The Spanish Baroque and Latin American Literary Modernity: Writing in Constellation: 391 (Monografías A, 391)

213 Pages·2021·3.126 MB·English

by  Crystal Crystal Chemris

Colección Támesis
SERIE A: MONOGRAFÍAS, 391
THE SPANISH BAROQUE AND LATIN
AMERICAN LITERARY MODERNITY
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Tamesis
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Andrew M. Beresford
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Isabel Torres
Noël Valis
MONOGRAFÍAS
ISSN: 0587-9914 (print)
ISSN 2633-7061 (online)
Monografías publishes critical studies covering a wide range of topics
in the literature, culture and history of the Iberian Peninsula and Latin
America from the Middle Ages to the present day. It aims to promote
intellectually stimulating and innovative scholarship that will make a
major contribution to the fields of Hispanic and Lusophone studies.
Work on un- or under-explored sources and themes or utilising new
methodological and theoretical approaches, as well as interdisciplinary
studies, are particularly encouraged.
Previously published books in the series may be viewed at
https://boydellandbrewer.com/series/monografias-a.html
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THE SPANISH BAROQUE
AND LATIN AMERICAN
LITERARY MODERNITY
WRITING IN CONSTELLATION
Crystal Anne Chemris
TAMESIS
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© Crystal Anne Chemris 2021
All Rights Reserved. Except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast,
transmitted, recorded or reproduced in any form or by any means,
without the prior permission of the copyright owner
The right of Crystal Anne Chemris to be identified as
the author of this work has been asserted in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988
First published 2021
Tamesis, Woodbridge
ISBN 978 1 85566 341 1 (hardcover)
ISBN 978 1 80010 124 1 (ePDF)
ISBN 978 1 80010 125 8 (ePUB)
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A CIP record for this title is available from the British Library
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In memory of my parents, Walter and Rose, and of my sister, Robin
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CONTENTS
Acknowledgments viii
Introduction: The Baroque, Symbolism and Hispanic Modernity:
A Benjaminian Meditation on the Construction of History 1
1. Góngora and the Colonial Body Politic: Moriscos, Amerindians and
Poetry as Protest 29
2. Violence and the “Tremulous Private Body” in Lazarillo de Tormes,
Fuenteovejuna, and the Soledades 55
3. Trauma, Body and Machine in Don Quijote 73
4. Góngora and Darío in Constellation: On the Poetics of Rape,
Colonialism and Modernity 87
5. Pilgrimage into the Trauma of History: Continuities of Góngora in
Carpentier, Rulfo and Vallejo 103
6. Signposts in a Genealogy of Post-Symbolism in Latin
American Poetry 123

Afterword 143
Appendix I: On Mallarmé’s “Un Coup de dés” 149
Appendix II: The Annales School and Maravall’s La cultura
del barroco 153
Works Cited 161
Index 189
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ACKNOWLEDGMENTS
I would like to thank the editorial board, the commissioning editor, Megan
Milan, and all the staff of Tamesis for their generous attention to my manuscript,
as well as the many colleagues who have supported my research and teaching.
In this regard, I honor the retirement of mentors who were pioneers in North
American hispanism, in leading a shift towards theory-centered criticism and
new fields which incorporated the voices of women and minorities: John
Beverley, Emilie Bergmann, and Julián Olivares.
I thank the department chairs who have set the highest model for me as
a teacher: at the University of Pittsburgh, John Beverley; at Reed College,
Sharon Larisch; and at the University of Iowa, the late Tom Lewis. I thank
Ivonne Del Valle for the invitation to present my work on the Quijote at
Berkeley and Ariadna García Bryce for her invitation to present my research
on the Baroque at Reed College. I thank Julio Ortega for mentoring my
transatlantic scholarship and Joaquín Roses for integrating me into projects
on Góngora, now housed at the center he directs in Córdoba, Spain.
I am also most grateful to many other colleagues who have offered generous
correspondence with me on my research. These include Francisco A. Ortega,
Christian Fernández, Daniel Waissbein, Carolyn Dean, Lisette Balabarca,
Christina Lee, Carmen Bernand, Marie Tanner, Rachel Schmidt and Kenneth
Brown, Colbert Nepaulsingh, Julián Jiménez Heffernan, and last but not least,
David Hildner, who I thank for sharing his opinion and advice on my reading
of some of Góngora’s sonnets, a crucial foundation for my interpretation of
the poet’s views on the Morisco expulsion.
I acknowledge my gratitude for the support of family and of my current
colleagues at the University of Virginia and the University of Oregon.
Finally, some of the material in this book appeared in an earlier version
in the sources listed below. Permission to reprint has been granted by the
following publishers and is gratefully acknowledged.
“Moriscos, Amerindians and Góngora’s Soledades in Context,” eHumanista/
Conversos, Vol. 6, No. 1–2, 2018, pp. 284–305. (Chapter 1)
“The Pilgrimage Topos and the Problem of Modernity: A Transatlantic View
of Some Hispanic Texts.” Romance Studies, Vol. 26, No. 2, April 2008, pp.
136–49. (Chapter 5)
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ACKNOWLEDGMENTS ix
“Violence and the Trajectory of Early Modern Subjection in Lazarillo de Tormes,
Fuenteovejuna, and the Soledades.” Symposium, Vol. 64, No. 2, 2010, pp.
105–25. (Chapter 2)
“Continuities of Góngora in Darío’s Swan Poems: On the Poetics of Rape, Coloni-
alism and Modernity.” Calíope: Journal of the Society for Renaissance and
Baroque Hispanic Poetry, Vol. 16, No. 2, 2010, pp. 75–94. This article is used
by permission of The Pennsylvania State University Press, © 2010 Pennsylvania
State University Press. (Chapter 4)
Lionel Lienlaf’s poems “Rebelión” and “Camino” and Graciela Huinao’s poem,
“Simulacro de biografía” from Cecilia Vicuña ed, Ül: Four Mapuche Poets:
Elicura Chihuailaf, Leonel Lienlaf, Jaime Luis Huenún, Graciela Huinao,
Bilingual ed. Trans. John Bierhorst, Pittsburgh: Latin American Literary
Review Press, 1998. (Chapter 6)
The author and publisher are grateful to all the institutions listed for permission
to reproduce the materials in which they hold copyright. Every effort has been
made to trace the copyright holders; apologies are offered for any omission,
and the publisher will be pleased to add any necessary acknowledgement in
subsequent editions.
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