By William Egginton
The Theater of fact argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics must be understood as a part of an identical advanced. The Neobaroque, instead of being a go back to the stylistic practices of a selected time and position, may be defined because the continuation of a cultural procedure produced as a reaction to a selected challenge of idea that has beset Europe and the colonial global on the grounds that early modernity. This challenge, in its easiest philosophical shape, issues the paradoxical relation among appearances and what they characterize. Egginton explores expressions of this challenge within the paintings and literature of the Hispanic Baroques, new and outdated. He exhibits how the suggestions of those Baroques emerged within the political and social international of the Spanish Empire, and the way they remain deployed within the cultural politics of the current. additional, he deals a unified concept for the relation among the 2 Baroques and a brand new vocabulary for distinguishing among their ideological values.
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Extra info for The Theater of Truth: The Ideology of (Neo)Baroque Aesthetics
Example text
The force of baroque blood It may strike us as readers of Cervantes’s fiction that his work—and his Exemplary Novels are exemplary of just this—shuttles back and forth between the conventional (or even downright conservative) and the subversive. We modern literary critics naturally appreciate the latter, and feel somewhat embarrassed by the former. Hence the debates over the value of the Persiles I cited above, and the tradition of apologies for Cervantes’s first foray into fiction, the pastoral Galatea.
The paradoxical nature of the honor code achieves its full expression in these two sentences, and is displayed in even greater detail when they are mapped against the preceding formulation. 15 According to this strategy, the world of appearances is denigrated with respect to the true world of sin and virtue, damnation and salvation. Honor is translated out of its worldly context and into its otherworldly context, and thus made dependent on these truths known to God and to our souls. The sentence immediately preceding it, of course, expresses exactly the opposite sentiment; an ounce of public dishonor is worse than a sack full of secret dishonor.
Artifice, in other words, adopts the duplicity and all the trappings of deceit in order to save man from its allures. Indeed, the final instrument needed to break Falimundo’s spell is nothing other than a mirror; not because it mirrors nature as it is, but rather because, by forcing us to look at nature awry or in a denatured way, nature is revealed in its primordial deceit: “the things of the world must be seen backwards, turning one’s back, in order to see them straight” (182). Finally, there is what Andrenio sees in the mirror: “I see a monster, the most horrible I have seen in my life, because it has neither feet nor a head; what a disproportionate thing, its parts do not correspond” (182).