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The theater of truth : the ideology of (neo)baroque aesthetics
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Title Statement
  • The theater of truth : the ideology of (neo)baroque aesthetics
Publication, Distribution, etc. (Imprint)
  • Stanford University Press, Stanford, Calif. : c2010
  • 2010
  • Språk: Engelska.
Dewey Decimal Classification Number
SAB Classification Code
Physical Description
  • viii, 170 p. ; 24 cm.
Bibliography, etc. Note
  • Includes bibliographical references (p. [131]-161) and index.
Formatted Contents Note
  • Of baroque holes and baroque folds -- How to build a baroque house (Cervantes, master architect) -- The theater of truth -- The opacity of language and the transparency of being : on Góngora's poetics -- The corporeal image and the new world baroque -- The dream life of Calderón and Borges -- The world well dressed : the later cinema of Pedro Almodóvar.
Subject - Topical Term
Subject - Geographic Name
ISBN
  • 978-0-8047-6954-9 (cloth : alk. paper)
  • 0-8047-6954-0 (cloth : alk. paper)
Waiting
  • 0 (0)
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*24514$aThe theater of truth :$bthe ideology of (neo)baroque aesthetics /$cWilliam Egginton
*260  $aStanford, Calif. :$bStanford University Press,$cc2010
*300  $aviii, 170 p. ;$c24 cm.
*504  $aIncludes bibliographical references (p. [131]-161) and index.
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*650 0$aSpanish literature$yClassical period, 1500-1700$xHistory and criticism.
*650 0$aBaroque literature$xHistory and criticism.
*650 0$aSpanish American literature$y20th century$xHistory and criticism.
*650 0$aTruth (Aesthetics)
*650 0$aAesthetics, Modern.
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The Theater of Truth argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. The Neobaroque, rather than being a return to the stylistic practices of a particular time and place, should be described as the continuation of a cultural strategy produced as a response to a specific problem of thought that has beset Europe and the colonial world since early modernity. This problem, in its simplest philosophical form, concerns the paradoxical relation between appearances and what they represent. Egginton explores expressions of this problem in the art and literature of the Hispanic Baroques, new and old. He shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present. Further, he offers a unified theory for the relation between the two Baroques and a new vocabulary for distinguishing between their ideological values.

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