In lieu of an abstract, here is a brief excerpt of the content:Toward a Political Economy of the Libro De AlexandreSimone Pinet (bio)The carefully composed and craftily pronounced stanzas of the thirteenth-century Libro de Alexandre, if mostly a (free) translation of Gautier de Châtillon’s Alexandreis, provide readers with glimpses of northern Iberia in descriptions and comparisons, but especially through curious formulations and eloquent rewritings.1 These incite the reader to reflect upon the emergence of the vernacular regime of literary composition by (...) clerics that developed in the thirteenth century, a corpus known to us as the mester de clerecía. In this corpus, the use of the vernacular, in particular, brings with it an unproblematized sense of transparency of the context in which the works of mester de clerecía were produced, a genre of which the Libro de Alexandre is a key poetic point of origin. Next to an emphasis on a Latinate syntax and recitation techniques that underline the corpus’s clerical production, the irruption of quotidian phrases, vocabulary, figures of medievalization, and especially of Iberization, make these texts a privileged site to study the articulation of the varied phenomena that from economics to the grammatical, from Aristotle to technology, come to revolutionize medieval culture from the twelfth century onward. Of the many peculiar uses of the vernacular in the Libro de Alexandre, references that connote a sense of worthlessness through the repeated structure “not worth an X, ” especially those that express the comparison with minted coinage of little value: dinero, meaja, pepión, or sueldo, as in “not worth a penny,”2 will serve here as a point of entry. These hyperbolic [End Page 44] expressions, common to Romance languages, underline not only the moral and economic ambivalence of terms such as preçio, valor, honor, pagar(se), dar crédito, and so forth, but also the incorporation of a monetary economy within this ambivalence. These types of expressions, moreover, produce a linguistic marker for such ambiguity, as Louis F. Sas noted when he underlined the “affect” which marks, at the level of speech, the reference to abstract terms such as infinity, nothing, and zero in these types of constructions [469, 471].3Sas notes that the vast majority of the occurrences of these phrases in the Libro de Alexandre happen “in combination with the word valer, with its synonyms, or with dar por, that is, in contexts of exchange” [475]. Many years before Sas exhaustively documented these expressions, Alois Richard Nykl had interpreted their presence as related to barter and a supposed clerical contact with local markets, which to some extent could explain their frequent use in the poem, and he especially mentioned the use of fruits and vegetables in these expressions. Nykl also suggested these were “rustic” similes, favored by men of the clergy such as Berceo, Juan Ruiz, and the authors of the Alexandre and the Fernán González, showing, in his opinion, these men’s contact with a certain world in which fruits and vegetables could serve as payment for the church or diezmo, bringing in through this curious interpretation not only a historical economic context but also its [End Page 45] qualification as something “rustic” or at least foreign to the cleric [311].4In 1929, a couple of years after Nykl’s article appeared, George Irving Dale would correct his affirmations, noting that the expressions called “rustic” by Nykl belonged to a well-studied figure called figurative negation. Dale remarked that figurative negation appeared already in the Poema de mio Cid, and he directed the reader to the bibliography offered by Menéndez Pidal in his edition of the Poema under the title of “Refuerzo de la Negación” [Cantar de Mio Cid 1: 376 and glossary]. In his article, Dale wrote in passing that the type of adjectives used with these expressions “increases the insignificance or lack of value” [324]. Later, agreeing with Dale, Sas wrote that the emphasis added to these phrases through the use of adjectives such as vile or rotten did not point to any medieval particular practice beyond that of a peculiar affect, which has been interpreted in terms of “simplicity.” In the next pages I want to suggest some lines of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Theory?Oscar Martín (bio) and Simone Pinet (bio)Theory is, of course, a medieval word, brought from Greek into Latin from a common root (theastai) that also gives us theater, linked through shared meanings related to speculation, contemplation, and so forth. It is used in the Bible, and its English modern use, according to the Oxford english dictionary, probably comes from a medieval Latin translation of Aristotle. The dictionary does (...) not direct us to any specific translation, but prompts us to compare with Italian and, of course, French usage. In French, however, the word théorie was not used until quite late. In fact, it appeared for the first time in French in a 1584 translation of Antonio de Guevara, the famous Spanish court preacher and man of letters whose oeuvre was translated, imitated, and plagiarized in France, Italy, Germany, and England during the sixteenth century. In Spanish, the word theoria had begun its vernacular life a few years before in the writings of Fernando de Herrera.Theoria is already documented by Antonio de Nebrija’s Vocabulario español-latino of 1495, listed between “speculation” and “species” and designating the contemplative and the art of speculation, from theory to the perception of its quality. It is appropriate that Spanish would give theory to the West, sharing with it a point of view or, better, a series of perspectives or miradores, as María Rosa Menocal would call them, from which to look back into or beyond cultural and literary practices [“Visions of al-Andalus”]. For Medieval Iberia was, as this collection of essays purports to be, not a space or a history but a shifting and fluid gaze on the conflicting world surrounding the different literary and cultural works dealt with in this issue.Reluctant at best, and most of the time resentful of theoretical approaches to the study of literature and culture, medievalism found in Hispanism a surprising and most loyal ally. If in most Spanish departments critical theory pushed its way into the study of later periods, to the point that today even the mourning itself (or celebration) of the agony of theory is done from a theoretical standpoint, Hispanomedievalism remained suspicious longer, and sharpened its words on statistics and “scientific” claims to authority. Its close relationship to historical research, however, also made this philology vulnerable to the practices of interpretation. And it is as a will to interpretation that theory has managed to place itself within and outside the criticism of medieval Iberian literature and culture in insightful and renewing ways—including collective projects similar to the present one. Marina Brownlee’s contribution to this volume in this sense offers a most telling guiding thread of this continued approach to the discipline, which she helped revitalize through her participation in the project the new Medievalism. More recently, Josiah Blackmore and Gregory Hutcheson, also contributing to the present volume, sparked a lively debate, as showcased in a forum published by La corónica, with their project Queer iberia: sexualities, cultures, and crossing from the Middle ages to the renaissance. But a host of monographs and single-authored books in recent years have come to inhabit and enliven medieval studies as Hispanism has grown into the most important area of foreign language studies. [End Page 3]Theories find themselves in the articles for this special issue by way of a development from within. There is no application, no rigid use of conceptual frameworks to revisit texts, but an interior process of thought on and through the texts and cultural practices analyzed that produces theoretical insights. While a variety of methodologies and theoretical positionings can be identified, both explicitly and not, from speech-act theory to deconstruction, from Žižek to Badiou, postcolonialism to politics, these seem to emerge from within, as if the obvious result of the need to think questions posed from slightly different standpoints than they have been up until now. All of the articles reflect on very well-known texts and periods, pondering about a discipline, its methodologies, even the nature of its object of study. These articles do not dismiss previous work, but they do bring it under a new light.At a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward a Political Economy of the Libro De AlexandreSimone Pinet (bio)The carefully composed and craftily pronounced stanzas of the thirteenth-century Libro de Alexandre, if mostly a (free) translation of Gautier de Châtillon’s Alexandreis, provide readers with glimpses of northern Iberia in descriptions and comparisons, but especially through curious formulations and eloquent rewritings.1 These incite the reader to reflect upon the emergence of the vernacular regime of literary composition by (...) clerics that developed in the thirteenth century, a corpus known to us as the mester de clerecía. In this corpus, the use of the vernacular, in particular, brings with it an unproblematized sense of transparency of the context in which the works of mester de clerecía were produced, a genre of which the Libro de Alexandre is a key poetic point of origin. Next to an emphasis on a Latinate syntax and recitation techniques that underline the corpus’s clerical production, the irruption of quotidian phrases, vocabulary, figures of medievalization, and especially of Iberization, make these texts a privileged site to study the articulation of the varied phenomena that from economics to the grammatical, from Aristotle to technology, come to revolutionize medieval culture from the twelfth century onward. Of the many peculiar uses of the vernacular in the Libro de Alexandre, references that connote a sense of worthlessness through the repeated structure “not worth an X, ” especially those that express the comparison with minted coinage of little value: dinero, meaja, pepión, or sueldo, as in “not worth a penny,”2 will serve here as a point of entry. These hyperbolic [End Page 44] expressions, common to Romance languages, underline not only the moral and economic ambivalence of terms such as preçio, valor, honor, pagar(se), dar crédito, and so forth, but also the incorporation of a monetary economy within this ambivalence. These types of expressions, moreover, produce a linguistic marker for such ambiguity, as Louis F. Sas noted when he underlined the “affect” which marks, at the level of speech, the reference to abstract terms such as infinity, nothing, and zero in these types of constructions [469, 471].3Sas notes that the vast majority of the occurrences of these phrases in the Libro de Alexandre happen “in combination with the word valer, with its synonyms, or with dar por, that is, in contexts of exchange” [475]. Many years before Sas exhaustively documented these expressions, Alois Richard Nykl had interpreted their presence as related to barter and a supposed clerical contact with local markets, which to some extent could explain their frequent use in the poem, and he especially mentioned the use of fruits and vegetables in these expressions. Nykl also suggested these were “rustic” similes, favored by men of the clergy such as Berceo, Juan Ruiz, and the authors of the Alexandre and the Fernán González, showing, in his opinion, these men’s contact with a certain world in which fruits and vegetables could serve as payment for the church or diezmo, bringing in through this curious interpretation not only a historical economic context but also its [End Page 45] qualification as something “rustic” or at least foreign to the cleric [311].4In 1929, a couple of years after Nykl’s article appeared, George Irving Dale would correct his affirmations, noting that the expressions called “rustic” by Nykl belonged to a well-studied figure called figurative negation. Dale remarked that figurative negation appeared already in the Poema de mio Cid, and he directed the reader to the bibliography offered by Menéndez Pidal in his edition of the Poema under the title of “Refuerzo de la Negación” [Cantar de Mio Cid 1: 376 and glossary]. In his article, Dale wrote in passing that the type of adjectives used with these expressions “increases the insignificance or lack of value” [324]. Later, agreeing with Dale, Sas wrote that the emphasis added to these phrases through the use of adjectives such as vile or rotten did not point to any medieval particular practice beyond that of a peculiar affect, which has been interpreted in terms of “simplicity.” In the next pages I want to suggest some lines of... (shrink)