Papers by David R Castillo
Journal of Spanish Cultural Studies
UMI Dissertation Services eBooks, 1996
Cervantes, Mar 1, 2020
Abstract:Este ensayo propone una relectura de "El licenciado Vidriera" como un texto cu... more Abstract:Este ensayo propone una relectura de "El licenciado Vidriera" como un texto cuya excentricidad e incompleto marco narrativo hacen posible diferentes interpretaciones en el mismo sentido en que las experimentales técnicas de enmarcamiento y los juegos de espejos de Velázquez invitan al espectador a imaginar diferentes perspectivas. De este modo, frente a aquellos lectores que puedan identificarse con el público o espectadores internos, celebrando con ellos las presuntas "agudezas" de Vidriera, el texto invitaría una segunda lectura o perspectiva oblicua desde la que podríamos interpretar a Vidriera como un contenedor efectivamente transparente de los prejuicios más comunes de su tiempo.
Cervantes, Sep 1, 2020
El reciente renacimiento de la ciencia ficción hunde sus raíces en el legado distópico de novelas... more El reciente renacimiento de la ciencia ficción hunde sus raíces en el legado distópico de novelas como A Brave New World y 1984. Si fantasías distópicas como Black Mirror y Westworld ahondan en la exploración del efecto deshumanizador de nuevas tecnologías, en algunos casos estas exploraciones adoptan la forma de historias alternativas que nos alertan del peligro de socio-tecnologías totalitaristas. Este sería el caso de series televisivas como The Handmaid's Tale y Man in the High Castle, así como de la película de bajo coste de Alex Rivera Traficante de sueños, que usan el terror de la misma forma que Cervantes usara la ironía para "despertar" a sus lectores.
... y una noción de la vida como viaje hacia el más allá, Los trabajos de Persiles y Sigismunda s... more ... y una noción de la vida como viaje hacia el más allá, Los trabajos de Persiles y Sigismunda se desarrollan en un tiempo cíclico que, como ha señalado Ruth El Saffar, nos lleva de la tierra al cielo y del cielo de vuelta a la tierra: the journey ... Marina Brownlee y Hans Gumbrecht. ...
Church History, May 15, 2015
HIOL: Hispanic Issues On Line, 2013
Vervuert Verlagsgesellschaft eBooks, Dec 31, 2013
Hispania, Dec 1, 2003
A mi querida hija Sophia Like perspectives which, rightly gaz'd upon, Show nothing but confusion,... more A mi querida hija Sophia Like perspectives which, rightly gaz'd upon, Show nothing but confusion,-ey'd awry, Distinguish form! Shakespeare Richard II Contents xi List of Illustrations xiii Acknowledgments 1 Introduction 19 Part 1 The Picaresque 21 Chapter One Putting Things in Anamorphic Perspective: The Case of Lazarillo 35 Chapter Two The Gaze of anOther in Guzmán de Alfarache 54 Chapter Three Look Who's Talking! Justina and Cultural Authority 71 Part 2 Cervantes 73 Chapter Four Don Quixote: A Case of Anamorphic Literature 94 Chapter Five Persiles, or The Cervantine Art of Looking Down and Awry Chapter Six A "Symptomatic" View of the Honor System in Cervantes's Theater Conclusion Illustrations Notes Works Cited Index ix I would like to express my deepest appreciation to my mentor, Nicholas Spadaccini, as well as my partners in crime Bill Egginton, Brad Nelson, and the rest of the Minnesota connection, especially my dear brother Moisés. I would also like to thank everyone involved with PSRL, including Howard Mancing and the anonymous readers, who did an outstanding job of pointing out some of the weaknesses of an earlier version of the manuscript. Special thanks go to the Office of the Vice Provost for Research, the Humanities Center, and the College of Arts and Sciences at the University of Oregon for their financial support. On another level, I owe a huge debt of gratitude to my family and friends on both sides of the Atlantic for their love and support. My wife's side of the family has been wonderful, giving me a sense of belonging in this foreign land. Finally, I want to thank my colleagues of three years at the University of Oregon, many of whom have become close friends, and especially my beloved wife, Stephanie, without whose patience this venture would have been impossible. Nicolás follows E. H. Gombrich's conceptualization, which focuses on the impact that such an act of perceptual oscillation may have on the spectator. Faced with unstable and changing images, the spectator is invited to distance himself or herself contrautopía en el "Quijote": "en todo sistema de creencias hay una que posee el carácter de eje en torno al cual las demás giran y se articulan" (195). In early modern Spain the notion of honor appears to constitute one such anchoring point of the symbolic field, as the A good example of this essentialist view may be found in Ernesto Giménez Caballero's Genio de España (1932). In his book the founder and director of La Gaceta Literaria-one of the leading literary journals of the 1920s-aims to define "the Catholic and Imperial spirit of Spain" ("el genio de España, católico e imperial") against a "bastard materialist tradition." According to Giménez Caballero, the other Spain ("la España bastarda") begins with the irony of Cervantes and culminates in the literature of the Generation of 1898 and the essays of José Ortega y Gasset, which-he says-are "the wounds through which the nation is losing its spiritual blood" ("boquetes por donde empieza a derramarse la sangre espiritual de la nación"). 4 The notion of a peculiar Spain founded on a sense of unity of mission has been central to the historiographic work of several Hispanists, most notably Claudio Sánchez Albornoz. Hace de ella finalmente una contra-utopía" (Utopía 240). Cervantes's narrative strategy would thus parallel the perspective reversal that is characteristic of anamorphosis. Gustav Hocke has suggested that anamorphic devices invite spectators to alter their perception of the world by forcing them to reverse their understanding of what they see. Thus, according to Hocke, the main purpose of anamorphosis is "volver todas las cosas del revés" in order to produce a sense of confusion: "una continua confusión entre el ser y la apariencia" (239). This observation may allow us to connect-as Hocke does-the anamorphic mode of representation with the developments of mannerism, and with Cartesian epistemology: "Desde 1600 hasta pasado el 1660, en la cumbre del Manierismo de entonces, pasará la anamorfosis a ser la gran moda, al igual que el conceptismo en la poesía, el madrigalismo polifacético con su provocativa cromática y con sus disonancias en la música, tistas could be seen as a tribute to the anamorphic quality of Cervantes's text (see Montero Reguera 202). Leo Spitzer was one of the first in calling attention to the novel's perspectivism, which he associated with the baroque motif of "engaño-desengaño." This connection may still be useful as long as we stay away from a clear-cut moralistic interpretation of the popular baroque motif, for-as Durán notes-Cervantes is not opposing the deceptive appearances of this life to the firm certainty of the afterlife (that might be Calderón); he is simply superimposing veils, uncertainties, and reservations: "Cervantes, en cambio, acumula los velos, las Optical Illusions (2000), Dawn Ades notes that Holbein's unsettling skull "was to haunt Dalí" (21). In effect, the presence of Holbein's suspended skull is clearly apparent in many of Dalí's early paintings, including Diurnal Fantasies (1931), Atmospheric Skull Sodomizing a Grand Piano (1934), and Skull with Its Lyric Appendage Leaning on a Night Table Which Should Have the Exact Temperature of a Cardinal Bird's Nest (1934), among others. As a matter of fact, this connection between Dalí's work and sixteenth-century anamorphosis was first noted in a 1929 review that placed Dalí's Bathers alongside the anonymous Saint Anthony of Padua (1535). Ades observes apropos this review that "the immediate visual effect of the resemblance between the melting morphology of the bodies in Dalí's painting and the distortions of the anamorphic image was arresting and certainly intentional on the part of the review's editor" (22-23). Other art theorists have noted this connection between the early anamorphoses of the 1500s and 1600s, and Dalí's distorted objects and bodies (see, for example, Hocke 235 and 248). They have not failed to point out that, in the face of this type of perspective illusionism, twentieth-century spectators share with their sixteenth-and seventeenth-century counterparts the experience of uncertainty as "viewer and subject become entangled in a dance of displaced positions, in which there is no clear resolution" (Ades 20). II In his brief but enlightening discussion of anamorphosis in La cultura del barroco, Maravall focuses on the incomplete character of anamorphic devices, which-he says-always call for the spectator's intervention to compose or recompose the picture in his/her own fashion (441-42). This argument is consistent with Fred Leeman's account of the origin of the term: "Indeed, the etymological origin of the word-from the Greek Introduction ana (again), morphe (shape)-indicates that the spectator must play a part and reform the picture himself" (9). Both Maravall and Leeman draw from Jurgis Baltrus" aitis's book Anamorphoses ou magie artificielle des effets merveilleux (1969), available in English with the title Anamorphic Art (1977). 10 According to Baltrus" aitis, the word anamorphosis was first used by Gaspar Schott in his Magia universalis (1657-59); yet, the term was applied to a range of perspective aberrations and curiosities whose origins must be traced back to the early Renaissance. The first known example of anamorphosis dates from 1485. It consists of two distorted sketches by Leonardo da Vinci that, when viewed from the right-hand side, can be recognized as a baby's head and an eye. Much more perfected are the anamorphic images designed by Albrecht Dürer's disciple Erhard Schön, a graphic artist and engraver who worked in Nuremberg in the second quarter of the sixteenth century. We know of four anamorphic designs by Schön, which have been dated between 1531 and 1538. Two of them are woodcuts of historical theme. The second of these large woodcuts alternately hides and reveals portraits of Emperor Charles V, his brother Ferdinand of Austria, Pope Paul III, and King Francis I against the background of a bizarre landscape. These phantomlike images of royal effigies-they are only visible from left and right-projected over countries and historical events represent a desideratum of the absolutist monarchy. The extraordinary frequency with which Charles V is represented in anamorphic compositions has led some experts-Baltrus" aitis among them-to link the early developments of anamorphosis to the Emperor's courtly circle. In Spain, Baltrus" aitis documents the existence of a well-known anamorphic portrait of Charles V in the cathedral of Palencia. The proliferation of these images in the second half of the sixteenth century and the first half of the seventeenth century suggests that the fantasy of an omnipresent king hovering over land and people is central to the imagery associated with the establishment of the absolutist state. This is consistent with the omnipresence of the royal seal, which literally becomes an object of veneration all across absolutist Europe. 11 While the royal seal was to be kept from public view, its printed images Baltrus" aitis in Anamorphoses. The above-mentioned painting Saint Anthony of Padua (anonymous, 1535) is an early example of this religious use of anamorphosis. The composition incorporates an oblique perspective that reveals a portrait of Saint Anthony kneeling before Jesus. Baltrus" aitis mentions many similar depictions that document the remarkable success of anamorphosis during the 1500s and the 1600s all throughout Europe. Among them, the 1638 engraving by J. H. Glaser shows, perhaps better than any other, the pedagogical potential of this mode of representation. 13 Baltrus" aitis describes the composition as follows: In The Fall […] Adam and Eve, tasting the fruit, are on the right-hand side of a long, narrow composition. The Expulsion from Paradise, is on the opposite side. A lake stretches phase with the "reverse perspectives" mentioned by Giovanni Paolo Lomazzo in his Treatise...
HIOL: Hispanic Issues On Line, 2019
1 online resource (PDF, page 1-15)Introductio
HIOL: Hispanic Issues On Line, Jan 1, 2006
... Search result page. Title: Hispanism(s) Briefly: A Reflection On the State of the Discipline.... more ... Search result page. Title: Hispanism(s) Briefly: A Reflection On the State of the Discipline. Author:David Castillo ; William Eggington. Abstract: Journal: Hispanic Issues On Line. Issn: 19318006. EIssn: Year: 2006. Volume: 1. Issue: 1. pages/rec.No: 47-52. Key words, ...
HIOL: Hispanic Issues On Line, 2019
1 online resource (PDF, page 16-30)Part 1. Apocalyptic rhetoric then and now. Article
HIOL: Hispanic Issues On Line, 2018
1 online resource (PDF, page 347-354
HIOL: Hispanic Issues On Line, 2006
... Search result page. Title: Hispanism(s) Briefly: A Reflection On the State of the Discipline.... more ... Search result page. Title: Hispanism(s) Briefly: A Reflection On the State of the Discipline. Author:David Castillo ; William Eggington. Abstract: Journal: Hispanic Issues On Line. Issn: 19318006. EIssn: Year: 2006. Volume: 1. Issue: 1. pages/rec.No: 47-52. Key words, ...
McGill-Queen's University Press eBooks, Jan 15, 2022
Uploads
Papers by David R Castillo