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Wishing to expand on the minimal scholarship on the topic of Metaphysical and Mid-Late Tang poets under the general category of Baroque, this book offers a comparative analysis of poems from the Metaphysical poets John Donne, Andrew Marvell and Richard Crashaw and a selection of Tang poetry by Meng Jiao, Li He and Li Shangyin. By following Nietzche’s definition of Baroque as a poetic “style” found in any period and country, and the concept of art as allegory, the author approaches the analysis of these poems using allegorical reading. The application of this non-traditional method of investigation and analysis has produced ground-breaking implications in the area of literary criticism, paving the way for future additions to the growing body of work on Baroque poetry. Therefore, it is likely to hold great appeal to literature researchers and scholars, as well as those studying Tang poetry, Metaphysical poetry and Comparative Studies.
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BROKE BAROQUE is the third in a series of Broke Books by award-winning poet, Tony Medina. Centered on Medina’s iconic everyman, Broke, a character that bears witness to his plight of homelessness in a humorous yet profound way. BROKE BAROQUE contains poetry peppered with images articulating Broke’s erratic experiences on the streets of Any City, USA. Through tall tales, anecdotes, episodes, rants and jokes, Broke eloquently and irreverently conveys his marginalization in a grossly unaccommodating society. With his trademark absurd and caustic wit, Medina portrays Broke’s anger, fear, humility, and resolve with humor, insight and compassion, bringing moments of levity and hopefulness to Broke’s plight. Funny and perversely sharp, whimsical and impassioned, BROKE BAROQUE is compulsively readable and will connect with any book and poetry lover alike. With a powerful introduction by McArthur-winner Ishmael Reed.
In Spanish. This volume, while including many of the usual anthology pieces from Spanish poetry, provides a sampling of the major genres of poetry associated with Spains older literary traditions, omitting only the classical epic. In addition to English prose translations, this collection also includes a seventeen-page introduction intended to define the genres and to indicate briefly the lines along which they developed. Includes selections from these poets of the Renaissance: Juan Boscn, Cristbal de Castillejo, Garcilaso de la Vega, Gutierre de Cetina, Francisco de la Torre, Hernando de Acua, Fray Luis de Len, Baltasar del Alczar, Fernando de Herrera, Francisco de Aldana, and San Juan de la Cruz. Includes selections from these Baroque poets: Lupercio & Bartolom L. de Argensola, Luis de Gngora, Lope de Vega, Juan de Arguijo, Francisco de Medrano, Rodrigo Caro, Andrs Fernndez de Andrada, Pedro Espinosa, Francisco de Quevedo, Francisco de Rioja, Esteban Manuel de Villegas, and Sor Juana Ins de la Cruz.
Baroque New Worlds traces the changing nature of Baroque representation in Europe and the Americas across four centuries, from its seventeenth-century origins as a Catholic and monarchical aesthetic and ideology to its contemporary function as a postcolonial ideology aimed at disrupting entrenched power structures and perceptual categories. Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe’s own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide. Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wölfflin, Walter Benjamin, Eugenio d’Ors, René Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, José Lezama Lima, Severo Sarduy, Édouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque. Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d’Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora