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• Guest Editor IntroductionOn Recovery and Reparation
• Nicholas R. Jones

FOLLOWING IN THE TRADITION of ethnologist and folklorist Zora Neale Hurston, I have always been keenly aware of and compelled by—perhaps blindly, to a fault—the richness of black culture and its materiality, speech acts, and verve. Hurston comments on this in her oft-cited essay "Characteristics of Negro Expression" (1934). She teaches us that "every phase of Negro life is highly dramatized … everything is acted out" (830). Like Hurston, I, too, wanted to—and continue to still—preserve blackness in its beauty, spectacularism, vibrancy, and wholeness. Such an act to preserve blackness in its complexity, humanity, and vitality foments the work of recovery and reparation characterized by this double special issue Recovering Black Performance in Early Modern Iberia.

The vision and work carried out in this double special issue draws on over two decades of my biographic, humanistic, political, and scholarly commitment to centering sub-Saharan and diasporic African blackness in early modern Iberian Studies. Quiet as it is kept, at the onset of my formative days as an undergraduate student at Haverford College (2001–05) and a PhD candidate at New York University (2005–13), I have always toiled and troubled—fighting tooth-and-nail—over creating and developing interdisciplinary methodologies that render legible and visible the legitimacy of recovering black agency, black resistance, and black subjectivity through the prisms of embodied, materialized, and performative blackness. A handful of colleagues and peers dismissed, discouraged, and scoffed at my ideas for taking up such interpretive strategies and scholarly pursuits. Undeterred by the challenge, I came to realize that, in order to shatter the unspoken structural glass ceiling edified and erected within publishing venues—that both catapult and protect discourses of literary criticism and thought in early modern Iberian Studies, most notably amongst Hispanists working across all literary genres—I had to institute my own alternative and radical ways of approaching criticism and history. While writing my doctoral dissertation, "Hyperbolic Hybridities: Habla de Negros and the Economies of Race and Language in Early Modern Spanish Poetry and Theater," I began to learn to jettison and marshal my own unique reading-against-the-grain critical approach and methodology. In doing so, that dissertation—and the constellation of scholarly and public-facing work volleyed from it—set a precedent that would intervene in the status quo apparatus of reading blackness uncritically and unimaginatively—yet willingly so—through the valences of abjection, buffoonery, deracination, stereotype, and subjection. Freudian- and Hegelian-like, blackness in the field in which I hold a PhD toggled the "totem and taboo" and occupied the extraterrestrial critical topology of ahistoricity. I emend and suspend the ideas framing my opening [End Page 7] remarks here, as I'll return to them more fully in my new single-authored book Cervantine Blackness. Forthcoming in the fall of 2024, Cervantine Blackness theorizes about and unpacks the implications of projects that seek to recover archives, lives, and stories featuring black people across Iberian early modernity.

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The content and subject matter of this double special issue—consisting of twelve full-length scholarly articles and four punchy think-pieces, purposefully titled Recovering Black Performance in Early Modern Iberia—would have been inconceivable, if not heretical, some twenty or more years ago. This project, whose genesis derived from a dynamic, international two-day colloquium—funded by the National Endowment for the Humanities and hosted at Yale University on 29–30 April 2022—is truly a first of its kind. Both the symposium and the double special issue will not only spark new methods for studying black people and black communities on early Iberian stages but will also invigorate theoretical conceptualizations of blackness. Hosting the conference at Yale University—in New Haven, Connecticut, yet also well connected to the Boston and New York metropolitan areas—allowed us to spare no effort to welcome members of black and brown communities to the event. We made this space accessible to audiences beyond the academic sphere, simultaneously giving a high priority to participation by graduate students who could be inspired to plan research on questions of black performance in global Iberia.

To date, as a result of what...

中文翻译：

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客座编辑简介：论恢复与修复


以下是内容的简短摘录，以代替摘要：

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  客座编辑介绍关于恢复和修复
•  尼古拉斯·琼斯

遵循民族学家和民俗学家佐拉·尼尔·赫斯顿的传统，我一直敏锐地意识到并被（也许是盲目的，错误的）黑人文化的丰富性及其物质性、言语行为和神韵所吸引。赫斯顿在她经常被引用的文章“黑人表达的特征”（1934）中评论了这一点。她告诉我们“黑人生活的每个阶段都是高度戏剧化的……一切都是表演出来的”（830）。和赫斯顿一样，我也想——并且继续——保留黑色的美丽、壮观、活力和完整性。这种保护黑人复杂性、人性和活力的行为促进了恢复和赔偿工作，其特点是这本双特刊《恢复早期现代伊比利亚的黑人表现》。

这本双特刊的愿景和工作借鉴了我二十多年来的传记、人文主义、政治和学术承诺，将撒哈拉以南和流散的非洲黑人纳入现代早期伊比利亚研究的中心。尽管保持安静，但在我作为哈弗福德学院本科生（2001-05）和纽约大学博士生（2005-13）的成长岁月开始时，我一直在努力和烦恼——与牙齿战斗—— -钉子——创建和发展跨学科方法论，通过体现、物化和表演性的黑人的棱镜，使恢复黑人代理、黑人抵抗和黑人主观性的合法性变得清晰可见。一些同事和同行对我采取这种解释策略和学术追求的想法不屑一顾、气馁和嘲笑。我没有被挑战吓倒，我开始意识到，为了打破在出版场所中建立和建立的不言而喻的结构性玻璃天花板，这既弹射又保护了早期现代伊比利亚研究中的文学批评和思想话语，尤其是在跨界工作的西班牙裔学者中。所有文学流派——我必须建立自己的另类和激进的方式来处理批评和历史。在撰写我的博士论文“双曲线混合：哈布拉·德内格罗斯以及早期现代西班牙诗歌和戏剧中的种族和语言经济”时，我开始学习抛弃和整理我自己独特的与谷物相反的阅读批评方法和方法。 在这样做的过程中，这篇论文——以及由此而来的一系列学术和面向公众的作品——开创了一个先例，它将通过卑鄙、滑稽的效价来干预不加批判地、缺乏想象力地解读黑人的现状——但心甘情愿地如此—— 、消除、刻板印象和服从。弗洛伊德式和黑格尔式的，在我拥有博士学位的领域中，黑暗切换了“图腾与禁忌”，占据了非历史性的外星批判拓扑。我在这里修改并暂停了我的开场白[第 7 页] 的想法，因为我将在我的新书《塞万丁·布莱克尼斯》中更全面地回顾这些想法。塞万丁·布莱克尼斯 (Cervantine Blackness) 即将于 2024 年秋季出版，对旨在恢复伊比利亚早期现代性中黑人的档案、生活和故事的项目的影响进行了理论分析和阐释。

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这本双特刊的内容和主题——由十二篇长篇学术文章和四篇有力的思想文章组成，特意题为《恢复早期现代伊比利亚的黑人表演》——如果不是异端邪说，在大约二十年或更长的时间里，这将是不可想象的前。该项目的起源源于一场充满活力的、为期两天的国际研讨会——由国家人文基金会资助，于 2022 年 4 月 29 日至 30 日在耶鲁大学主办——确实是此类项目中的首创。研讨会和双特刊不仅将激发研究伊比利亚早期阶段的黑人和黑人社区的新方法，而且还将激发关于黑人的理论概念。在康涅狄格州纽黑文市的耶鲁大学举办会议，同时与波士顿和纽约大都市地区也有良好的联系，这使我们能够不遗余力地欢迎黑人和棕色人种社区的成员参加这次活动。我们让学术领域以外的观众也能接触到这个空间，同时高度重视研究生的参与，他们可能会受到启发，计划对全球伊比利亚黑人表现问题进行研究。

迄今为止，由于什么...