Abstract:

This article considers how Bartolomé de Torres Naharro's Comedia Trofea (1517) represents the process of global colonization of the African and Southeast Asian coasts initiated with the Portuguese imperial expansion of the mid- to late fifteenth century. This drama, in essence, maps an emerging empire, highlighting key protagonists and places. Analysis here concentrates on the drama's parade of African kings (Monicongo, Mandinga, Capa, Milindo, Aden), considering how the representation of these rulers on stage proffers a cartography that supersedes the longstanding European conception of Africa that had remained entrenched from the influential world map of Claudius Ptolemy dating from Antiquity to the mid-fifteenth century. New place names and ethnicities evoked within the Comedia Trofea align with European imperialist projects and colonization, both justified in the drama with reference to evangelization and a Eurocentric notion of a civilizing process. This study also ponders the implications of this play's composition and performance in the context of ostentatious courtly festivities, where the aim was to elicit orientalist wonder through the representation of African kings.

 抽象的：

本文探讨巴托洛梅·德·托雷斯·纳哈罗的《特罗菲亚喜剧》（1517 年）如何代表 15 世纪中后期葡萄牙帝国扩张所引发的非洲和东南亚海岸全球殖民化过程。这部剧本质上描绘了一个新兴帝国，突出了关键人物和地点。这里的分析集中在戏剧中的非洲国王（莫尼刚果、曼丁加、卡帕、米林多、亚丁）的游行，考虑这些统治者在舞台上的表现如何提供了一种地图，取代了欧洲长期以来一直根深蒂固的非洲概念。克劳狄斯·托勒密的地图，其历史可追溯至古代至十五世纪中叶。 《特罗菲亚喜剧》中唤起的新地名和种族与欧洲帝国主义计划和殖民统治相一致，这两者在戏剧中都与福音传播和以欧洲为中心的文明进程概念有关。这项研究还思考了这部戏剧的构图和表演在浮夸的宫廷庆典背景下的含义，其目的是通过非洲国王的表现来引发东方主义的奇迹。