The Theater of Truth: The Ideology of (Neo)Baroque by William Egginton

By William Egginton

The Theater of fact argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics need to be understood as a part of an identical complicated. The Neobaroque, instead of being a go back to the stylistic practices of a selected time and position, might be defined because the continuation of a cultural process produced as a reaction to a particular challenge of idea that has beset Europe and the colonial international given that early modernity. This challenge, in its least difficult philosophical shape, matters the paradoxical relation among appearances and what they signify. Egginton explores expressions of this challenge within the paintings and literature of the Hispanic Baroques, new and previous. He exhibits how the concepts of those Baroques emerged within the political and social international of the Spanish Empire, and the way they remain deployed within the cultural politics of the current. extra, he bargains a unified concept for the relation among the 2 Baroques and a brand new vocabulary for distinguishing among their ideological values.

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The Theater of Truth: The Ideology of (Neo)Baroque Aesthetics

The Theater of fact argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics must be understood as a part of an analogous complicated. The Neobaroque, instead of being a go back to the stylistic practices of a selected time and position, might be defined because the continuation of a cultural method produced as a reaction to a particular challenge of concept that has beset Europe and the colonial international on account that early modernity.

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Example text

But Cervantes’s minor strategy reveals a desire in relation to prohibition as always ambivalent: purity How to Build a Baroque House at once fears intrusion and desires it. But if such desire coexists with its enclosure, purity can hardly be called pure. The minor strategy often emerges to greatest effect in Cervantes in the narrative voice, which by and large confines itself at the level of its utterance to aping the conventional dictates of the genre or social mores in which the narrative finds its context.

If deceit is primordial, that is because, in a profound or ontological sense, being is at heart deceptive; or, rather, deceit is primordial for the baroque mind because the baroque mind negotiates space according to theatrical assumptions. Everything, people included, are posited as being engaged in a constant and thoroughgoing play of appearances over against some core being of corporeal substance—a Of Baroque Holes and Baroque Folds model borrowed freely from the stage. If Gracián describes base reality in such terms, that is merely because reality, for the Baroque, was in some sense clearly caught up in this dynamic, a dynamic covered up by the efforts of later cultural production.

In both the film and La verdad sospechosa, the original error is theatrical because the interpellation essentially asks one to play a role. In North by Northwest, Thornhill is interpellated into the role of Kaplan; in La verdad sospechosa, Jacinta is interpellated into the role of Lucrecia. In both cases, interpellation fails because the original character is either not ready to play, or unwilling to play, or unaware that she is playing that role. Moreover, the error is theatrical because the failed interpellation leaves room for, and even becomes the motor of, desire; just as Thornhill ultimately wishes to become the mysterious and desirable Kaplan, so does Jacinta desire to fulfill the role of García’s beloved.

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