Abstract:

In plays such as Los melindres de Belisa, Lope de Vega's characters pretend to be enslaved people who have been branded on the face. Their cosmetic brands or fingidos hierros act as signs within a system of figuration I call typeface. In Lope's typeface plays, hierros are removed easily but are undetectable as fake. These simulated brandings do not disfigure the characters pretending to be enslaved; instead, branding makes the character feigning unfreedom appear simultaneously more sexually attractive and racially ambiguous to other characters. Rather than clarifying racial hierarchies, as Miles Grier demonstrates is the case with the phenomenon he calls "inkface," typeface performances of enslavement represent what is for Lope a metaphysical reality: all human beings are enslaved and branded. Typeface goes beyond the appropriation of enslavement and entails a theory of signification in which human identities circulate as fungible signs, conflating the slave trade and literary dissemination, typographical characters and characterization. By elucidating how simulated brandings signify in plays Lope wrote across decades, this article identifies typeface plays as a subset of Lope's oeuvre, suggesting new ways of understanding his attitudes toward race and enslavement.

 抽象的：

在《Los melindres de Belisa》等戏剧中，洛佩·德·维加饰演的角色假装是脸上被烙上烙印的奴隶。他们的化妆品品牌或 fingidos hierros 充当我称之为字体的形象系统中的标志。在洛佩的字体作品中，hierros 很容易被删除，但无法被察觉为假的。这些模拟烙印不会毁坏假装被奴役的角色；相反，品牌塑造使假装不自由的角色在其他角色看来同时显得更具性吸引力和种族模糊性。正如迈尔斯·格里尔（Miles Grier）所展示的他称之为“墨水脸”的现象那样，字体的奴役表现并没有澄清种族等级制度，而是对洛普来说代表了形而上的现实：所有人类都被奴役并被打上烙印。字体超越了对奴役的挪用，并蕴涵了一种意义理论，其中人类身份作为可替代的符号传播，将奴隶贸易和文学传播、印刷字符和表征混为一谈。通过阐明模拟品牌在洛普几十年来所写的戏剧中的意义，本文将字体戏剧视为洛普作品的一个子集，提出了理解他对种族和奴役态度的新方法。