Slavery and the Forensic Theatricality of Human Rights in the Spanish Empire: Man or Citizen? (Palgrave Studies in Literature, Culture and Human Rights)

A Note on Two Chapters
Acknowledgments
Contents
List of Figures
Chapter 1: Introduction: Slavery and the Forensic Theatricality of Human Rights in the Spanish Empire
	Slavery and Human Rights in the Spanish Empire
	Forensic Theatricality
	Literature and Human Rights
	Structure of the Book
	References
Part I: Slavery, Theatricality and Human Rights in the Spanish Empire
	Chapter 2: Slavery and Human Rights in the Spanish Empire
		Indigenous and African Slavery: The Idea of Natural Slaves and the Constitutive Elements of Slavery
		Human Rights and Laws of the Indies in Spain in the Mid-Sixteenth Century
		Human Rights and Commerce in Nineteenth-Century Cuba
		Slavery and Human Rights in the Spanish Empire, Sixteenth and Nineteenth Centuries
		References
	Chapter 3: Allegorical Theatricality: Horror and Human Rights in Bartolomé de Las Casas’ Atrocity Story A Short Account of the Destruction of the Indies
		An Atrocity Story: Genre and Structure
		An Allegorical Drama of Violence: Perpetrators and Victims, Text Versus Image
		The Nature of Natural Rights: Divine, Physical, or Rational?
		The Legacy of Las Casas: The American Independence Movement, Abolitionism, and the Black Legend
		References
Part II: Comic Modes of Theatricality and Human Rights in Sixteenth- and Seventeenth Century Spain
	Chapter 4: Carnivalesque Theatricality: Defeat, Revenge and Collective Rights in Micael de Carvajal’s Court of Death and the Tragedy of Atawallpa’s Death
		Micael de Carvajal: Court of Death
		Forensic Theatricality and the Indians’ Complaints
		A Religious or a Secular Court: Hierarchy or Equality?
		Danse Macabre and Carnivalesque Irony: An Anti-Christian and Anti-Imperial Play?
		Ironic Justice
		Tragedy of Atawallpa’s Death
		From Epistemological Doubts to Resistance
		Decapitation
		Orality and the Function of Repetition
		The Carnivalesque Resistance in the American Atahualpa Plays
		A Carnivalesque Denunciation of Violence and Defense of Collective Rights
		References
	Chapter 5: Tragicomic Theatricality: Forensic Presentism and a Dual Vision of Rights in Lope de Vega’s The New World Discovered by Christopher Columbus
		Conquest as Holy Mission: A Drama in Three Acts
		The Spanish Tragicomedy
		Tragic Elements in the Comic Plot
		The Tragicomic Cross
		Human Rights and the Democratic Barbarian King: Dulcanquellín
		Tragicomic Theatricality and Violent Colonial Encounters
		References
Part III: Tragic Modes of Theatricality and Human Rights in Nineteenth Century Cuba
	Chapter 6: Melodramatic Theatricality: Tableaux of Natural Rights and Interracial Solidarity in Gertrudis Gómez de Avellaneda’s Sab
		A Tragic Love Story: Its Content and Context
		Melodrama and Morality
		Romantic Love and the Spiritual Vision of Natural Rights
		Speaking from the Grave: Sab’s Letter and the Tableaux of Death
		The Strange Simultaneity of Happiness and Death
		Sentimentalism and Sab’s Color: Reader Identification and Empathy
		Cross-Gender and Interracial Solidarity
		Forensic Melodrama and Interracial Solidarity
		References
	Chapter 7: Tragic Theatricality: Vulnerability and Rights in Juan Francisco Manzano’s Autobiography of a Slave and Zafira
		The Autobiography of a Slave
			Forensic Theatricality and Tragic Structure in the Autobiography
			Turning Weakness into Strength
		Zafira: A Tragedy About Slavery
			Civilization Versus Barbarism: The Moral Message of the Tragedy of Zafira
		Conflicts and Forensic Theatricality in Manzano’s Tragic Works
		References
	Chapter 8: Epilogue: Forensic Theatricality and Human Rights
		Death as a Theatrical Rhetorical Device
		Slavery and Human Rights in the Spanish Empire
		References
Index