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The continuing importance of the Baroque in Spanish and Latin American culture.
In the seventeenth century, even as the Spanish Habsburg monarchy entered its irreversible decline, the capital of its most important overseas territory was flourishing. Nexus of both Atlantic and Pacific trade routes and home to an ethnically diverse population, Mexico City produced a distinctive Baroque culture that combined local and European influences. In this context, the American-born descendants of European immigrants—or creoles, as they called themselves—began to envision a new society beyond the terms of Spanish imperialism, and the writings of the Mexican polymath Carlos de Sigüenza y Góngora (1645-1700) were instrumental in this process. Mathematician, antiquarian, poet, and secular priest, Sigüenza authored works on such topics as the 1680 comet, the defense of New Spain, pre-Columbian history, and the massive 1692 Mexico City riot. He wrote all of these, in his words, "out of love for my patria." Through readings of Sigüenza y Góngora's diverse works, Baroque Sovereignty locates the colonial Baroque at the crossroads of a conflicted Spanish imperial rule and the political imaginary of an emergent local elite. Arguing that Spanish imperialism was founded on an ideal of Christian conversion no longer applicable at the end of the seventeenth century, More discovers in Sigüenza y Góngora's works an alternative basis for local governance. The creole archive, understood as both the collection of local artifacts and their interpretation, solved the intractable problem of Spanish imperial sovereignty by establishing a material genealogy and authority for New Spain's creole elite. In an analysis that contributes substantially to early modern colonial studies and theories of memory and knowledge, More posits the centrality of the creole archive for understanding how a local political imaginary emerged from the ruins of Spanish imperialism.
The Ibero-American Baroque is an interdisciplinary, empirically-grounded contribution to the understanding of cultural exchanges in the early modern Iberian world.
Few periods in history are so fundamentally contradictory as the Baroque, the culture flourishing from the mid-sixteenth to the mid-eighteenth centuries in Europe. When we hear the term âBaroque,â the first images that come to mind are symmetrically designed gardens in French chateaux, scenic fountains in Italian squares, and the vibrant rhythms of a harpsichord. Behind this commitment to rule, harmony, and rigid structure, however, the Baroque also embodies a deep fascination with wonder, excess, irrationality, and rebellion against order. The Oxford Handbook of the Baroque delves into this contradiction to provide a sweeping survey of the Baroque not only as a style but also as a historical, cultural, and intellectual concept. With its thirty-eight chapters edited by leading expert John D. Lyons, the Handbook explores different manifestations of Baroque culture, from theatricality in architecture and urbanism to opera and dance, from the role of water to innovations in fashion, from mechanistic philosophy and literature to the tension between religion and science. These discussions present the Baroque as a broad cultural phenomenon that arose in response to the enormous changes emerging from the sixteenth century: the division between Catholics and Protestants, the formation of nation-states and the growth of absolutist monarchies, the colonization of lands outside Europe and the mutual impact of European and non-European cultures. Technological developments such as the telescope and the microscope and even greater access to high-quality mirrors altered mankindâs view of the universe and of human identity itself. By exploring the Baroque in relation to these larger social upheavals, this Handbook reveals a fresh and surprisingly modern image of the Baroque as a powerful response to an epoch of crisis.
The only volume on the work of Vicente Carducho in English Analysis of the Dialogues on Painting by international experts Contributors are art historians or hispanists, offering a multi-disciplinary approach
Traces the processes and paradoxes at work in the late parodic poetry of Luis de Góngora and Lope de Vega, illuminating correlations and connections.
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.
Gang-related violence has forced thousands of Hondurans to flee their country, leaving behind everything as refugees and undocumented migrants abroad. To uncover how this happened, Jon Carter looks back to the mid-2000s, when neighborhood gangs were scrambling to survive state violence and mass incarceration, locating there a critique of neoliberal globalization and state corruption that foreshadows Honduras’s current crises. Carter begins with the story of a thirteen-year-old gang member accused in the murder of an undercover DEA agent, asking how the nation’s seductive criminal underworld has transformed the lives of young people. He then widens the lens to describe a history of imperialism and corruption that shaped this underworld—from Cold War counterinsurgency to the “War on Drugs” to the near-impunity of white-collar crime—as he follows local gangs who embrace new trades in the illicit economy. Carter describes the gangs’ transformation from neighborhood groups to sprawling criminal societies, even in the National Penitentiary, where they have become political as much as criminal communities. Gothic Sovereignty reveals not only how the revolutionary potential of gangs was lost when they merged with powerful cartels but also how close analysis of criminal communities enables profound reflection on the economic, legal, and existential discontents of globalization in late-liberal nation-states.
The Unsettlement of America explores the career and legacy of Don Luis de Velasco, an early modern indigenous translator of the sixteenth-century Atlantic world who traveled far and wide and experienced nearly a decade of Western civilization before acting decisively against European settlement. The book attends specifically to the interpretive and knowledge-producing roles played by Don Luis as a translator acting not only in Native-European contact zones but in a complex arena of inter-indigenous transmission of information about the hemisphere. The book argues for the conceptual and literary significance of unsettlement, a term enlisted here both in its literal sense as the thwarting or destroying of settlement and as a heuristic for understanding a wide range of texts related to settler colonialism, including those that recount the story of Don Luis as it is told and retold in a wide array of diplomatic, religious, historical, epistolary, and literary writings from the middle of the sixteenth century to the middle of the twentieth. Tracing accounts of this elusive and complex unfounding father from the colonial era as they unfolds across the centuries, The Unsettlement of America addresses the problems of translation at the heart of his story and speculates on the implications of the broader, transhistorical afterlife of Don Luis for the present and future of hemispheric American studies.