By David Castillo
"David Castillo takes us on a journey of a few terrible fabrics that experience hardly been thought of jointly. He sheds a fantastical new gentle at the baroque."
---Anthony J. Cascardi, college 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 reveals stories of mutilation, mutation, monstrosity, homicide, and mayhem, and grants them to us with an inimitable aptitude for the sensational that still rejects sensationalism since it is still so grounded in old fact."
---William Egginton, Johns Hopkins University
"Baroque Horrors is a big 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 prepared medical inquiry."
---David Foster, Arizona country 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 background of our sleek fears and their sizeable offspring. whilst lifestyles and loss of life are severed from nature and heritage, "reality" and "authenticity" can be skilled as spectator activities and staged sights, as within the "real lives" captured via fact television and the "authentic cadavers" displayed all over the world within the physique Worlds exhibitions. instead of taking into consideration digital truth 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. aimed toward experts, scholars, and readers of early sleek literature and tradition within the Spanish and Anglophone traditions in addition to an individual drawn to horror myth, Baroque Horrors bargains new how one can reconsider large questions of highbrow and political background and relate them to the fashionable age.
David Castillo is affiliate Professor and Director of Graduate stories within the division of Romance Languages and Literatures on the college at Buffalo, SUNY.
Jacket paintings: Frederick Ruysch's anatomical diorama. Engraving copy "drawn from existence" by way of Cornelius Huyberts. snapshot from the Zymoglyphic Museum.
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Extra resources for Baroque Horrors: Roots of the Fantastic in the Age of Curiosities
Baudrillard quotes from Ecclesiastes: “The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true” (1). 19. In Neo-Baroque: A Sign of the Times (1992), Omar Calabrese reviewed the use of the term postmodern in philosophical contexts as well as in the ‹elds of literature, cinema, architecture, and design. He concluded that the term is too vague and equivocal to hold true interpretive value. As he writes, “The ‹rst, essentially American, use of the term dates from the 1960s, when it referred to literature and cinema.
While Zayas’ second collection of novellas features some of the most shocking, macabre, and graphic passages of siglo de oro literature, including a series of gruesome and coldblooded murders of innocent women, these horrifying events do not typically take place in peripheral, marginal, or exotic landscapes but rather amid the comforts of aristocratic households in populous cities such as Toledo and Seville. It is thus fair to say that the monstrous, the occult, and the horri‹c are here literally brought home, into the very heart of Spanish society.
35 For his part, the critical commentary of Peralta, the reader of Campuzano’s written account of the events, effectively shifts the focus of the narrative from the marvelous subject matter of the story line (talking dogs, magic spells, ceremonial encounters with the devil) to the monstrous imagination of the narrator and the stylistic novelty of the tale: “el arti‹cio del Coloquio y la invención” (the arti‹ce of the Dialogue and its inventiveness). As with the term monster, the word maravilla (marvel or wonder) is commonly used in the baroque period to designate anomalous phenomena that deviate from the natural norm and also to qualify the products of stylistic virtuosity, novelty, and unusual creativity.