersection of different types of slavery in Habsburg Spain. This play is especially pertinent to these questions as its composition coincided with the intense debates that culminated in Philip III's Order of the Expulsion of the Moriscos from the Iberian Peninsula (1609), a time when sub-Saharan slavery was also firmly established in peninsular Spain. Lope de Vega's comic genius yields a rich dramatic canvas for exploring how racialized representations of enslaved Moriscos and sub-Saharan peoples intersect and interpellate one another in Spanish public theater. An analysis of racial imagery and plot twists in Los melindres de Belisa shows that even though early modern Spanish discourse often strategically essentialized differences between Black sub-Saharan Africans and Moriscos, the racial shimmer in Lope's representations of slavery discloses that these categories were fundamentally entangled with, and indeed, constructed one another.

 抽象的：

本文探讨了洛佩·德·维加 (Lope de Vega) 创作于 1608 年左右的都市喜剧《Los melindres de Belisa》如何展现西班牙哈布斯堡王朝不同类型奴隶制的交集。这部戏剧与这些问题特别相关，因为它的创作恰逢激烈的辩论，最终导致菲利普三世下达将摩里斯科人驱逐出伊比利亚半岛的命令（1609年），而当时撒哈拉以南的奴隶制也在西班牙半岛牢固确立。洛普·德·维加的喜剧天才为探索被奴役的摩里斯科人和撒哈拉以南人民的种族化表现如何在西班牙公共戏剧中相互交叉和相互质询提供了丰富的戏剧画布。对《Los melindres de Belisa》中种族形象和情节曲折的分析表明，尽管早期现代西班牙话语经常战略性地强调撒哈拉以南非洲黑人和摩里斯科人之间的差异，但洛佩对奴隶制的描述中的种族闪光表明，这些类别从根本上与奴隶制纠缠在一起。 ，而且确实是相互构建的。