LEADER 05486nam 2200649 a 450 001 9910963054803321 005 20240501160730.0 010 $a9786613532381 010 $a9781612491486 010 $a1612491480 010 $a9781280128509 010 $a128012850X 010 $a9781612491493 010 $a1612491499 035 $a(CKB)2670000000184614 035 $a(OCoLC)794488907 035 $a(CaPaEBR)ebrary10547140 035 $a(SSID)ssj0000606666 035 $a(PQKBManifestationID)11390927 035 $a(PQKBTitleCode)TC0000606666 035 $a(PQKBWorkID)10581778 035 $a(PQKB)11483383 035 $a(MiAaPQ)EBC4742587 035 $a(MiAaPQ)EBC3119197 035 $a(Perlego)1589304 035 $a(EXLCZ)992670000000184614 100 $a20150424d2011|||| u|| | 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSevero Sarduy and the Neo-Baroque Image of Thought in the Visual Arts /$fRolando Pérez 205 $a1st ed. 210 1$aWest Lafayette, IN, USA :$cPurdue University Press,$d2012. 215 $a1 online resource (332 p.) 225 0 $aPurdue studies in Romance literatures 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9781557536044 311 08$a155753604X 327 $aIntro -- 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'?il 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'?il, 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 < -- > -- Continuities -- Illustrations -- Notes -- Bibliography -- Index. 330 8 $aSevero Sarduy never enjoyed the same level of notoriety as did other Latin American writers like Garci?a Ma?rquez 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 Gonza?lez Echevarri?a, Rene? 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 Pe?rez's book undertakes a critical approach to Sarduy's essays-Barroco, Escrito sobre un cuerpo, "Barroco y neobarroco, " and La simulacio?n-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 E?cole 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. 606 $aArt and literature 606 $aRomance Literatures$2HILCC 606 $aLanguages & Literatures$2HILCC 606 $aSpanish Literature$2HILCC 615 0$aArt and literature. 615 7$aRomance Literatures 615 7$aLanguages & Literatures 615 7$aSpanish Literature 676 $a864/.64 700 $aPr?ez$b Rolando$01813070 801 0$bPQKB 906 $aBOOK 912 $a9910963054803321 996 $aSevero Sarduy and the Neo-Baroque Image of Thought in the Visual Arts$94365829 997 $aUNINA