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Rasmus Vangshardt offers an original interpretation of one of the most famous images of literary history, the theatrum mundi. By applying methods of comparative literature, hispanic studies, and theology, he reconsiders the world theatre’s historical peak in early modern Europe in general and the Spanish Golden Age in particular. The author presents a new close reading of Pedro Calderón’s El gran teatro del mundo (c. 1633–36) and outlines the historical and systematic framework for a theatrum mundi of celebration. This concept entails using art to justify human existence in the face of changing conceptions of the cosmos: an early modern aesthetic theodicy and a justification of the world in that liminal space between drama and ritual. By discussing historiographical theories of early modern Europe, especially those of Hans Blumenberg and Bruno Latour, and through conversations with Shakespearean drama and Spanish Golden Age classics, Vangshardt also argues that the theatrum mundi of celebration questions traditional assumptions of great divides between the Middle Ages and Early Modernity and challenges theories of a European-wide early modern sense of crisis.
As the driving force in early European expansionism, Spain was concerned not only with the political and economic subordination of the New World native but also with the need to possess his soul. In this book, Viviana Díaz Balsera tells the story of this zealous spiritual endeavor during its first one hundred years in Central Mexico and of how it transformed the European self and the indigenous other in ways sometimes unforeseen for both. The Pyramid under the Cross looks at the epic project of Christianization as well as the limits of the Spanish spiritual colonizers' power to accomplish it. The book focuses on activities of Franciscan missionaries who, as the first religious order to arrive, occupied the most important political and social centers in the Valley of Mexico and set the strategies of evangelization that others would follow. One such activity, the Nahua theater of evangelization, is represented as an exemplary case of the inevitable cultural negotiation involved in the missionary process. The author explores not only the imposition of a Eurocentric worldview upon the Nahua but also the hybridization of this view as the spiritual colonizer attempted to encompass a new non-Western constituency and the latter interpreted Christianity according to its own cultural paradigms. The book treats a wide range of texts—the Historia eclesiástica indiana, the Confessionario Mayor, the Coloquios de los Doce, and more—both by renowned Franciscan figures such as Gerónimo de Mendieta, Alonso de Molina, Bernardino de Sahagún, and by Nahua grammarians Antonio Valeriano de Azcapotzalco, Andrés Leonardo de Tlatelolco, and others. Díaz Balsera engages the cultural constraints of all the actors in the episodes she relates in order to show how the exchange between them resulted in the appropriation and/or alteration of the Spanish discourses of spiritual domination—sometimes even in their breakdown—and how it brought about the emergence of Nahua Christian subjects that would never fully leave behind their ancient ways of relating to the gods. The Pyramid under the Cross will be of interest to readers in the areas of Hispanic literatures, history, religion, anthropology, Latin American and cultural studies, and to those working in the field of colonial studies.
Emotion and the Seduction of the Senses, Baroque to Neo-Baroque examines the relationship between the cultural productions of the baroque in the seventeenth century and the neo-baroque in our contemporary world. The volume illuminates how, rather than providing rationally ordered visual realms, both the baroque and the neo-baroque construct complex performative spaces whose spectacle seeks to embrace, immerse, and seduce the senses and solicit the emotions of the beholder.
The Persistence of Presence analyzes the relationship between emblem books, containing combinations of pictures and texts, and Spanish literature in the early modern period. As representations of ideas and ideals, emblems are allegories produced in a particular place and time, and their study can shed light on the central cultural and political activities of an era. Bradley J. Nelson argues that the emblem was a primary indicator of the social and political functions of diverse literary practices in early modern Spain, from theatre to epic prose. Furthermore, the disintegration of a unified medieval world view left many seeking the kinds of deep knowledge that could be accessed through symbolic pictures, increasing their cultural significance. In this detailed examination of emblem books, sacred and secular theatre, and Cervantes' critique of baroque allegory in Los trabajos de Persiles y Sigismunda, Nelson connects the early history of emblematics with the drive towards cultural and political hegemony in Counter-Reformation Spain.
In The Great Chiasmus, Paul R. Olson explores the use of the chiasmus in the work of Miguel de Unamuno. The chiasmus, a reversal in the order of words or parts of speech in parallel phrases, appears on a variety of levels, from brief microstructures (blanca como la nieve y como la nieve fria), to the narrative structures of entire novel. Olson even suggests the chiasmus encompasses the stages in Unamuno's novelistic work, forming a chiasmus that can be schematized as ABC: CBA. As a phenomenon of enclosure, the chiasmus is related to other enclosing phenomena such as the image of Chinese boxes and the mise en abyme. These structures, three-dimensional version of the chiasmus, are also frequent in Unamuno's texts. The chiasmus is also found on the conceptual level, in which Unamuno regards apparent contraries as freely reversible and thus identical. From early adulthood he was fascinated by the Hegelian idea of the identity of pure Being and pure Nothingness, and that concept provides the structure underlying a wide variety of his paradoxes and verbal conceits. In this connection, Unamuno explores concepts usually considered opposites, such as mind and body or spirit and matter. Olson's close readings of the texts in terms of this structure lead to observations on Spanish history, events in Unamuno's life, the psychological dimensions of his characters, and the authorial self that is found within his texts.
Essays focus on Baroque as a concept and category of analysis which has been central to an understanding of Hispanic cultures during the last several hundred years
This study by Cristina Ferreira-Pinto explores the poetic and narrative strategies twentieth-century Brazilian women writers use to achieve new forms of representation of the female body, sexuality, and desire. Female writers discussed include: Gilka Machado, Lygia Fagundes Telles, Marcia Denser, and Marina Colasanti. While creating new forms, these writers are also deconstructing cultural myths of femininity and female behavior. In order to understand these myths, the book also presents new readings of some male-authored canonical novels by Jose de Alencar, Machado de Assis, Manuel Antonio de Almeida, and Aluisio Azevedo. The specific focus on female sexuality and desire acknowledges the intrinsic link between sexuality and an individual's sense of identity, and its importance for female identity, given the historical repression of women's bodies and the double standard of morality still pervasive in many Western cultures. In the discussion of the strategies Brazilian female poets and fiction writers employ, Ferreira-Pinto addresses some social and cultural issues that relate to a woman's sense of her own body and sexuality: the characterization of women based on racial features and class hierarchy; marriage; motherhood; the silencing of the lesbian subject; and aging. Ferreira-Pinto's analysis is informed by the works of various and diverse critics and theoreticians, among them Helene Cixous, Teresa De Lauretis, Adrienne Rich, Gloria Anzaldua, Georges Bataille, and Wilhelm Reich.
This ebook is a selective guide designed to help scholars and students of Islamic studies find reliable sources of information by directing them to the best available scholarly materials in whatever form or format they appear from books, chapters, and journal articles to online archives, electronic data sets, and blogs. Written by a leading international authority on the subject, the ebook provides bibliographic information supported by direct recommendations about which sources to consult and editorial commentary to make it clear how the cited sources are interrelated related. This ebook is a static version of an article from Oxford Bibliographies Online: Renaissance and Reformation, a dynamic, continuously updated, online resource designed to provide authoritative guidance through scholarship and other materials relevant to the study of European history and culture between the 14th and 17th centuries. Oxford Bibliographies Online covers most subject disciplines within the social science and humanities, for more information visit www.oxfordbibliographies.com.
The term anamorphosis, from the greek ana (again) and morphe (shape), designates a variety of perspective experiments that can be traced back to the artistic developments of the 1500's and 1600's. Anamorphic devices challenge viewers to experience different forms of perceptual oscillation and uncertainty. Images shift in front of the eyes of puzzled spectators as they move from the center of the representation to the margins, or from one side to the other. (A) Wry Views demonstrates that much of the literature of the Spanish Golden Age is susceptible, and indeed requires, oblique readings (as in anamorphosis).