By David Castillo
"David Castillo takes us on a journey of a few terrible fabrics that experience infrequently been thought of jointly. He sheds a fantastical new gentle at the baroque."
---Anthony J. Cascardi, collage of California Berkeley
"Baroque Horrors is a textual archeologist's dream, scavenged from imprecise chronicles, manuals, minor histories, and lesser-known works of significant artists. Castillo unearths stories of mutilation, mutation, monstrosity, homicide, and mayhem, and promises 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 huge 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 time-honored narrative styles and self-justifying allegories of abjection to a discussion at the heritage of our glossy fears and their giant offspring. whilst existence and demise are severed from nature and background, "reality" and "authenticity" could be skilled as spectator activities and staged sights, as within the "real lives" captured via fact television and the "authentic cadavers" displayed world wide 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 a person attracted to horror fable, Baroque Horrors deals new how you can reconsider wide questions of highbrow and political background 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 lifestyles" through Cornelius Huyberts. snapshot from the Zymoglyphic Museum.
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"David Castillo takes us on a travel of a few awful fabrics that experience hardly ever been thought of jointly. He sheds a fantastical new mild at the baroque. "---Anthony J. Cascardi, collage 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.
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Additional resources for Baroque Horrors: Roots of the Fantastic in the Age of Curiosities
According to Omar Calabrese, the suspension or annulment of categories is the de‹ning characteristic of modern teratology. As he argues in NeoBaroque: A Sign of the Times (1992), “there is a speci‹c character to modern 32. Findlen explains that sixteenth- and seventeenth-century philosophers followed an increasingly eclectic approach, which was largely informed by the Aristotelian conception of nature (albeit modi‹ed within humanist and Counter-Reformation contexts) and also by the work of Pliny and other Greek and Roman philosophers.
Thus the interplay of rumor and performance constitutes a crucial dynamic of baroque publicity” (180). 25. 26 On the contrary, ritual practices are still at the heart of our experience of the world, from religious and secular celebrations, to displays of ethnic and national pride, to our choice of dress codes and body accessories. The (post)modern pressure to assert our uniqueness, while constantly shifting between idiosyncratic modes of behavior, dress codes, and hobbies, is fundamentally ritualistic in nature.
With regard to the political adscription of the marvelous, we must also note that the literary movements associated with “magical realism,” “lo real maravilloso,” and generally speaking “neobaroque poetics” effectively mobilize the aesthetic of the marvelous against the myths of modern reason in order to subvert the ideology of modernization. Drawing from Carpentier’s well-known de‹nition of the marvelous real or “lo real maravilloso,” William Childers has recently coined the term the ambivalent marvelous to distinguish the critical dimension of Cervantine fantasy from the propagandistic use of the marvelous in the literature associated with of‹cial culture in seventeenth-century Spain.