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

List of Illustrations ix

Acknowledgments xi

Introduction 1

Chapter 1 Sarduy as Critic of the Baroque and the Neo-Baroque Figure in Science and Art 11

Figures of Scientific Rhetoric 13

Figure I The Perfect, Moral Circle of the High Renaissance 16

Figure II The Ellipse, or the Unnatural, "Perverted" Circle 23

Figure III Trompe l'Œill and the Anamorphic Image 30

Figure IV The Aberrant Image of Simulation 36

Figure V The Neo-Mannerism of the Spanish, Colonial, and Neo-Baroque Image 40

"Conclusion" by Way of the Retombée 54

Chapter 2 Sarduy's Figural Art/Writing: Writing/Art Body 59

The Architectural Body 62

The Painterly Body: Bronzino, Rubens, and Beyond 65

Biological Anamorphosis, Trompe l'Œil, and Body Painting 69

The Colonial and Monstrous Body 72

Fetishism and the Body That is Double... and More Than Double 78

Fijeza, Yin-Yang, and the Inscribed Body of Sadomasochism 82

The Eastern White Body of "Emptiness" 98

Chapter 3 Big Bang, Klang Klang, and Painting l109

The Pictorial/Rhetorical Figure of the Universe(Barroco and Big Bang) 111

White: Red and Black 118

From Mallarmé's Typography to Concrete Poetry and Galáxias 125

The New World Baroque Aesthetics of Big Bang vu

The Music in Painting/Writing: Lorca, Jazz, Mondrian, Kandinsky, Etc 143

The Figural Body of the Dance of Life and Death 149

Conclusion 155

Chapter 4 Colors, Bodies, Voices, and the Click-Clack of Theater 59

The Four Primary Colors 163

White, Black, and Red 165

The Erotic Body 169

Sound and Music 172

Funerary Baroque 179

Del Yin al Yang 186

Decolonization: The Circle of Los matadores de hormigas 190

Conclusion 200

Conclusions <> Continuities 201

Illustrations 207

Notes 213

Bibliography 277

Index 307