Annuario statistico 1973 / Direzione generale delle Ferrovie dello Stato

• Record Nr.: UNINA990000048470403321
• Autore: Azienda autonoma delle ferrovie dello Stato
• Pubbl/distr/stampa: Roma : Direzione generale delle Ferrovie dello Stato, 1974
• Descrizione fisica: 189 p. : ill. ; 31 cm
• Disciplina: 385
• Locazione: FINBC
• Collocazione: 13 E 37 17
• Lingua di pubblicazione: Italiano
• Formato: Materiale a stampa
• Livello bibliografico: Monografia

L'ospite inatteso : romanzo / Marjorie Kinnan Rawlings

• Record Nr.: UNISALENTO991003477629707536
• Autore: Rawlings, Marjorie Kinnan
• Pubbl/distr/stampa: Milano : Bompiani, 1959
• Edizione: [4. ed.]
• Descrizione fisica: 537 p. ; 21 cm
• Disciplina: 813.52
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia

Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts / / Rolando Pérez

• Record Nr.: UNINA9910963054803321
• Autore: Přez Rolando
• Pubbl/distr/stampa: West Lafayette, IN, USA : , : Purdue University Press, , 2012
• ISBN: 9786613532381; 9781612491486; 1612491480; 9781280128509; 128012850X; 9781612491493; 1612491499
• Edizione: [1st ed.]
• Descrizione fisica: 1 online resource (332 p.)
• Collana: Purdue studies in Romance literatures
• Disciplina: 864/.64
• Soggetti: Art and literature; Romance Literatures; Languages & Literatures; Spanish Literature
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Bibliographic Level Mode of Issuance: Monograph
• Nota di contenuto: Intro -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- Chapter One: Sarduy as Critic of the Baroque and the Neo-Baroque Figure in Science and Art -- Figures of Scientific Rhetoric -- Figure I: The Perfect, Moral Circle of the High Renaissance -- Figure II: The Ellipse, or the Unnatural, "Perverted" Circle -- Figure III: Trompe l'Œil and the Anamorphic Image -- Figure IV: The Aberrant Image of Simulation -- Figure V: The Neo-Mannerism of the Spanish, Colonial, and Neo-Baroque Image -- "Conclusion" by Way of the Retombée -- Chapter Two: Sarduy's Figural Art/Writing: Writing/Art Body -- The Architectural Body -- The Painterly Body: Bronzino, Rubens, and Beyond -- Biological Anamorphosis, Trompe l'Œil, and Body Painting -- The Colonial and Monstrous Body -- Fetishism and the Body That Is Double . . . and ; More Than Double -- Fijeza, Yin-Yang, and the Inscribed Body of Sadomasochism -- The Eastern White Body of "Emptiness" -- Chapter Three: Big Bang, Klang Klang, and Painting -- The Pictorial/Rhetorical Figure of the Universe (Barroco and Big Bang) -- White: Red and Black -- From Mallarmé's Typography to Concrete Poetry and Galáxias -- The New World Baroque Aesthetics of Big Bang -- The Music in Painting/Writing: Lorca, Jazz, Mondrian, Kandinsky, Etc. -- The Figural Body of the Dance of Life and Death -- Conclusion -- Chapter Four: Colors, Bodies, Voices, and the Click-Clack of Theater -- The Four Primary Colors -- White, Black, and Red -- The Erotic Body -- Sound and Music -- Funerary Baroque -- Del Yin al Yang -- Decolonization: The Circle of Los matadores de hormigas -- Conclusion -- Conclusions &lt -- &gt -- Continuities -- Illustrations -- Notes -- Bibliography -- Index.
• Sommario/riassunto: Severo Sarduy never enjoyed the same level of notoriety as did other Latin American writers like García Márquez and Vargas-Llosa, and his compatriot, Cabrera-Infante. On the other hand, he never lacked for excellent critical interpretations of his work from critics like Roberto González Echevarría, René Prieto, Gustavo Guerrero, and other reputable scholars. Missing, however, from what is otherwise an impressive body of critical commentary, is a study of the importance of painting and architecture, firstly, to his theory, and secondly, to his creative work. In order to fill this lacuna in Sarduy studies, Rolando Pérez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco, " and La simulación-from the stand point of art history. Often overlooked in Sarduy studies is the fact that the twenty-three-year-old Sarduy left Cuba for Paris in 1961 to study not literature but art history, earning the equivalent of a Master's Degree from the École du Louvre with a thesis on Roman art. And yet it was the art of the Italian Renaissance (e.g., the paintings as well as the brilliant and numerous treatises on linear perspective produced from the 15th to the 16th century) and what Sarduy called the Italian, Spanish, and colonial Baroque or "neo-baroque" visually based aesthetic that interested him and to which he dedicated so many pages. In short, no book on Sarduy until now has traced the multifaceted art historical background that informed the work of this challenging and exciting writer. And though Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts is far from being an introduction, it will be a book that many a critic of Sarduy and the Latin American "baroque" will consult in years to come.