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 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 tremendous 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 idea that Spain is a rustic incapable of prepared medical inquiry."
---David Foster, Arizona nation University
Baroque Horrors turns the present cultural and political dialog from the favourite narrative styles and self-justifying allegories of abjection to a discussion at the historical past of our glossy fears and their mammoth offspring. while existence and dying are severed from nature and heritage, "reality" and "authenticity" should be skilled as spectator activities and staged points of interest, as within the "real lives" captured by way of truth television and the "authentic cadavers" displayed worldwide within the physique Worlds exhibitions. instead of deliberating digital fact and staged authenticity as fresh advancements of the postmodern age, Castillo appears to be like 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 sleek literature and tradition within the Spanish and Anglophone traditions in addition to an individual attracted to horror myth, Baroque Horrors bargains new how one can reconsider large questions of highbrow and political heritage and relate them to the trendy age.
David Castillo is affiliate Professor and Director of Graduate reviews within the division of Romance Languages and Literatures on the collage at Buffalo, SUNY.
Jacket artwork: Frederick Ruysch's anatomical diorama. Engraving replica "drawn from existence" via Cornelius Huyberts. snapshot from the Zymoglyphic Museum.
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Additional info for Baroque horrors : roots of the fantastic in the age of curiosities
While Childers works hard to separate the Cervantine “ambivalent marvelous” from Todorov’s de‹nition of the fantastic, its effect on the reader would be similar. Thus, the reader would be left in a state of uncertainty that could lead to critical re›ection rather than adhesion to the established system of values and beliefs. 22 Introduction Remarkably, the terms of the debate on the ideological dimension(s) of the baroque marvelous coincide in part with the ongoing discussions on the politics of the fantastic in modern horror ‹ction.
The discussion of masculine cruelty is central to the unifying frame of the novellas (Greer), yet some female characters are also cruel and manipulative. At the same time, a special brand of perverse cruelty is reserved for homosexual males, whose essential “foreignness” is underscored most explicitly in the seventh novella 42. 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.
Calabrese proposes the term neo-baroque to designate the current taste for what he calls “baroque degeneration,” which is grounded on an aesthetic of repetition and replication. Within the ‹eld of Hispanic studies, several scholars have also embraced the term neo-baroque, albeit from a different perspective informed by postcolonial theory and Severo Sarduy’s conceptualization of the baroque. As Mabel Moraña has recently explained: “Severo Sarduy acknowledged in his de‹nition of the Baroque, that in this style, author and work are refunctionalized.