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The Aesthetics of Artifice
Drawing on feminist and psychoanalytic theory, this study exposes the ideological foundations of Villiers de l'Isle-Adam's L'Eve Future, a late 19th-century revision of the Genesis story. Villier's future Eve, who owes her life to man's manipulation of sculptural techniques, photography, and film, symbolizes the complex conjunction of literature, art, technology, and the feminine in the late 19th century. The novel thus charts modernity's restructuring of traditional aesthetics to accommodate the age of mechanical reproduction. The female body becomes the locus of this manifesto of technology, producing a discourse on artificiality and and the feminine which Lathers's study exposes in detail. It also relates this monstrous tale to other versions of woman's fabrication in this and the last century, and interrogates theories of the aesthetic, the technological, and the feminine from Hegel and Baudelaire to Benjamin and Barthes. It is a contribution to current debate centering on the construction of gender and its place in literature and art.
Poesía Española
Presents more than two hundred poems by sixteen Spanish and Latin American poets from the Renaissance and baroque periods and the nineteenth and twentieth centuries, in Spanish and in English translations by noted poets.
Void and Voice
A close reading of Andre Gide's three major first-person narratives - L'Immoralist, La Porte etroite and La Symphonie pastorale - through the lens of semiotics and narratology. The author argues Gide's position as a pre-postmodernist who uses narrative strategies to connect story and self.
The Leper in Blue
Drawing on contemporary debates surrounding performance, gender and latin American studies, this book examines representations of performance within dramatic texts. It explores the work of individual playwrights such as Vicente Lenero, and topics including ritual game playing.
Hispanófila
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Nineteenth-century Literature Criticism
Excerpts from criticism of the works of novelists, poets, playwrights, short story writers and other creative writers who lived between 1800 and 1900, from the first published critical appraisals to current evaluations.
The Poetics of Inconstancy
The transformation of Late Petrarchism from earlier stages reflects a profound shift in cultural values--a 'crisis of the Renaissance' that generated new perspectives in poetic theory and practice. Broadly, this book identifies a distinctive 'poetics of inconstancy' that came to the fore at the end of the sixteenth century and pervaded the love verse of the age. At the same time, as a study based on the inductive method, the book takes as its point of departure a single poet: Etienne Durand. Because of his frequently anthologized 'Stances a l'Inconstance,' Durand is often singled out as 'the poet of inconstancy.' This study, however, identifies the theme of universal change as a hallmark of Durand's contemporaries as well--a signal of a stylistic revolution that heralded the end of Renaissance verse.
Dislocations of Desire
This study of La Regenta by Alas draws both on psychoanalytic theory and on an understanding of the social, sexual and medical norms of the period in which the novel was written. It proposes that the novel be understood as a coded summary of desire fantasied, dislocated, repudiated and thwarted.
Ronsard's Contentious Sisters
This book examines Ronsard's participation in the heated paragone debate between poets and painters: the Renaissance contest for superiority in the ranking of the arts that emerged in counterpoint to the parity-centered, pseudo-Horatian principle of ut pictura poesis ("as is painting, so is poetry"). The book explores issues that, despite their importance throughout Ronsard's poetry and the writings of leading paragone theorists such as Leone Battista Alberti and Leonardo da Vinci, have remained largely unnoticed. In broadest terms, Roberto Campo investigates the poet's notions about the differences between poems and pictures. More precisely, it examines Ronsard's views on two fundamental preoccupations of the theoretical and practical discussions about the arts during the Renaissance: which mode of expression, word or image, can more accurately and meaningfully represent natural realities and abstract celestial truths; and thus, whose art, the poet's or the painter's, holds the highest station in the hierarchy of human creative endeavor?
