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Abstract
The purpose of this chapter is to critique the TV series El Príncipe (2014–6) with reference to the presence of Islamophobic and Orientalist elements, with a view to examining how these influence the series’ fictional recreation of so-called “jihadist radicalisation” in Spain. First, I define the terms “jihad” and “radicalisation” and delineate the contours of propagandistic discourses on “jihadist terrorism” in contemporary Spain (Torres Soriano 2009; López Bargados 2016). Second, I outline the plot of El Príncipe, stressing the pervasive presence of Spanish chauvinist, Islamophobic and Orientalist elements (Aidi 2015). Third, I argue that although the above negatively influence El Príncipe’s depiction of “jihadist radicalisation”, the latter constitutes a well-researched and thought-provoking problematisation of this phenomenon. I conclude that while El Príncipe’s fictionalisation of “jihadist terrorist radicalisation” in Spain does play into Islamophobic and Orientalist agendas, constantly reproducing its pernicious stereotypes, it would be unwise to dismiss this TV series as a frivolous production that makes no effort to examine the underlying motivation behind “jihadist terrorist radicalisation” in contemporary Spain. Rather, my analysis reveals that in El Príncipe the pervasive presence of Spanish chauvinist, Islamophobic and Orientalist elements coexists with a well-researched, open-ended and thought-provoking problematisation of the process of “jihadist terrorist radicalisation.” (Žižek 1989, 2012; Harris and Nawaz 2015).
Sinopsis
En el presente ensayo constelaré un close-reading de la obra Makbara (1980) con la impugnación de una cierta lógica de normatividad cultural sexual y de género de cuño hispano-occidental propia de la metrópoli burguesa. A tal efecto aplicaré a los relatos del franquismo autárquico (1939–1959) y del posterior tardofranquismo turístico- consumista (1960–1975) el modo en que Goytisolo se sirve del tropo de la maqbara (
Sinopsis
En el presente ensayo constelaré un close-reading de la obra Makbara (1980) con la impugnación de una cierta lógica de normatividad cultural sexual y de género de cuño hispano-occidental propia de la metrópoli burguesa. A tal efecto aplicaré a los relatos del franquismo autárquico (1939–1959) y del posterior tardofranquismo turístico- consumista (1960–1975) el modo en que Goytisolo se sirve del tropo de la maqbara (
Abstract
The aim of this essay is to problematize the ontology of Judeo-Spanish qua language. First, I argue that its traditional conceptualization as an autonomous, self-contained language is predicated on a (flawed) classical ontological framework that relies on so-called ‘named languages theory.’ Second, I contend that a more enlightened understanding of Judeo-Spanish as a linguistic phenomenon necessitates a paradigm shift toward a hauntological framework consistent with theoretical models such as translanguaging and revivalistics. I conclude that Judeo-Spanish is best understood as an ensemble of the only partially overlapping idiolects of people who share a common Sephardi cultural/ethnic identity and who manage to communicate with reasonable success. Third, I discuss the momentous implications of this shift in three domains: linguistics, minority rights, and education.