Baroque horrors : roots of the fantastic in the age of by David Castillo

By David Castillo

"David Castillo takes us on a travel of a few awful fabrics that experience not often been thought of jointly. He sheds a fantastical new mild 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 unearths 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 continues to be so grounded in ancient fact."
---William Egginton, Johns Hopkins University

"Baroque Horrors is a big contribution to baroque ideology, in addition to an exploration of the ugly, the terrible, the wonderful. Castillo organizes his monograph round the motif of interest, refuting the assumption that Spain is a rustic incapable of equipped medical inquiry."
---David Foster, Arizona nation University

Baroque Horrors turns the present cultural and political dialog from the everyday narrative styles and self-justifying allegories of abjection to a discussion at the heritage of our glossy fears and their substantial offspring. while existence and demise are severed from nature and heritage, "reality" and "authenticity" could be skilled as spectator activities and staged points of interest, as within the "real lives" captured via truth television and the "authentic cadavers" displayed around the globe within the physique Worlds exhibitions. instead of considering digital truth and staged authenticity as contemporary advancements of the postmodern age, Castillo appears 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 smooth literature and tradition within the Spanish and Anglophone traditions in addition to someone drawn to horror myth, Baroque Horrors deals new how you can reconsider huge questions of highbrow and political heritage and relate them to the fashionable age.

David Castillo is affiliate Professor and Director of Graduate reports 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 existence" through Cornelius Huyberts. picture from the Zymoglyphic Museum.

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As far as she is concerned, the distinction is irrelevant; what is important is the intensity of the experience: “Hay opinión que no vamos a estos convites sino con la fantasía en la cual nos representa el demonio las imágenes de todas aquellas cosas que despues contamos que nos han sucedido. Otros dicen que no, que verdaderamente vamos en cuerpo y en anima; y entrambas opiniones tengo para mí que son verdaderas, puesto que nosotras no sabemos cuándo vamos de una o de otra manera, porque todo lo que nos pasa en la fantasía es tan intensamente que no hay diferenciarlo de cuando vamos real y verdaderamente” (Cervantes Saavedra, Novelas ejemplares 339–40) (One opinion is that these encounters take place only in our imagination, in which the Devil plants all these fantastical images that we later relate when we recall the events.

The discussion of masculine cruelty is central to the unifying frame of the novellas (Greer), yet some female characters are also cruel and manipulative. At the same time, a special brand of perverse cruelty is reserved for homosexual males, whose essential “foreignness” is underscored most explicitly in the seventh novella 42. See chapters 5 and 6 of my (A)wry Views. 33 Baroque Horrors of the collection, which takes place in the Low Countries. The presence of murderous foreign sodomites, morisco necromancers, and manipulative and predatory women (often belonging to the lower social strata) would seem to make it dif‹cult to exonerate Zayas from the charge that her novellas reify the conventional demonization of religious, cultural, sexual, and social others.

The entry for monstro in Covarrubias’ Tesoro de la lengua (1611) incorporates an “authentic example” of a monstrous birth from the mid-fourteenth century. This tragic anecdote illuminates the changing attitude toward the monstrous in some intellectual circles: “[C]ualquier parto contra la regla y orden natural, como nacer el hombre con dos cabezas, cuatro brazos y cuatro piernas; como aconteció en el condado de Urgel, en un lugar dicho Cerbera, el año 1343 [. ] los padres y los demás que estaban presentes a su nacimiento, pensando supersticiosamente pronosticar algún gran mal y que con su muerte se evitaría, le enterraron vivo” (quoted by Del Río Parra 23) (A birth against the norm and order of nature, as when a man is born with two heads, four arms and four legs; as it happened in the County of Urgel, in a place called Cerbera, in the year 1343 [.

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