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New PDF release: Baroque Horrors: Roots of the Fantastic in the Age of

By David Castillo

"David Castillo takes us on a journey of a few terrible fabrics that experience hardly ever been thought of jointly. He sheds a fantastical new gentle at the baroque."
---Anthony J. Cascardi, college of California Berkeley

"Baroque Horrors is a textual archeologist's dream, scavenged from vague chronicles, manuals, minor histories, and lesser-known works of significant artists. Castillo reveals stories of mutilation, mutation, monstrosity, homicide, and mayhem, and offers them to us with an inimitable aptitude for the sensational that still rejects sensationalism since it is still so grounded in ancient fact."
---William Egginton, Johns Hopkins University

"Baroque Horrors is an immense contribution to baroque ideology, in addition to an exploration of the gruesome, the terrible, the glorious. Castillo organizes his monograph round the motif of interest, refuting the assumption that Spain is a rustic incapable of prepared medical inquiry."
---David Foster, Arizona kingdom University

Baroque Horrors turns the present cultural and political dialog from the customary narrative styles and self-justifying allegories of abjection to a discussion at the heritage of our glossy fears and their mammoth offspring. while lifestyles and dying are severed from nature and background, "reality" and "authenticity" should be skilled as spectator activities and staged points of interest, as within the "real lives" captured through fact television and the "authentic cadavers" displayed around the globe within the physique Worlds exhibitions. instead of deliberating digital truth and staged authenticity as contemporary advancements of the postmodern age, Castillo appears to be like again to the Spanish baroque interval in look for the roots of the commodification of nature and the horror vacui that accompanies it. geared toward experts, scholars, and readers of early glossy literature and tradition within the Spanish and Anglophone traditions in addition to an individual attracted to horror myth, Baroque Horrors deals new how you can reconsider huge questions of highbrow and political background and relate them to the trendy age.

David Castillo is affiliate Professor and Director of Graduate reviews within the division of Romance Languages and Literatures on the collage at Buffalo, SUNY.

Jacket artwork: Frederick Ruysch's anatomical diorama. Engraving copy "drawn from lifestyles" by means of Cornelius Huyberts. photo from the Zymoglyphic Museum.

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Extra info for Baroque Horrors: Roots of the Fantastic in the Age of Curiosities

Sample text

Pues de poco se maravilla vuesa merced, señor Peralta—dijo el Alférez—; que otros sucesos me quedan por decir que exceden a toda imaginación, pues van fuera de todos los términos de naturaleza” (Novelas ejemplares 292) (—You marvel at something rather small, my dear Peralta—said the soldier—; for, I have other ocurrances to tell you about which exceed all imagination in that they fall outside the limits of nature); “—Cipión hermano, óyote hablar y sé que te hablo, y no puedo creerlo, por parecerme que el hablar nosotros pasa de los términos de la naturaleza” (299) (—Brother Cipión, I hear you talk and I realize I’m speaking to you, and I cannot believe it, for it seems to me that our speaking goes beyond the terms of nature).

Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain. The “ambivalent marvelous” would thus leave the reader in a state of unresolved suspense or suspension between alternative worldviews, “a vacillation between two possible, but mutually exclusive systems of explanation” (Childers, Transnational Cervantes 69).

For instance, in Varia fortuna del soldado Píndaro (Varied Fortune of the Soldier Píndaro) by Céspedes y Meneses, the formidable but wholly natural strength of the famous Spanish warrior known as Captain Céspedes is alternately described as portentous, monstrous, and shocking or terrifying (“portento,” “monstruosas fuerzas,” 35. “—Pues de poco se maravilla vuesa merced, señor Peralta—dijo el Alférez—; que otros sucesos me quedan por decir que exceden a toda imaginación, pues van fuera de todos los términos de naturaleza” (Novelas ejemplares 292) (—You marvel at something rather small, my dear Peralta—said the soldier—; for, I have other ocurrances to tell you about which exceed all imagination in that they fall outside the limits of nature); “—Cipión hermano, óyote hablar y sé que te hablo, y no puedo creerlo, por parecerme que el hablar nosotros pasa de los términos de la naturaleza” (299) (—Brother Cipión, I hear you talk and I realize I’m speaking to you, and I cannot believe it, for it seems to me that our speaking goes beyond the terms of nature).

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