Abstract:

Andrés de Claramonte's El valiente negro en Flandes (ca. 1620) reframes the representation of Blackness in Spain, presenting the possibility for Black people to reproduce themselves in freedom. This essay, through a reading of Frantz Fanon, addresses how, in Juan de Mérida's journey to overcome the social inferiority of his Blackness, he faces the threat of sodomy. Sodomy conjures the Black protagonist's fears about white supremacy. The two different endings the textual transmission of the play offers, one in which the Black hero marries his former enslaver, and another in which the marriage scene is excised, signal the anxiety in Spain about the increased presence of a free Black population in the midst of a society that enslaved kidnapped Africans and their descendants, the scenes of sodomy performance functioning as a form of symbolic containment.

 抽象的：

安德烈斯·德·克拉拉蒙特的《法兰德斯的黑人英雄》（El valiente negro en Flandes，约 1620 年）重新定义了西班牙黑人的形象，为黑人提供了自由繁衍的可能性。本文通过阅读弗朗茨·法农，讲述了胡安·德·梅里达在克服黑人身份的社会劣势的过程中，如何面对鸡奸的威胁。鸡奸让人想起黑人主角对白人至上的恐惧。该剧的文本传输提供了两种不同的结局，一种是黑人英雄与他的前奴隶主结婚，另一种是婚姻场景被删除，这表明西班牙对自由黑人人口的增加感到焦虑在一个奴役被绑架的非洲人及其后裔的社会中，鸡奸表演的场景充当了一种象征性遏制的形式。