Figurative Inquisitions

Winner, 2015 LAJSA Best Book in Latin American Jewish Studies The practices of interrogation, torture, and confession have resurfaced in public debates since the early 2000s following human rights abuses around the globe. Yet discussion of torture has remained restricted to three principal fields: the legal, the pragmatic, and the moral, eclipsing the less immediate but vital question of what torture does.Figurative Inquisitions seeks to correct this lacuna by approaching the question of torture from a literary vantage point. This book investigates the uncanny presence of the Inquisition and marranismo (crypto-Judaism) in modern literature, theater, and film from Mexico, Brazil, and Portugal. Through a critique of fictional scenes of interrogation, it underscores the vital role of the literary in deconstructing the relation between torture and truth. Figurative Inquisitions traces the contours of a relationship among aesthetics, ethics, and politics in an account of the "Inquisitional logic" that continues to haunt contemporary political forms. In so doing, the book offers a unique humanistic perspective on current torture debates.

Identity, family, and community unite three autobiographical texts by New World crypto-Jews, or descendants of Jews who were forced to convert to Christianity in 17th-century Iberia and Spanish America. Ronnie Perelis presents the fascinating stories of three men who were caught within the matrix of inquisitorial persecution, expanding global trade, and the network of crypto-Jewish activity. Each text, reflects the unique experiences of the author and illuminates their shared, deeply rooted attachment to Iberian culture, their Atlantic peregrinations, and their hunger for spiritual enlightenment. Through these writings, Perelis focuses on the social history of transatlantic travel, the economies of trade that linked Europe to the Americas, and the physical and spiritual journeys that injected broader religious and cultural concerns into this complex historical moment.

In this first ever monograph on Jacques Derrida's 'Toledo confession' – where he portrayed himself as 'sort of a Marrano of the French Catholic culture' – Agata Bielik-Robson shows Derrida's marranismo to be a literary experiment of auto-fiction. She looks at all possible aspects of Derrida's Marrano identification in order to demonstrate that it ultimately constitutes a trope of non-identitarian evasion that permeates all his works: just as Marranos cannot be characterized as either Jewish or Christian, so is Derrida's 'universal Marranism' an invitation to think philosophically, politically and – last but not least – metaphysically without rigid categories of identity and belonging. By concentrating on Derrida's deliberate choice of marranismo, Bielik-Robson shows that it penetrates deep into the very core of his late thinking, constantly drawing on the literary works of Kafka, Celan, Joyce, Cixous and Valéry, and throws a new light on his early works, most of all: Of Grammatology, Dissemination and 'Différance'. She also offers a completely new interpretation of many of Derrida's works only seemingly non-related to the Marrano issue, like Glas, Given Time: Counterfeit Money, Death Penalty Seminar, and Specters of Marx. In these new readings, this book demonstrates that the Marrano Derrida is not a marginal auto-biographical figure overshadowed by Derrida the Philosopher: it is one and the same thinker who discovered marranismo as a literary trope of openness, offering up a new genre of philosophical story-telling which centers around Derrida's Marrano 'auto-fable'.

This volume offers a thorough introduction to Jewish world literatures in Spanish and Portuguese, which not only addresses the coexistence of cultures, but also the functions of a literary and linguistic space of negotiation in this context. From the Middle Ages to present day, the compendium explores the main Jewish chapters within Spanish- and Portuguese-language world literature, whether from Europe, Latin America, or other parts of the world. No comprehensive survey of this area has been undertaken so far. Yet only a broad focus of this kind can show how diasporic Jewish literatures have been (and are ) – while closely tied to their own traditions – deeply intertwined with local and global literary developments; and how the aesthetic praxis they introduced played a decisive, formative role in the history of literature. With this epistemic claim, the volume aims at steering clear of isolationist approaches to Jewish literatures.

The Marrano phenomenon is a still unexplored element of Western culture: the presence of the borderline Jewish identity which avoids clear-cut cultural and religious attribution and – precisely as such – prefigures the advent of the typically modern "free-oscillating" subjectivity. Yet, the aim of the book is not a historical study of the Marranos (or conversos), who were forced to convert to Christianity, but were suspected of retaining their Judaism "undercover." The book rather applies the "Marrano metaphor" to explore the fruitful area of mixture and cross-over which allowed modern thinkers, writers and artists of the Jewish origin to enter the realm of universal communication – without, at the same time, making them relinquish their Jewishness which they subsequently developed as a "hidden tradition." The book poses and then attempts to prove the "Marrano hypothesis," according to which modern subjectivity derives, to paraphrase Cohen, "out of the sources of the hidden Judaism": modernity begins not with the Cartesian abstract ego, but with the rich self-reflexive self of Michel de Montaigne who wrestled with his own marranismo in a manner that soon became paradigmatic to other Jewish thinkers entering the scene of Western modernity, from Spinoza to Derrida. The essays in the volume offer thus a new view of a "Marrano modernity," which aims to radically transform our approach to the genesis of the modern subject and shed a new light on its secret religious life as surviving the process of secularization, although merely in the form of secret traces.

This book gathers eleven scholarly contributions dedicated to the work of Mexican director Arturo Ripstein. The collection, the first of its kind, constitutes a sustained critical engagement with the twenty-nine films made by this highly acclaimed yet under-studied filmmaker. The eleven essays included come from scholars whose work stands at the intersection of the fields of Latin American and Mexican Film Studies, Gender and Queer Studies, Cultural Studies, History and Literary studies. Ripstein’s films, often scripted by his long-time collaborator, Paz Alicia Garciadiego, represent an unprecedented achievement in Mexican and Latin American film. Unlike many of his contemporaries, Ripstein has successfully maintained a prolific output unmatched by any director in the region. Though several book-length studies have been published in Spanish, French, German, and Greek, to date no analogue exists in English. This volume provides a much-needed contribution to the field.

Five centuries after the forced conversion of Spanish and Portuguese Jews to Catholicism, stories of these conversos' descendants uncovering long-hidden Jewish roots have come to light and taken hold of the literary and popular imagination. This seemingly remote history has inspired a wave of contemporary writing involving hidden artifacts, familial whispers and secrets, and clandestine Jewish ritual practices pointing to a past that had been presumed dead and buried. The Converso's Return explores the cultural politics and literary impact of this reawakened interest in converso and crypto-Jewish history, ancestry, and identity, and asks what this fascination with lost-and-found heritage can tell us about how we relate to and make use of the past. Dalia Kandiyoti offers nuanced interpretations of contemporary fictional and autobiographical texts about crypto-Jews in Cuba, Mexico, New Mexico, Spain, France, the Ottoman Empire, and Turkey. These works not only imagine what might be missing from the historical archive but also suggest an alternative historical consciousness that underscores uncommon convergences of and solidarities within Sephardi, Christian, Muslim, converso, and Sabbatean histories. Steeped in diaspora, Sephardi, transamerican, Iberian, and world literature studies, The Converso's Return illuminates how the converso narrative can enrich our understanding of history, genealogy, and collective memory.

The Marrano Specter pursues the reciprocal influence between Jacques Derrida and Hispanism. On the one hand, Derrida’s work has engendered a robust conversation among philosophers and critics in Spain and Latin America, where his work circulates in excellent translation, and where many of the terms and problems he addresses take on a distinctive meaning: nationalism and cosmopolitanism; spectrality and hauntology; the relation of subjectivity and truth; the university; disciplinarity; institutionality. Perhaps more remarkably, the influence is in a profound sense reciprocal: across his writings, Derrida grapples with the theme of marranismo, the phenomenon of Sephardic crypto-Judaism. Derrida’s marranismo is a means of taking apart traditional accounts of identity; a way for Derrida to reflect on the status of the secret; a philosophical nexus where language, nationalism, and truth-telling meet and clash in productive ways; and a way of elaborating a critique of modern biopolitics. It is much more than a simple marker of his work’s Hispanic identity, but it is also, and irreducibly, that. The essays collected in The Marrano Specter cut across the grain of traditional Hispanism, but also of the humanistic disciplines broadly conceived. Their vantage point—the theoretical, philosophically inflected critique of disciplinary practices—poses uncomfortable, often unfamiliar questions for both hispanophone studies and the broader theoretical humanities.