- Title Pages
- List of Figures
- List of Contributors
- 1 Believing in Ethiopians
- 2 Black Apollo?
- 3 Greece, India, and Race among the Victorians
- 4 Black Minerva
- 5 Black Athena before <i>Black Athena</i>
- 6 ‘Ethiopia shall stretch forth her hands unto God’
- 7 Between Exodus and Egypt
- 8 Beyond Culture Wars
- 9 Egyptian Athena, African Egypt, Egyptian Africa
- 10 The Afterlives of <i>Black Athena</i>
- 11 In the House of Libya
- 12 Hellenism, Nationalism, Hybridity
- 13 The Idea of Africa in Lucan
- 14 Was Black Beautiful in Vandal Africa?
- 15 Identifying Authority
- 16 John Barclay's ‘Camella’ Poems
- 17 ‘Lay in Egypt's lap each borrowed crown’
- 18 ‘Not Equatorial black, not Mediterranean white’
- 19 Wole Soyinka's Yoruba Tragedy
- 20 Mythopoeia in the Struggle against Slavery, Racism, and Exclusive Afrocentrism
- 21 Dislocating Black Classicism
- 22 The Africanness of Classicism in the Work of Toni Morrison
Juan Latino, an African Ex‐Slave, Professor, and Poet in Sixteenth‐Century Granada
- (p.258) 15 Identifying Authority
- African Athena
J. Mira Seo
- Oxford University Press
This chapter explores the political and religious world of Juan Latino, African ex‐slave, poet and professor of Latin in 16th century Granada. Granada, the capital of Islamic Al‐Andalus and the last city to be Christianized in the Reconquista, was a "frontier city" between Islamic and Christian Spain, and therefore of particular interest to the Spanish crown in the 15th and 16th centuries. In his Latin poetry celebrating the Spanish rulers and the Catholic victory at Lepanto in 1571, Latino's canny self‐identification as an Ethiopian Christian is part of a larger rhetorical strategy: Latino positions himself as the ultimate singer of the Spanish monarchy, defenders of Catholicism against Islam and the Reformation.
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