How to write about survival? How to tell survival? By exploring manifold reasons to withhold a story, I shed light on the limits of ethnographic knowledge production and the politics of storytelling that mobilize one story and silence another. Through engaging with the fragmented narrative of a Moroccan survivor of a shipwreck in Spanish waters in 2003, I reconceptualize the movement called “migration as survival” by theorizing it as an ethnographic concept. I explore the different temporalities of survival as living through a life-threatening event and as living on in an unjust world. These interrelated temporalities of survival are embedded in the afterlife of the historical time of al-Andalus and the resurgent fear of the Muslim “Other.” By suggesting an existentially informed political understanding of the survival story, I show how the singularity of the survivor is inscribed in a regime of mobility that constrains people and their stories.
Withheld Stories and the Limits of Ethnographic Knowability
Crypto-Jews in Morocco and Their Fate
Paul B. Fenton
This article traces the history of the forced conversion of Jews to Islam in al-Andalus and Morocco from the Middle Ages to modern times. An account is given of the various discriminative measures and even persecution to which Jewish converts were exposed. Indeed, even though they became with time sincere and learned Muslims, just as the Marranos in Christian Spain, the sincerity of their conversion was doubted and they were constantly accused of the negative traits attributed to the Jews. The article also discusses a recently discovered defence of the New Muslims authored by an Islamic scholar of Jewish origin which throws new light on the fate of these converts.
Depicting the Medieval Reconquista in Modern Spanish Graphic Novels
Iain A. MacInnes
Moorish Spain’, Islam and Public Controversy in Europe , ed. Nilüfer Göle (Farnham: Ashgate, 2013), 227–240; Mikaela Rogozen-Soltar, ‘Al-Andalus in Andalusia: Negotiating Moorish History and Regional Identity in Southern Spain’, Anthropological Quarterly
against al-Andalus, although the explicitly pious framing of them corresponded to a reconquest mentality. Certainly the slaves mentioned in them represented the social consequences of war and reconquest. The consistent references in the majority of these
The Origins of the Sonnet in Arabic Poetry
from al-Andalus and Their Influence in East and West (Leiden: Brill, 2004), ix–xvi. 5 The birth of the muwashshah remains obscure; some date it to the ninth century. See on this Jawdat al-Rikabi’s introduction to his edition of Ibn Sana’ al
Faṭima Rushdī and the First Performance of Shrew in Arabic
David C. Moberly
served as both its director and its producer at the young age of twenty-five. It was a film in which she took great pride, shooting parts of it in Paris and Spain, at the old monuments of the Arab kingdom of al-Andalus, aiming, she said, at ‘the stirrings