the musical b o ok: J u d e o -a n da lu s i h e r m e n e u t i c s in the libro de buen amor michelle Hamilton u n i v e r si t y o f m i n n e s o ta , t w i n c i t i e s since the middle of the last century, the fourteenth-century libro de buen amor (lba) has been at the center of several critical debates regarding the nature and extent of western and semitic (i.e., arab or hebrew) "influences" in castilian society and culture. in these debates, the work and its author Juan ruiz, about whom we know next to nothing besides what is left to us in the folios of the lba is the emblematic representative of fourteenthcentury castile and castilians.1 claims about the extent to which Juan ruiz was familiar with, or perhaps even participated in, non-castilian-speaking linguistic communities, non-christian confessional communities, and/or non-"spanish" ethnic communities have often been conflated with more universalized claims regarding fourteenth-century identity themselves often tinged with modern national biases.2 The lba's prose prologue, opening 1 on
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures – La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture
Published: Aug 21, 2009
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