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The process of shaping cultural identity in colonial Spanish America has occurred as much through the medium of pictures as through the medium of writing. Focused on writing that references visual texts (ekphrasis), Visions of Empire in Colonial Spanish American Ekphrastic Writing examined the way words about pictures in the writing of three Spanish American Creoles negotiate the challenges that confronted the ruling elite in Spanish America during the contentious period between the Conquest and Independence.
Authority, Piracy, and Captivity in Colonial Spanish American Writing examines the intricate bond between poetry and history writing that shaped the theory and practice of empire in early colonial Spanish-American society. The book explores from diverse perspectives how epic and heroic poetry served to construe a new Spanish-American elite of original explorers and conquistadors in Juan de Castellanos’s Elegies of Illustrious Men of the Indies. Similarly, this book offers an interpretation of Castellanos’s writings that shows his critical engagement with the reformist project postulated in Alonso de Ercilla’s LaAraucana, and it elucidates the complex poetic discourse Castellanos created to defend the interests of the early generation of explorers and conquistadors in the aftermath of the promulgation of the New Laws and the mounting criticism of the institution of the encomienda. Within the larger context of a new poetics of imperialistic expansion, this book shows how the Elegies offers one of the earliest examples of the reconfiguration of some of the main tenets of Petrarchism/Garcilacism, as well as the bold transmutation of dominant poetic discourses that had until then been typically associated with the nobility. Focusing on the practice of poetic imitation (imitatio) and the themes of authority, piracy, and captivity, this book shows the transformation undergone by heroic poetry owing to Europe’s encounter with America and illustrates the contribution of learned heroic verse to the emergence of a Spanish-American literary tradition.
By examining the pictorial episodes in the Spanish baroque novella, this book elucidates how writers create pictorial texts, how audiences visualise their words, what consequences they exert on cognition and what actions this process inspires. To interrogate characters’ mental activity, internalisation of text and the effects on memory, this book applies methodologies from cognitive cultural studies, Classical memory treatises and techniques of spiritual visualisation. It breaks new ground by investigating how artistic genres and material culture help us grasp the audience’s aural, material, visual and textual literacies, which equipped the public with cognitive mechanisms to face restrictions in post-Counter-Reformation Spain. The writers examined include prominent representatives of Spanish prose —Cervantes, Lope de Vega, María de Zayas and Luis Vélez de Guevara— as well as Alonso de Castillo Solórzano, Gonzalo de Céspedes y Meneses and an anonymous group in Córdoba.
This volume examines how and why many early modern pictures operate in an ekphrastic mode.
Portraits of good battling evil in the geography of hell come in many forms in the Hispanic World. Apocalyptic nightmares, frightful images of chaos and death are inclusive and interrelated, yet simultaneously project an exceptional quality ("never seen or experienced before," "the mother of all battles," "I am the only one who can fix it"). This investigation explores how narrative logic may challenge unified notions of finalities when images remain unfulfilled in a proscribed End. By redeploying transglobal character and narrative potential, the Apocalypse suggests bewildering complexities as it trains its lens on New Beginnings. Here analysis explores resilient formulas for combating the End through resistance in Latin America, Spain and Latin@ communities in the US. Whether revealed through gilded illustrations, messianic chronicles, poetry, Baroque letters, racially-motivated novels, sexuality and spirituality in film or intimidating immigrant photos, apocalyptic examples explode notions of final moments. The Resilient Apocalypse ironically performs as both an internal defense (a vehicle for mourning) and a counter-discourse to power (a mechanism for resistance). This study argues for a strategy that listens to and keeps the enemy "in sight and in mind," a method for grappling with and engaging difference by decolonizing the politics of the End. It reformulates an incomplete, mythical, and uncanny narrative into a poetics of resistance with communal solutions and obligations. When the Apocalypse is unremittingly sought after to impose social justice, salvation and reason, it paradoxically introduces future hope against itself. In the works of Beato de Liebana, Sor Juana Ines de la Cruz, Cirilo Villaverde, Cristina Garcia, Martin Kohan, Jennifer Maytorena Taylor, Santiago Roncagliolo, Alfonso Cuaron, etc., rival traditions internalize competing apocalyptic worldviews and arrive at sustainable plans of action for negotiating the afterward. By bracketing the finality of the End and proposing a tension between conflict archaeology and the transcendence of opposition through renovation, salvation or hope, this study reveals how plural, competing viewpoints of the End go a long way to legitimizing each other. Ultimately, The Resilient Apocalypse traces a compelling narrative theory of unfulfilled promise that forever changes the way we engage the other and value the self during intervals of fear.
This book examines Larkin’s evocation of place and space, along with the opportunities for self-discovery offered by the act and thought of travel. From his canonical verse to his lesser-known juvenilia and dream diaries, this title unveils a new Larkin; a man whose religious, political and ontological affiliations are often as wide-ranging and experimental as the very form and symbolic licence used to express them. Whether exploring Larkin’s fondness for deictics (‘pointing’ words, like here/there), his fascination with death, or his interest in the sexual opportunities of an itinerant lifestyle, this monograph provides fresh critical approaches bound to appeal to established Larkin scholars and newcomers alike.
Being the Heart of the World offers a timely reflection on the relationship between mobility and identity-making in the Spanish colonial world. It will be of value to historians of colonial Mexico and the Spanish empire.
This book provides a comprehensive, state-of-the-art account of the field, reaffirming Iberian Studies as a dynamic and evolving discipline offering promising areas of future research. It is an essential tool for research in Iberian Studies.
In this fascinating book, Evelina Gužauskytė uses the names Columbus gave to places in the Caribbean Basin as a way to examine the complex encounter between Europeans and the native inhabitants. Gužauskytė challenges the common notion that Columbus’s acts of naming were merely an imperial attempt to impose his will on the terrain. Instead, she argues that they were the result of the collisions between several distinct worlds, including the real and mythical geography of the Old World, Portuguese and Catalan naming traditions, and the knowledge and mapping practices of the Taino inhabitants of the Caribbean. Rather than reflecting the Spanish desire for an orderly empire, Columbus’s collection of place names was fractured and fragmented – the product of the explorer’s dynamic relationship with the inhabitants, nature, and geography of the Caribbean Basin. To complement Gužauskytė’s argument, the book also features the first comprehensive list of the more than two hundred Columbian place names that are documented in his diarios and other contemporary sources.
We know the Renaissance as a key period in the history of Europe. It saw the development of court and urban cultures, witnessed the first global voyages of discovery and gave rise to the Reformation and Counter Reformation. It also started with the 'invention' of oil painting, linear perspective and moveable type, all visual technologies. Does that mean, as has been suggested, that the Renaissance stands for the 'ascendancy of the eye'? If so, then what happened to the sensory extremes which the famous Dutch historian Johan Huizinga still perceived in the 15th century? Did they simply disappear? Or is there another history to be told, a history of a surprising continuity, not only of the sense of hearing but also of the 'lower' senses – those of taste, smell and touch? And was the Renaissance not first and foremost a time of deep sensory anxiety? This volume, assembling nine outstanding specialists, seeks to answer these questions while offering a lively and 'sensational' portrait of the period. A Cultural History of the Senses in the Renaissance presents essays on the following topics: the social life of the senses; urban sensations; the senses in the marketplace; the senses in religion; the senses in philosophy and science; medicine and the senses; the senses in literature; art and the senses; and sensory media.