Baroque Literature Research Articles

Itinerarios cervantinos by Víctor Ivanovici

Reviewed by: Itinerarios cervantinos by Víctor Ivanovici Jennifer Darrell Ivanovici, Víctor. Itinerarios cervantinos. Casa de la Cultura Ecuatoriana Benjamín Carrión, 2016. Pp. 356. ISBN 978-9-97862-873-7. Víctor Ivanovici has written Itinerarios cervantinos as a travel log of sorts, a record of his scholarly pursuits in and around the world of Cervantes. His critical work has not been devoted entirely, nor even primarily, to Cervantes; rather, he has spent most of his career pursuing interests ranging from Greek surrealist poetry to translation studies. A true polyglot, Ivanovici has published books and articles in Romanian, Greek, Spanish, and French, and he also works with Italian, Catalan, and Portuguese in his translations. He frames this book as a personal itinerary of his thought on Cervantes, and the broad range of his scholarly expertise suggests that he is well-positioned to offer fresh insights on Cervantes's work inspired by his familiarity with literary canons not typically connected with the Spanish master. Ivanovici divides Itinerarios cervantinos into two primary sections. The first, "Parajes, paisajes, personajes," focuses primarily on the Novelas ejemplares. In the first essay, "Una novela de familia," Ivanovici argues that in La Gitanilla, Cervantes performs an intentional misreading of his literary precursors to conceal any evidence of their influence. The following essay, "De cara al cristianismo cósmico," suggests that the magical elements present in several Novelas ejemplares represent a fusion of folkloric religious rituals with the courtly love tradition. Finally, in "Locuras heróico-bucólicas en la Arcadia quijotesca," Ivanovici examines Cervantes's introduction of violence into the pastoral mode through an analysis of five pastoral episodes in Don Quixote. The second main section, "El Quijote como forma abierta (cuatro aproximaciones)," delves into the heart of Cervantes's masterpiece. The first essay, "De la mímesis a la parodia," analyzes the distinctions between classical and baroque literature, calling attention to the shift from imitation to parody. In "El arte de novelar," Ivanovici discusses the perspectivism created in Don Quixote by the juxtaposition of three narrative voices: Don Quixote's, Sancho Panza's, and the narrator's. In "El arte del palimpsesto," he suggests that Cervantes creates a literary palimpsest in the Quixote through the interplay between the novel's various, often conflicting, levels of interpretation. In the final essay of this section, "Héroe y personaje," Ivanovici performs a typological reading of the novel's characters. Ivanovici concludes his book with a brief "Despedida" that traces three ways in which the Quixote's legacy has endured: through its critical reception, the influence it has had on other literary works, and translations of the text. Methodologically, Ivanovici aims to follow Cervantes in his "tanteos y rodeos," and there is no doubt that he accomplishes this goal. Ivanovici not only covers many topics, as previously outlined, but he also employs a wide range of critical approaches, beginning with psychoanalysis, and moving on through Marxism, Russian formalism, structuralism, literary semiotics, and new historicism. While he often abruptly sheds one critical method for the next, which can be disorienting, it is ultimately beneficial that Ivanovici does not limit himself to a single approach, as important work can be done in the liminal spaces between competing schools of literary analysis. For example, Ivanovici's analysis of La Gitanilla is enriched by his blending of insights drawn from psychoanalysis and Marxism, as his reading of Preciosa's sexuality in terms of its use and exchange value adds weight to his argument that the protagonist's latent desires are not oedipal, but rather center on marriage as the fulfillment of her social and sexual desires. Ivanovici's analysis of La Gitanilla is but one of many thought-provoking arguments in his book. While he is not the first to comment on the multiple levels of fiction and reality in Don [End Page 646] Quixote, his approach is unique. He performs a semiotic analysis of the novel as a series of signi-fiers that give rise to multiple, often contradictory, signifieds, ultimately leading him to conclude that Cervantes's critique is directed at the readers of chivalric tales, not the books, since the works are only problematic for those who...

Pocałunek zmysłowy – pocałunek mistyczny w tekstach medytacyjnych polskiego baroku

Pocałunek zmysłowy – pocałunek mistyczny w tekstach medytacyjnych polskiego baroku

Los falsos retratos del “teatro selecto”: la canonización visual de dramaturgos barrocos por la recepción nacionalista decimonónica

En el segundo y tercer tomo de la colección Teatro selecto, antiguo y moderno, nacional y extranjero (1867, y editada por Francisco de Orellana) aparecieron siete ilustraciones de dramaturgos áureos, obras de Tomás Padró. Mientras que los rasgos de Solís y de Moreto aparecían fieles a los retratos contemporáneos de los autores, los de Ruiz de Alarcón, Rojas Zorrilla, Pérez de Montalbán, Zamora y Cañizares estaban trazados por un mismo y sospechoso patrón. Este trabajo pretende estudiar la canonización e idea¬lización visual del escritor áureo en el siglo XIX, producto de la ideología nacionalista conservadora del periodo y reflejo de la recepción decimonónica de la literatura áurea. https://doi.org/10.17398/2660-7301.41.27

Jüri Talvet maailmaluule tõlgendajana / Jüri Talvet’s Interpretations of World Poetry

Teesid: Tartu Ülikooli maailmakirjanduse professori, luuletaja, kirjandusteadlase ja hispaaniakeelse kirjanduse spetsialisti Jüri Talveti tõlketegevuse viljade hulka kuulub luulet ja proosat nii sajandeid vanast Hispaania klassikast kui ka 20. sajandil või tänapäeval romaani keeltes või inglise keeles loodud teostest. Käesolev artikkel keskendub sellele, kuidas professor Talvet on tõlgendanud luule ja poeetika, kuid ka kirjandusajaloo, iseäranis barokk-kirjanduse alaseid küsimusi oma kirjandusteaduslikes esseedes. Vaadeldakse ka tema tõlketegevuse mahtu ja tõlketöö põhimõtteid. Jüri Talvet (born in 1945) is a poet and a scholar of comparative literature, Chair Professor of World Literature at the University of Tartu. His numerous translations of poetry and poetical fiction from the Romance languages and, to a lesser extent, from English, reflect his views on world poetry. Those views are also expressed in his theoretical writings from the years of 1977 to 2015. Having studied English literature as the main subject at the University of Tartu, he early developed an interest in Spanish, in other Iberian languages, and in the Iberoamerican literatures. His translations from that area include works from medieval and early modern literature as well as notable literary achievements from the 20th century and the contemporary era. Talvet’s interpretations of Federico García Lorca and the “Latin American boom” authors are supported by profound insights into the philosophy, aesthetics, and poetics of the 17th century Spanish Baroque literature, known as the literary Golden Age of Spain. The influence which Talvet’s activities have exerted has widened the horizons of Estonia’s literary culture: while in the early 20th century, the previous German, Russian and Finnish leanings were supplemented by orientations to, and translations from, French and Italian literatures, Talvet has helped to enrich the Estonian literary landscape with the mentality and traditions of even more distant language areas, such as Castilian (Spanish), Catalan, Galician, Portuguese, and the Latin American countries. In the section “Quevedo and Góngora” of this article, Talvet’s interpretation of some of the key issues of dispute in the Baroque literature of Spain are studied, based both on his theoretical essays and on his translations of the poetry of Francisco de Quevedo. Talvet has attempted to use the terms of the Baroque philosopher and writer Baltasar Gracián, agudeza, concepto (definable approximately as “conceit” or “wit”) and conceptismo, for the analysis of the late 20th century Estonian poetry. On that background, defnitions of conceptismo and cultismo (the other main school in Spanish Baroque poetry) are offered in this article, with implications that those definitions may have for understanding different styles and methods of poetry in general, and the characteristics of Talvet’s own poems and poetry translations in particular. To escape diffusion in pure sensuality and verbal indulgence, poetry has to rely on concepts as well as images. Talvet’s interpretations of poetry and poetical thinking are found to be close to conceptismo, or with a considerable amount of conceptuality inherent to them. The juxtaposition of paradoxical ideas from different levels of reality, social and psychic, is seen as the essential poetical method that Talvet refers to as he defines, quoting Yuri Lotman, the structural-semantic code of poetry as being “paradigmatic”. In the final section of the article, Talvet’s 23 book-length published translations are listed, including translations from Spanish, Catalan, English and French. The list does not include numerous translations of single poems or cycles of poetry that have appeared in literary journals, nor his contributions to anthologies of poetry, nor the translations from his native Estonian into a foreign language, such as Spanish or English, in which he has participated. His translations encompass lyrical works as well as fiction and plays. Talvet has translated classical European poetry, such as the sonnets of Petrarch and Quevedo and Provençal poems, as well as the rhymed poems of American poets into Estonian with complete metrical correspondence and full rhymes. However, in the latest decades Talvet has expressed scepticism in the sense and feasibility of attempting to convey the rhyming complexities of the major European literatures into Estonian, a language with a considerably smaller potential for finding full rhymes. Accordingly, his three translations of Spanish Baroque drama (by Calderón and Tirso de Molina) employ a liberal method of versification. In all his versatile activities as a poet, a translator, and a theorist of poetry, Professor Talvet has shown great devotion to developing and cultivating aesthetic values. A lot of his colleagues and students have benefited from his friendly advice. Thinking of his contributions to Estonia’s literary tradition, one may repeat and paraphrase the sentence that he used for the conclusion of his essay on the Catalan poet Salvador Espriu in 1977: “to write (and to translate) poetry is to work for the benefit of the people.”

Daniel Krman a jeho cesty

Daniel Krman is known in Slovakia as one of the main representatives of the Slovak Baroque literature. Nevertheless, it is less known that his Itineraria – Travel Diary is not only a precious literary work, but also a valuable historical source about the Great Northern War held in the first third of the 18th century. The Travel Diary dates back to the years 1708–1709, when the Hungarian protestant delegacy was on its way to the Swedish king Charles XII. Krman traveled through Poland, Belarus, Lithuania, Moldovia, and his notes are one of the few remaining authentic documents of the witnesses from the battlefields of the Great Northern War. At the same time, they rank as a unique ethnographic source from that period. Another importance of the work, until now neglected, is a Hungarian (Slovak) travelers’ view of the Swedish army in Central Europe, as well as his view of King Charles XII himself.

Картина життя в польськомовній прозі Лазаря Барановича та письменників його кола

The article deals with a number of motifs and images, typical for baroque literature, which are related to the concept of ideological notions of temporal human life. Particular attention in this connection is drawn to the Polish-polemical works by Lazarus Baranovych and his circle of writers. The characteristics of artistic depiction of the theme of life are clarified and the specific of processing the ideas of futility of human life by Chernihiv writers group are identified.

NEW METHODS IN THE RESEARCHING OF OLD DUBROVNIK`S LITERATURE

The research of the Ancient Dubrovnik`s literature had primarily began by its biographers; afterwards significant documents that had been found in the Dubrovnik`s archive made possible to the researchers to give immense contributions in this field. The 21st century brought, in the area of the historiography especially, new approaches toward research of the renaissance and baroque literature of the Ancient Dubrovnik. New findings in Marin Držić`s biography, as well as research of the social status in Dubrovnik, especially of its aristocracy have made possible to apply the new methods in studies of the works written during the time of the Renaissance ,and above all the comedies. Additionally, the forming of the Dubrovnik`s myth, which has been constructed for centuries by the writers of the Old Republic provides new and more intellectual view on their literary contribution.

DOZE NOVELAS: FIGURAS DA FICÇÃO BARROCA

Tendo em conta a reflexão que o projeto das “Figuras da ficção” tem levado a cabo sobre o conceito de figuração, e sobre o conjunto de processos discursivos, ficcionais e acionais que interagem na sua conformação, este trabalho pretende mostrar como tal procedimento tem lugar na ficção narrativa da época barroca. Trata-se de um campo de estudo com especificidades próprias que têm a ver com os códigos estilísticos em ação mas também com a intencionalidade e a exemplaridade da produção narrativa que obrigam a uma adequação da figuração às circunstâncias próprias da narrativa barroca. Escolhidas as Doze novelas de Gerardo de Escobar (Lisboa, 1674) como corpus de estudo, será mostrado como a figuração das personagens, sobretudo dos protagonistas, parte de um retrato instituído como adequado para se sedimentar na ação desenvolvida e se estabelece a partir da dicotomia virtude e malícia.

“La fijeza”: the hope of the temporary progression through the image of the Caribbean location

This is a text derivated from the presentation “La fijeza: tiempo y espacio insulares”, in the 38th Conference of the Caribbean Studies Association, on June 4th, 2013 at Grenada Grand Beach Resort, Grand Anse, Grenada.Lezama Lima was a Cuban poet, essayist, and novelist considered as well as Alejo Carpentier, one of the greatest figures of the Caribbean island literature. His detailed knowledge of the baroque literature specially Góngora’s poetry, and also his necessity of fixing a Cuban identity, allowed him to propose a very innovative esthetic which goes beyond the disenchantment proper of the baroque. The verses of “La fijeza” are some examples of this vision. In this order of ideas, the purpose of this work in to present the analysis of some poems of “La fijeza” in order to explain the manner in which Lezama distances himself from the baroque disenchantment conception of the world and how, at the same time, he presents verses of hope, identity and universalism by means of presenting the poetic image of the Caribbean scenery and its spatio-temporal relationships in a way to explain a vision of the poetry as privileged way to re-create the world.

The Taste of Conviviality: A Poem on Food by Leon Modena

A survey of textual sources relating to Jewish eating habits in pre-modern Italy should also include a composition penned by the Venetian rabbi Leon Modena (1571-1648). Written on the occasion of the wedding of an affluent member of the Venetian community, the text humorously depicts, in verse, the dishes that—according to Modena—were served at the reception. Comprised of eight short units of verse, each devoted to a different dish and varying in length and meter, the composition reflects the assortment of food typical of festive occasions: delicacies like capon, duck, sausages and pastries are presented in an orderly sequence and their taste, texture, and shape are extolled. In a verbal display in which the gap between the real and the fictional table is annulled, some of the dishes even speak in the first person inviting the banqueters to enjoy the pleasures of commensality and dine heartily in honor of the bride and groom. Composed in a witty and punning language in which biblical and rabbinical allusions are masterfully mingled, Modena’s culinary epithalamium vividly captures a convivial occasion, thus casting light on the experience of fine dining in early modern Jewish Venice with its related social conventions and practices. By confirming the aesthetic value attributed to food in Jewish culture and its symbolic significance, Modena’s ‘menu in verse’ allows us to explore the ways in which food and poetry, both perceived as forms of art that bring pleasure and refinement, intersected, while being defined and conditioned by historical circumstances, cultural trends (meal- and food-related poetry was a common feature of Italian baroque literature), religious identity and social mores.

Osvrt na poimanje stila i končeta u Palavičinijevom Traktatu

This paper presents and critically observe the idea of a new style of writing theory and poetry of one of the three most important theorists of the Baroque literature in Italy in the seventeenth century, Pietro Sforza Pallavicino (1607-1667). The works of this writer and the works of his two contemporaries represent the last significant echo of the Italian literature in Europe. We can most vividly see what are the novelties brought by the philosophical and theoretical thought expressed in the Treatise on style and dialogue, as well as the moderate attitude toward the baroque literature and art in general, through the translation of the XVI and XVIII chapters of that work.

Knowledge (scientia), Fiction, and the Other in Cervantes's La Gitanilla

Starting from Kant's moral imperative with respect to the Other, this essay analyzes Cervantes's novela La Gitanilla through the lens of early and late modern versions of “quantum theory.” The goal is to resituate and further recent scientific approaches to early modern Spanish history and culture by focusing on the ways in which Spanish baroque literature questions the deterministic and empiricist claims and practices concomitant with the scientific revolution. The central argument underlines the self-alienation of the novela's protagonists Andrés and Preciosa by comparing failed expressions of self-knowledge and personal memory with similar narrative strategies in Rosa Montero's science fiction novel Lágrimas en la lluvia.

Notes on Contributors

Previous article FreeNotes on ContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreMatthew Ancell received his PhD from the University of California, Irvine, and is assistant professor of humanities and comparative literature at Brigham Young University. His interests include baroque literature and art, early modern skepticism, Montaigne, and deconstruction. His publications include articles on Góngora, Velázquez, and Derrida. Currently he is working on a study of art and theology in Calderón.Valerie Billing is a doctoral candidate and provost’s fellow in the English department at the University of California, Davis. She has published on Margaret Cavendish and collaborative authorship in the Journal for Early Modern Cultural Studies and is currently finishing a dissertation titled “Big Women, Small Men: The Erotics of Size in Early Modern Literature and Culture.”Michelle M. Dowd is associate professor of English and women’s and gender studies at the University of North Carolina, Greensboro. She is the author of Women’s Work in Early Modern English Literature and Culture (2009), which won the Sara A. Whaley Book Award from the National Women’s Studies Association. She is also the coeditor of Genre and Women’s Life Writing in Early Modern England (2007), Working Subjects in Early Modern English Drama (2011), and Early Modern Women on the Fall: An Anthology (2012), and her articles on early modern drama and women’s writing have appeared in journals such as Modern Philology, English Literary Renaissance, and Shakespeare Studies. She is currently completing a book on inheritance on the early modern English stage.Kent R. Lehnhof is associate professor of English at Chapman University, where he teaches courses on early modern literature and culture. His essays have appeared in several edited collections as well as in journals such as ELR, ELH, SEL, Modern Philology, Shakespeare Bulletin, Milton Quarterly, and Milton Studies. At present, he is editing a multiauthor volume on Levinas and Shakespeare and researching twinship in the Renaissance.Amy Rodgers is assistant professor of English at Mount Holyoke College, where she teaches courses in early modern literature and culture, film, and audience and popular culture studies. She has published essays on representations of Shakespeare’s audiences in film and contemporary fiction, early film and serial fiction, and is a codirector of the Shakespeare and Dance project. Previous article DetailsFiguresReferencesCited by Renaissance Drama Volume 42, Number 1Spring 2014 Article DOIhttps://doi.org/10.1086/675940 Views: 19 © 2014 Northwestern University. All rights reserved.PDF download Crossref reports no articles citing this article.

Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought

Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought

Introduction Promoting the Study of Modern Literatures Worldwide: The MLA and Its Conventions

Introduction Promoting the Study of Modern Literatures Worldwide: The MLA and Its Conventions

Middle Kingdom on the Margins: The Perilous Journey of Chinese into the MLA and Other Radical Ruminations

Middle Kingdom on the Margins: The Perilous Journey of Chinese into the MLA and Other Radical Ruminations

Baroque Horrors: Roots of the Fantastic in the Age of CuriositiesHyperboles: The Rhetoric of Excess in Baroque Literature and Thought

Baroque Horrors: Roots of the Fantastic in the Age of CuriositiesHyperboles: The Rhetoric of Excess in Baroque Literature and Thought

Da inconstância da fortuna: a presença do grotesco na «Constante Florinda», de Gaspar Pires de Rebelo

Reading the Infortunios Tragicos da Constante Florinda of Gaspar Pires de Rebelo (divided in two parts published respectively in 1625 and 1633, in Lisbon), causes a remarkable impression on the reader, even on the most prudent one. This work aims to show how this impression results from the application of the grotesque to the universe of the Portugueses exemplary novels, and it also tries to explain the contours and the results of this situation within the context of Baroque literature.

Review: Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought, by Christopher D. Johnson

Review: Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought, by Christopher D. Johnson

Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought. Cambridge: Harvard Studies in Comparative Literature by Christopher D. Johnson

Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought. Cambridge: Harvard Studies in Comparative Literature by Christopher D. Johnson