An Open Access Online archive of Premodern Iberian and Latin American primary texts for the classroom

landing page of Open Iberia AmericaAnyone who has taught panoramic survey courses of literature knows the frustration of working with published textbooks. I’ve argued both sides of the question in my blog: [pro-textbook] [anti-textbok]. Ultimately no one textbook can serve the curricular and pedagogical needs of any one instructor in any given class. Bound printed textbooks are shaped by market considerations and tend toward highly canonical selections from Castilian authors that no longer reflect the literary history practiced by most scholars of Iberian literatures (I talked about this lag between research and pedagogy at the MLA back in 2008). Curricular aims and time schedules vary considerably by institution and by instructor. It is extremely difficult to find a textbook of medieval Iberian literature that satisfies the pedagogical interests of the instructor and the economic interests of the student.

Amazon dot com page showing prices for renting and purchasing Voces de España

Print textbooks in general are becoming more expensive, outpacing inflation and adding increased financial burden to university students who are bearing ever-increasing debt loads. In addition to their cost, traditional print textbooks are inflexible, forcing instructors —many of whom are already time starved, with high teaching loads and increasing service burdens— to subordinate their own pedagogical interests and strengths to the materials and approaches offered by traditional print textbooks. This state of affairs is one in which market forces are distorting the way in which we represent Iberian cultures to our students.

Most instructors working in the field end up either adopting a traditional print textbook, supplementing with photocopied course packets and from other texts or of their own edition. Many of us are constantly reinventing the wheel. As a result, there is a tremendous amount of pedagogical material being developed that might well be put in the service of the wider community of teachers and learners of premodern Iberian cultures, under an open license that permits the broadest possible diffusion without concern (or the performance of concern) for copyright fees.

There has been talk of addressing this issue, at least the curricular issue, by collaborating on a newer, more inclusive teaching anthology, a sort of literary companion to Remie Constable’s Medieval Iberia. This is a wonderful idea, one whose time came a while ago. However, many colleagues, myself included, will find it difficult to commit to such a project, which by its nature demands the involvement of specialists in the many languages involved over several years and to the tune of many, many, hours. A further disincentive is that such work is not properly rewarded by most research institutions, so that one’s limited time for research (which is rewarded, in theory) becomes more limited.

As a compromise (or perhaps a cop-out), I proposed a different model of online resource, one that offers maximum flexibility to instructors, minimal costs to students, and a manageable time investment on the part of faculty.

Open Iberia/América is a collection of short selections of premodern Iberian and Latin American texts in pedagogical editions modeled after the editorial practices of commercial anthologies. Editors select a short text or excerpt which they gloss for undergraduate readers (the target population is undergraduate students in third-year courses in US universities) write short introductions, study questions, and provide a basic bibliography for further reading.  The commitment is low, and the texts can be one that you are currently editing or studying. The collection is edited by subject experts, and is available under a Creative Commons open access license that allows users to download, copy, distribute, alter, republish the units provided they attribute the source.

Audience? How does the format determine the audience?

photo of film audience with large question mark superimposed

source: pixbay.com

I imagined the audience as instructors and students of university classes in Hispanic literatures and perhaps history, religious studies, and other related topics. I also imagined it might be used by high school instructors of these topics in the US, UK, and the Spanish-speaking world. Each text is published in two versions: one with the text in the original language accompanied by an introduction, translation, and notes in English, and another version with the introduction, translation, and notes in Spanish. This way each can be used in courses in which the language of instruction is either English or Spanish. In courses taught in Spanish for non-native speakers of Spanish in the English-speaking world, the students have the option to consult the English-language version as a support. However, Open Access publications have an open-ended audience; anyone with an internet connection is able to access and download the texts, so this might include interested general readers, high school students, and instructors and students at low-resourced institutions worldwide. Some of the units in the collection cut across disciplinary areas, so that, for example, my unit on Isaac Cardoso could be taught in a course on Judaic Studies in English or Spanish; the unit on Ramon Muntaner could be taught in a History course in either language, and so forth.

Anthology or Archive?

title page and table of contents of Antologia de Poetas Hispano-Americanos published in eighteen ninety three

In planning this project, I had to think what shape it would take, and why. I wanted it to respond to the needs of the instructors and students, or at least my understanding of their and our needs, but I also wanted colleagues to be motivated to contribute. A print anthology is closed, in the sense that the editor or editors plan a determined number of contributions, solicit them, and publish them. Their editorial vision shapes the collection, which in turn determines the parameters of how one might use it in the classroom. However, for this project, I wanted to take advantage of digital publishing tools that would allow us to create an open-ended collection or archive rather than a closed anthology. This way we could keep adding to it indefinitely, and the collection could grow in response to the interest level and focus of the contributors. In balancing the needs of the imagined instructors and the interests of the contributors, I’m hoping to have a sustainable project that will refresh itself with new contributions and still provide a core of canonical frequently taught texts. So my hope is basically that instructors will come for Libro de Buen Amor and Celestina and stay for Ibn Hazm and Ramon Muntaner.

Editorial

Because one of the aims of the collection is to be linguistically inclusive, I needed to convene an editorial committee with specialization in each of the languages of the Spanish-Speaking world. I recruited colleagues in these fields whose duties would include promoting the project and soliciting contributions, reviewing proposals, and editing contributions. Here is the team I came up with. I had the great luck to have two colleagues here at the University of Oregon who are specialists in Nahuatl, and the first contribution in Nahuatl is in the pipeline. I would like to expand the Latin American area, and am looking for two new editors, one in Peninsular Early Modern and another in Latin American Early Modern or Colonial.

Technology and Copyright

image of page of a contribution showing text and footnotes

Rather than predicate the project on significant funding for design and implementation, I decided to go with the simplest possible scenario. The units are edited in Microsoft Word and deposited as .docx or .rtf files to Humanities Commons, the scholarly repository and networking platform developed by the MLA, but now operated jointly by a number of scholarly societies in the Humanities and housed at Michigan State University.

logos of Humanities Commons and Academia dot E.D.U. juxtaposed

Humanities Commons a not-for-profit, Open Access repository, and I would like to take a moment here to plug it and to shine some light on the shortcomings of the elephant in the room, Academia not edu. Academia, though far more popular than Humanities Commons, is the Amazon of the scholarly repository world. It exploits a legal loophole for peer-to-peer sharing in order to (1) do an end run around copyright protections and (2) monetize our research. If you upload your work to Academia, you probably do not have permission to share the publisher’s pdf on a website.

It’s unlikely that your publisher is going to send you a cease and desist for posting a single article, and Academia reaps the benefits. By contrast, Humanities Commons is a true scholarly repository. You must hold the rights to whatever you post there. This means that unless you have the express permission of your publisher, you cannot post the publisher’s pdf of your article, and must instead post what is called a postprint of your work, which is essentially the corrected typescript of the article that you send to the publisher. This you can do if your publisher’s open access policy allows it. Most commercial publishers allow this form of Open Access publishing, and journals published by academic societies such as La corónica have their own policies, but if you are in doubt you should ask.

Base texts and rights

manuscript image of Cantar de Mio Cid next to title page of Isaac Cardoso's Excelencias de los Hebreos

In any event, what does this legal state of affairs mean for Open Iberia/América? It means that we must hold the rights to the primary texts we publish in it. This can be accomplished by using an original transcription of a manuscript (such as Matthew Bailey’s transcription of Cantar de Mio Cid), or by transcribing an out-of-copyright print edition (such as my transcription of Isaac Cardoso’s Excelencias de los hebreos). In some rare instances, such as Elizabeth Wright’s edition of Juan Latino’s poetry, we were able to get the express permission of the publisher of her edition of his poetry. The same is true for images: if the image is available Open Access or is out of copyright, one can use it without permission, but in some cases it was necessary to secure express permission from the archive or library where a manuscript was stored. Collections are less wary to sign over permissions for texts and images to be used in a non-commercial work, but the gold standard is to use base texts and images that are already licensed as Open Access or that are out of copyright.

Promotion and Budget

photo of man pulling out pants pockets to indicate there is nothing in them

Because we have no publisher and no need to recuperate costs, and no advertising budget, actually no budget whatsoever, I have not given a good deal of thought to promoting the project beyond announcing new units on my twitter and on the Mediber Listserve. I imagine some folks find the collection through keyword searches. Recently I went and added units to their respective Wikipedia pages in order to perhaps get some more traffic, but honestly it’s not a huge priority for me. A casual search reveals that it’s been included in a number of resource guides.

Ambition

Currently we have published 12 units, and there are another 10 or so in production. To be honest, I have no concrete plans for the future; I can imagine us adding some 5-10 units per year. Anything more than this would not be sustainable on my end, and might make the collection unwieldy.  If at some point I should decide to secure funding for a zoomier interface and design I might upgrade the site.

list of units currently in production

 

Usage

These numbers tell us how many times each unit has been downloaded from Humanities Commons, but nothing more. We have little to no idea who has been reading or teaching these texts, and why. I’d love more information, but have no idea how I could go about collecting it.

table of usage statistics for published units

 

Please get in touch with me if you are interested in contributing to Open Iberia/América. 

This post is a version of a paper given at the 2021 MLA for the Digital Medieval Iberia panel. Thanks very much to presider Matthew Bailey.

 

The Curse of Ham in Medieval Iberia and the Enslavement of Black Africans

image of manuscript of Crónica dos feitos da Guiné

Gomes Eanes de Azurara, Crónica dos feitos da Guiné (BNF Port 41 f. 1r)

Modern capitalism has its origins in the institution of chattel slavery, in particular the enslavement of Black Africans. As we know, all institutions require complicated symbolic systems to legitimate them and reinforce their power in society. Enslavers attempt to justify and support their actions with robust symbolic systems. One of the ways in which Europeans justified the enslavement of Black Africans was the Curse of Ham, or the idea that Black Africans are descended from Ham, who was cursed among his brothers for not covering his father’s nudity, and for not abstaining from sex with his wife while sheltering on the ark for forty days. In order for this Biblical legend to justify the enslavement of Black Africans, two things have to happen. First, Ham must be identified with Black Africans, and second, actual Black Africans must be identified as slaves.

Scholars frequently cite the Chronicle of the Discovery and Conquest of Guinea, by Gomes Eanes de Azurara, written in 1453, as the first documented example of these ideas coming together as a justification of Early Modern slavery. In it, Azurara identifies Black Africans living in Guinea as the descendants of Ham, whose slavery is a result of the Biblical Curse of Ham:

And here you must note that these Blacks, given that they are Muslims like the others, are in any event the slaves of the latter by ancient custom, which I believe to be because of the curse that Noah cast upon his son Ham after the flood, by which he cursed him, that his generation be made subject to all the others of the world.

E aquí haveis de notar que estes negros, posto que sejam mouros como os outros, são porém servos daqueles por antigo costume, o qual creio que seja por causa da maldição que depois do dilúvio lançou Noé sobre seu filho Cã, pela qual o maldisse, que sua geraçao fosse sujeita a todalas outras do mundo… (Zurara 85; Tinhorão 51)

Azurara links the two curses of Ham: (1) Blackness and (2) Slavery in what is considered a pivotal moment for the theory of race in Europe, one shaped by the incipient Portuguese slave trade. This ideological turn is one of the ideas that unlocks the possibility of modern chattel slavery and consequently the development of modern capitalist world systems, so it is worth drilling down a bit into the ideological landscape of race and of interpretations of the story of the sons of Noah and in particular, the curse of Ham.

What is the genealogy of this idea on the Iberian Peninsula? How do we get from the Biblical Ham to the beginnings of Biblical justifications of slavery in the Early Modern period that were shaped by and in turn reinforced the transatlantic slave trade?

We’ll begin with the text in the Hebrew Bible, then trace the development of the Curse of Ham in medieval sources, focusing on Iberian writers and artists.

The question of the geographical distribution of the sons of Noah and their relative skin tones is post-biblical. The Biblical Curse of Ham deals strictly with enslavement. As a punishment for his disrespect and disobedience, the descendants of Ham (through his son Canaan) are cursed to be slaves to the descendants of Shem and Japheth:

May God enlarge Japheth,
And let him dwell in the tents of Shem;
And let Canaan be a slave to them. (Gen 9:20-29)

It’s clear to see how this story was used in the Biblical context to justify the Israelite subjugation of the Canaanites in their conquest of the Promised Land, but less so how it came to justify the enslavement of Black Africans. For this, two things need to happen: First: Ham needs to be Black. Second, Blackness needs to be associated with slavery.

How does Ham become black?

The idea develops over time. In sources from antiquity there is no clear link between skin color and slavery. Late antique Rabbinic traditions such as those of R. Huna and R. Joseph (fourth century) in Genesis Rabbah distinguish between blackness on the one hand, and slavery on the other, but do not conflate the two (Goldenberg, Curse 168). In his study of the Curse of Ham in Jewish tradition, David Goldenberg argues that over time, as slavery in the Mediterranean began to be associated increasingly with Black Africans, Ham’s twin curses of Blackness and slavery became more common (Goldenberg, Curse 174).

Medieval Jewish and Islamic traditions attribute the blackness of Ham’s descendants as God’s punishment for his disobedience and sexual incontinence, two characteristics stereotypically attributed to Black Africans by white supremacist pseudo-science. According to these traditions, although Noah and Noah’s sons were commanded to abstain from sex with their wives during their time on the ark, Ham and his wife ignored the ban and as a punishment God turned Ham’s semen black, which would ensure that his son Canaan, and in turn all of Canaan’s children, would be born Black. This is repeated in a number of influential sources known to Iberian authors, who in turn introduce their own innovations to the legend.

The Muslim commentator Ibn Mutarrif Al-Tarafi, writing in Sevilla in the eleventh century, repeats the tradition that Ham’s semen turned black as a punishment for disobeying God on the Ark, but changes Ham’s crime from having sex with her during a period of mandated abstinence to beating her, swapping out sexual incontinence for domestic violence as supposed characteristics of Black Africans:

Qatada relates that there were only eight people on the Ark: Noah, his wife, his three sons Shem, Ham, and Japeth; Ham hit his wife on the Ark and for this reason Noah asked God to turn his seed black, and that is the origin of the Blacks (al-Tarafi 69)

Another variation of the legend found in the Talmud that circulated in the Iberian Peninsula states that there were three of the ark’s passengers who were cursed for violating the abstinence order: the dog, the crow, and Ham. The dog’s punishment was to remain attached to his partner after coitus, the crow’s was to spit during coitus, and Ham’s was for his seed and therefore his descdendants to turn Black (Goldenberg, Black and Slave 52). The first Western Latin reference is found in the 1245 Extractiones de Talmut, a Latin translation of key passages of the Talmud meant to serve as a resource for anti-Jewish polemicists. Luis Girón-Negrón observes some fifty years later, this legend makes its way into the Libro del Cavallero Zifar. Interestingly, here the author conflates the name Ham (Cam) with that of the dog (can) (Wagner 37; Girón-Negrón 284).

Noahic geographies and race

twelfth century T.O. map, British LIbrary

T-O Map Etymologiae 12th c. British Library, Royal 12 F. IV, f.135v

Later medieval copies of Isidore of Seville’s 7th-century Etymologies feature maps that associate the continents with the sons of Noah: Japeth with Europe, Shem with Asia, and Ham with Africa, and Medieval Arabic sources typically associate Ham with contemporary Black Africans. The influential Persian historian Al-Tabari (9th c), whose work is widely cited in al-Andalus, confirms this tradition in his History that Ham’s son Canaan is the progenitor of the  “Blacks, Nubians, Fezzan, Zanj, Zaghawah, and all the peoples of the Sudan” (al-Tabari 2: 11).

Christian sources, some of which draw at least partially on Arabic geographers, likewise bring different agendas to bear on the legend. Rodrigo Jiménez de Rada, in his De Rebus Hispaniae, composed around 1250, notes that the sons of Ham occupy Africa, but reserves part of Asia, normally apportioned to Shem, to the sons of Japhet. His comment “that which the sons of Ham and Japhet possessed in Asia was by way of war.” This is a reference to Crusade, for he also details that the sons of Japhet also possessed the “mountains Amano and Toro, of Cilicia and Siria, that are in Asia, and all of Europe to Cádiz of Hercules, at the farthest reaches of Spain” (Jiménez de Rada 62). Cádiz was at the time still under Muslim rule, and would be for another decade, and the Crusader siege of Antioch was in 1098, but grew to great symbolic prominence as a model for holy war on the Peninsula.

Map indicating locations of Taurus and Nur Mountains in Asia Minor

Taurus and Nur Mountains source: Google Maps

The compilers of Alfonso X’s universal history, the General estoria, begun in the late thirteenth century and completed during the reign of Alfonso’s son Sancho IV in the early fourteenth, further develop the Noahid legacy in the context of military and political struggle between Christians and Muslims on the Iberian Peninsula:

Whereas, anyone who wishes to know from where this great and longstanding enmity between Christians and Muslims may here see the reason; for the Gentiles and Christians that are alive today come primarily from Shem and Japhet, who populated Asia and Europe. Yet still, despite the fact that some of the descendants of Ham have become Christian, either by preaching or forcefully as prisoners or slaves. And the Muslims come principally from Ham, who populated Africa, but there are some of them descended from Shem or Japhet, who by the false preaching of Muhammad become Muslims, whereby we have, according to this right and privilege that our father Noah granted to the descendants of Shem and Japheth, that wherever the Muslims may be in whichever other lands, that because they are Muslims, are all from Ham, and if we might take from them their property through combat or by any type of force, and even capture them and make them our slaves, that we commit no sin or error in so doing. And should we cease to fight them it should only be out of our better judgment or if by chance we are not prepared because of their greater numbers… (Alfonso X 1: 91)

Here the compilers of the GE build on Jiménez de Rada’s crusader geography with a bit of crusader theology, reinforcing the bulls of crusade that supported military efforts against Islam first in the Iberian Peninsula and later in the Eastern Crusades. Still, there is no reference to Blackness per se, only to the association of Muslims with Africa.

Miniature of Banquet of Balthazar in Alba Bible

Banquet of Balthazar, Alba Bible (source: Wikipedia)

It is not until the Biblia de Alba, compiled over a century after the General estoria, but still some years before Azurara’s chronicle, where we see one of the first explicit links between Ham, Blackness, and slavery. Completed in 1433, some twenty years before Azurara’s Chronicle of Guinea, The Biblia de Alba or Biblia de Arragel was a collaboration between Rabbi Moshe Arragel and an anonymous Christian cleric or clerics and is unique in its ecumenical approach to combining Christian and Jewish commentaries on the Torah.[1] In any event, Arragel equates the offspring of Ham’s son Canaan with the Muslim Black Africans of his own day. He writes: “And Canaan was a a slave of slaves, and some say that they are the Black Muslims, who are slaves wherever they be” (“E Chanaan fue siervo de siervos. Algunos dizen que son los moros negros, que do quier que cativos son”) (Paz y Meliá f. 33r; Goldenberg, Black and Slave 108 n 7). The miniature that illustrates this passage (below) depicts Ham with stereotypically Black African features, and is the first such depiction of Ham I was able to identify.

Miniature depicting sons of Noah from Alba Bible

MS Alba Bible f 33r. Courtesy Fundación Casa de Alba (Goldenberg 111)

These examples together form a fairly clear trajectory of a theory of race used to justify the enslavement of Black Africans. Just as soon as Iberians began the exploration of West Africa and began to develop what would in the space of decades become a full blown global slave trade, Iberian writers expanded on previous uses of the Curse of Ham to identify Black Africans as the descendants of Ham bearing the curse of enslavement, and to locate these Black Africans in actual time and space building on existing geographic traditions and by the time of Azurara, on actual Black bodies in real time.

Works Cited

  • al-Tarafi, Abu Abd Allah Muhammad ibn Ahmad ibn Mutarrif al-Kinani. Storie dei profeti. Translated by Roberto Tottoli, Il melangolo, 1997.
  • Alfonso X. General estoria. Edited by Borja Sánchez-Prieto, Fundación José Antonio de Castro, 2009.
  • al-Tabari. The History of Al-Tabari: An Annotated Translation. Translated by Franz Rosenthal, vol. 1, SUNY Press, 1989.
  • Carasik, Michael, editor. The Commentator’s Bible: Genesis. Translated by Michael Carasik, Jewish Publication Society, 2018.
  • Girón-Negrón, Luis M. “La Maldición Del Can: La Polémica Antijudía En El Libro Del Caballero Zifar.” Bulletin of Hispanic Studies (Liverpool), vol. 78, no. 3, 2001, pp. 275–95.
  • Goldenberg, David M. Black and Slave: The Origins and History of the Curse of Ham. de Gruyter, 2017.
  • —. The Curse of Ham: Race and Slavery in Early Judaism, Christianity, and Islam. Princeton University Press, 2005.
  • Jiménez de Rada, Rodrigo. Historia de los hechos de España (De Rebus Hispaniae). Translated by Juan Fernández Valverde, Alianza Editorial, 1989.
  • Jordão, Levy Maria, editor. Bullarium patronatus Portugalliae regum in ecclesiis Africae, Asiae atque Oceaniae: bullas, brevia, epistolas, decreta actaque Sanctae Sedis ab Alexandro III ad hoc usque tempus amplectens. Ex Typographia nationali, 1868.
  • Paz y Meliá, Antonio. Biblia de Alba. 1899.
  • Phillips, William D., Jr. Slavery in Medieval and Early Modern Iberia. University of Pennsylvania Press, 2013.
  • Tinhorão, José Ramos. Os negros em Portugal: uma presença silenciosa. 3a edição., Caminho, 2019.
  • Wagner, Charles Philip, editor. El libro del cavallero Zifar (El libro del Cauallero de Dios). University of Michigan, 1929.
  • Williams, John. “Isidore, Orosius, and the Beatus Map.” Imago Mundi, vol. 49, 1997, pp. 7–32.
  • Zurara, Gomes Eanes de. Crónica da Guiné. Edited by José Bragança, Livraria Civilização Editora, 1973.

This post is a version of a paper given at the 2021 MLA for the New Currents in Medieval Iberian Studies panel. Thanks very much to presider Simone Pinet.