Baroque Horrors: Roots of the Fantastic in the Age of by David Castillo

By David Castillo

"David Castillo takes us on a travel of a few awful fabrics that experience infrequently 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. Castillo unearths stories of mutilation, mutation, monstrosity, homicide, and mayhem, and gives you them to us with an inimitable aptitude for the sensational that still rejects sensationalism since it continues to be so grounded in historic fact."
---William Egginton, Johns Hopkins University

"Baroque Horrors is an important contribution to baroque ideology, in addition to an exploration of the gruesome, the terrible, the glorious. Castillo organizes his monograph round the motif of interest, refuting the assumption that Spain is a rustic incapable of prepared clinical inquiry."
---David Foster, Arizona country University

Baroque Horrors turns the present cultural and political dialog from the widespread narrative styles and self-justifying allegories of abjection to a discussion at the background of our smooth fears and their large offspring. while existence and demise are severed from nature and historical past, "reality" and "authenticity" can be skilled as spectator activities and staged sights, as within the "real lives" captured via truth television and the "authentic cadavers" displayed worldwide within the physique Worlds exhibitions. instead of taking into account 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. aimed toward experts, scholars, and readers of early sleek literature and tradition within the Spanish and Anglophone traditions in addition to somebody attracted to horror delusion, Baroque Horrors bargains new how one can reconsider huge questions of highbrow and political historical past and relate them to the trendy age.

David Castillo is affiliate Professor and Director of Graduate stories within the division of Romance Languages and Literatures on the collage at Buffalo, SUNY.

Jacket paintings: Frederick Ruysch's anatomical diorama. Engraving replica "drawn from existence" through Cornelius Huyberts. picture from the Zymoglyphic Museum.

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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. As Slavoj Žižek has noted in The Ticklish Subject, the injunction to be our true self is paradoxically a call to wear the right mask.

De manera que presumí haberse desatado, no sólo la fábrica de aquellas montañas, sino la máquina del orbe, y que al mundo se había dado ‹n” (70–71) (Having lost its blood the elephant, the whole machine of its body fell on the dragon [. ] and I, between them, covered in blood and dirt, fell into the deepest valley that anyone could have imagined, amidst the greatest picks and rocks [. ] Hence, I thought not only that the machinery of all these mountains had collapsed, but the machine of the universe, and that the world had come to an end).

See chapters 5 and 6 of my (A)wry Views. 33 Baroque Horrors of the collection, which takes place in the Low Countries. The presence of murderous foreign sodomites, morisco necromancers, and manipulative and predatory women (often belonging to the lower social strata) would seem to make it dif‹cult to exonerate Zayas from the charge that her novellas reify the conventional demonization of religious, cultural, sexual, and social others. On the other hand, the un›attering portrayal of Spanish aristocrats, who are frequently depicted as heartless murderers, complicates the “political” dimension of these narratives beyond the traditional association of evil with otherness.

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