Severo Sarduy and the Neo-Baroque Image of Thought in the Visual Arts.

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.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.