Baroque Spain and the Writing of Visual and Material Culture

Alicia Zuese

Description

By examining the pictorial episodes in the Spanish baroque novella, this book elucidates how writers create pictorial texts, how audiences visualise their words, what consequences they exert on cognition and what actions this process inspires. To interrogate characters’ mental activity, internalisation of text and the effects on memory, this book applies methodologies from cognitive cultural studies, Classical memory treatises and techniques of spiritual visualisation. It breaks new ground by investigating how artistic genres and material culture help us grasp the audience’s aural, material, visual and textual literacies, which equipped the public with cognitive mechanisms to face restrictions in post-Counter-Reformation Spain. The writers examined include prominent representatives of Spanish prose —Cervantes, Lope de Vega, María de Zayas and Luis Vélez de Guevara— as well as Alonso de Castillo Solórzano, Gonzalo de Céspedes y Meneses and an anonymous group in Córdoba.

Introduction: Viewing the Tale: Cervantes’s Portrait, Lope’s Hieroglyphics and Methods of Verbal Visual Cognition
Chapter One: Image, Text and Memory in Illuminated Manuscripts and Early Print
Chapter Two: Don Quijote and Don Juan: Collectors and the Collection as Models for Critical Inquiry into the Baroque
Chapter Three: Material Representations of the World: Using Physical Texts and Fictional Expression to Create Literary Edifices
Chapter Four: Emblems, Meditation and Memory: Mental Reverberations of the Novella
Chapter Five: Fragmentation of the Protagonist and Society: Emblems, Anamorphosis and Corporeality
Conclusion

Sujets

• 17th Century
• Modern
• Histoire
• Spain
• Spain (groupe)
• History

Informations

• Publié par: University of Wales Press
• Date de parution: 20 novembre 2015
• Nombre de lectures: 0
• EAN13: 9781783167845
• Langue: English
• Poids de l'ouvrage: 20 Mo

Extrait

Alicia R. Zuese Baroque Spain and the Writing of Visual and Material Culture

By examining the
pictorial episodes in the
Spanish baroque novella, Baroque
Spain elucidates how writers create
pictorial texts, how audiences visualise
their words, what consequences
‘Alicia R. Zuese’s
they exert on cognition, and
wide-ranging study elegantly
what actions this process
argues how seventeenth-century
inspires. To interrogate
Spanish works of fction, and in particular
characters’ mental activity,
novella collections, were profoundly
internalisation of text
impacted by visual media. Baroque Spain
and the efects on
explores the nexus of literary analysis,
memory, this study
cognitive studies and visual and material
applies methodologies
culture, and will be of great interest to
from cognitive cultural
readers outside of Hispanic Studies.’
studies, classical memory
Professor Patricia W. Manning,
treatises and techniques of
The University of Kansas
spiritual visualisation. It breaks
new ground by investigating the
way in which artistic genres and material
culture help us to grasp the audience’s aural, material,
visual and textual literacies, all of which equipped the
public with cognitive mechanisms to face restrictions
in post-Counter-Reformation Spain. The writers
examined include prominent representatives
of Spanish prose – Cervantes, Lope de Vega,
María de Zayas and Luis Vélez de Guevara –
as well as Alonso de Castillo Solórzano,
Gonzalo de Céspedes y Meneses,
and an anonymous group Alicia R. Zuese is
Associate Professor of in Córdoba.
Early Modern Spanish
Literature and Culture in
the Department of World
Cover image: Diego Velázquez, Las Languages at Southern
Meninas (c.1656), Museo del Prado, Madrid
Methodist University, (photograph Scala/Art Resource, New York).
Dallas, Texas.Cover design: Olwen Fowler
www.uwp.co.uk
Gwasg Prifysgol Cymru
University of Wales Press
baroque spain.indd 1 28/09/2015 14:55BAROQUE SPAINStudieS in ViSual Culture
Serie S editor S
Margaret t opping
Queen’s University, Belfast
r achael Langford
Cardif University
Giuliana Pieri
Royal Holloway, University of London
editori AL Bo Ard
Mieke Bal
University of Amsterdam
Paul Cooke
University of Leeds
Anne Freadman
The University of Melbourne
Andrea Noble
University of Durham
María Pilar r odríguez
Universidad de Deusto
 eric thau
University of Hawai’i at Manoa
available in series
Aimee israel-Pelletier,
Rimbaud’s Impressionist Poetics: Vision and Visuality (2012)
Nathalie Aubert (ed.),
Proust and the Visual (2013)
Susan Harrow (ed.),
The Art of the Text: Visuality in nineteenth- and twentieth-century
literary and other media (2013)StudieS in ViSual Culture
BAROQUE SPAIN
and the w riting of visual and
material c ulture
Alicia R. Zuese
University of Wales Press
2015© Alicia R. Zuese, 2015
All rights reserved. No part of this book may be reproduced in any material
form (including photocopying or storing it in any medium by electronic
means and whether or not transiently or incidentally to some other use of
this publication) without the written permission of the copyright owner.
Applications for the copyright owner’s written permission to reproduce any
part of this publication should be addressed to the University of Wales Press,
10 Columbus Walk, Brigantine Place, Cardif CF10 4UP.
www.uwp.co.uk
British Library c IP Data
A catalogue record for this book is available from the British Library
ISBN 978-1-78316-783-8
e-ISBN 978-1-78316-784-5
The right of the Alicia R. Zuese to be identifed as author of this work has been
asserted in accordance with sections 77 and 79 of the Copyright, Designs and
Patents Act 1988.
Typeset in Wales by Eira Fenn Gaunt, Cardif
Printed by CPI Antony Rowe, Chippenham, WiltshireFor victor and mateoThis page intentionally left blank.Contents
Series editors’ preface ix
Acknowledgements xi
List of fguresxiii
Introduction. Viewing the Tale: Cervantes’s Portrait, Lope’s
Hieroglyphics and Methods of Verbal-Visual Cognition 1
1 Image, Text and Memory in Illuminated Manuscripts
and Early Print 39
2 Don Quijote and Don Juan: Collectors and the Collection as
Models for Critical Inquiry into the Baroque 79
3 Material Representations of the World: Using Physical Texts
and Fictional Expression to Create Literary Edifces 117
4 Emblems, Meditation and Memory: Mental Reverberations
of the Novella 155
5 Fragmentation of the Protagonist and Society: Emblems,
Anamorphosis and Corporeality 197
Conclusion 239
Notes247
Bibliography267
Index285This page intentionally left blank.Series editors’ preface
Studies in Visual Culture provides a forum for ground-breaking enquiry into
visual-cultural production in its social, historical and cultural contexts. The
series places particular emphasis on the exchanges, transactions and
displacements that link Europe to wider global contexts across the visual-cultural
feld. The series seeks to promote critical engagement with visual media as
ideological and cultural as well as aesthetic constructs, and foregrounds the
relationship of visual cultures to other felds and discourses, including cultural
history, literary production and criticism, philosophy, gender and sexuality
research, journalism and media studies, migration and mobility studies, social
sciences, and politics. The Studies in Visual Culture series thus focuses on
exploring synergies and key debates between disciplines, concepts and
theoretical approaches, and ofers an exciting new arena for testing and
extending disciplinary, theoretical and conceptual boundaries.This page intentionally left blank.Acknowledgements
Although this project diverged long ago from my doctoral dissertation that
she directed, the generous time, encouragement and guidance of Patricia
Grieve at diferent junctures was essential to its successful realization. I am
also grateful for the friendship and advice of Evelina Guzauskyte and Jessica
Boon for navigating academia and the publishing process.
At Southern Methodist University, I wish to thank my colleagues in the
World Languages and Literatures Department for their support and advice:
Libby Russ, Denise DuPont, Olga Colbert, Rubén Sánchez-Godoy, Francisco
Morán, Alberto Pastor, Gabriela Vokic, Luis Maldonado, Marlies Gaettens,
and my other colleagues for their encouragement. Thanks to members of
SMU’s Dedman College Interdisciplinary Institute GEMS for companionship
and support: Lisa Pons, Kathleen Wellman, Ed Countryman, Gretchen Smith,
Rubén Sánchez-Godoy, Sara Kozlowski and Bethany Williamson. Other
colleagues at SMU provided help and encouragement, including Pamela
Patton and Eric White. So much of this book depends on materials that
SMU’s Interlibrary Loan ofce was able to supply me with, so special thanks
to the staf there, especially Billie Stovall. For making the ofce enjoyable
and for moral and technical support, I would like to thank Rosemary Sánchez
and Debbie Garland, and student workers Mayra Pratz and Maury Moreno.
I am grateful for funding to carry out research, which came from SMU’s
University Research Council and The Ministry of Spain’s Program for Cultural
Cooperation between Spain and US universities. I am also grateful to
Dean Thomas DiPiero and Dedman College of SMU for further fnancial
assistance.
Special thanks to the anonymous reviewers of the essays, where some
of the ideas began to percolate, and of the proposal and book manu script.
Preliminary portions of chapters three and fve appeared in the journals
Revista de Estudios Hispánicos and Hispania. Thanks as well to Patricia Manning, Acknowledgements
Yolanda Gamboa, Anne Cruz and Lisa Vollendorf, who gave generously of
their time, advice and encouragement at crucial moments.
Special thanks to the encouragement and support of my family: Nancy,
Frank, Mike, Jésu, Jesús, Joaquín, María Eugenia, Ito and Victoria. My biggest
appreciation goes to Víctor and Mateo for giving me so much to strive for,
lots of fun and even more love along the way.
xiiList of Figures
Front cover: Diego Rodríguez Velázquez (1599–1660). Las meninas,
1656. Oil on canvas, 318 x 276 cm. Museo del Prado.
Photo Credit: Scala/Art Resource, NY.
Figure 0.1 Juan de Jáuregui. miguel de c ervantes, 1600.
Madrid, Spain Language Academy. Album/Art
Resource, NY. 3
Figure 0.2 Lope de Vega. El peregrino en su patria. Barcelona:
Sebastián de Cormellas,1605. 21r. Biblioteca
Nacional de España. 26
Figure 1.1 Libro del c aballero Zifar MSS Espagnol 36, 99v
Bibliothèque nationale de France. 46
Figure 1.2 Libro del c aballero Zifar MSS Espagnol 36, 100r
Bibliothèque nationale de France. 47
Figure 1.3 Libro del c aballero Zifar MSS Espagnol 36, 114v
Bibliothèque nationale de France. 49
Figure 1.4 Libro del c aballero Zifar MSS Espagnol 36, 115r
Bibliothèque nationale de France. 50
Figure 1.5 Jorge Inglés, Retablo Marqueses de Santillana o
de los Ángeles, oil/panel, 1455, Capilla Hospital,
Buitrago; Private Collection, Madrid, Spain.
Album/Art Resource. 54List of Figures
Figure 1.6 El c onde Lucanor Don Juan Manuel, MS 6376, p. 319,
Biblioteca Nacional de España. 58
Figure 1.7 Exemplario Zaragoza: Bartolomé Nájera, 1547. f. 77r
Bibliot 70
Figure 1.8 Exemplario Zaragoza: Bartolomé Nájera, 1547. f. 77v
Biblioteca Nacional de España. 71
Figure 2.1 Anonymous Cuzco School. Trifacial Trinity , c.1750–70.
Oil on canvas, 182 x 124 cm. Museo de arte de Lima,
Perú Donación Memoria Prado. 88
Figure 2.2 Bartolomé Esteban Murillo (1618–82). The Heavenly
and Earthly Trinities (The Pedroso Murillo), c.1675–82.
Oil on canvas, 293 x 207 cm. Bought, 1837 (NG13).
National Gallery © National Gallery, London/Art
Resource, NY. 89
Figure 3.1 Diego Rodríguez Velázquez. The c ourt Jester
Don Diego de Acedo ‘El Primo’. 107 x 82cm.
Museo del Prado. Photo Credit: Erich Lessing/Art
Resource, NY. 121
Figure 4.1 Juan Francisco de Villava. E