...Jody Blanco Baroque Sovereignty: Carlos Sigüenza y Góngora and the Creole Archive of Colonial Mexico . By More Anna . Philadelphia : University of Pennsylvania Press , 2012 . 360 p. © 2015 by University of Oregon 2015 Works Cited Anderson Benedict . Imagined...

... by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges...

... variety (Oswald Spengler, Wilhelm Worringer, and Catalan philosopher Eugenio d’Ors), poet-critics of the historical avant-garde (T.S. Eliot, Octavio Paz, German Expressionists, and the poets of the generation of 1927 involved in the Góngora revival), modernist novelists (Djuna Barnes and William...

... Baroque elements in the arts of every century, Carpentier further expands the idea of the Baroque by universalizing it. Thus, in the literary realm, all Indian litera- ture, all Iranian literature, is Baroque. And if, in contrast, Cervantes is not Baroque, Carpentier, Quevedo, Calderón, Góngora...

... of the past two decades, allowing us to read them in dialogue and dispute with one another. This alone is a significant achievement. Of equal importance, however, is the sympathetic and nuanced treatment she gives to Sigüenza y Góngora’s expansive intellect, critical hermeneutics, and ambitious...

... that might be at stake in an inadequately subtle narrative of white slavery today. In addition, there now exist quite a few scholarly histories that reiter- ate from a variety of disciplinary vantage points the complexity of prostitution and sex traffic at the time (see Trochon, Kushnir, and Góngora...

... Delicado, Pessoa and Valéry, Góngora, King Dinis of Portugal, Borges, the troubadours . . . Epic, romance, and medieval courtly lyric are constants, as are the role of the reader and the practice and evolution of literary criticism itself, both in its explicit form and in the im- plied criticism within...

... a nonessentializing way to relate to the other is also just as necessary. In an interview, Rafael Alberti once said, “If one studies Arab-Andalusian poetry carefully, so full of metaphors and miniaturism, we will see that there is a continuity with later poetry, of Góngora, Soto de Rojas, and centuries later...

... the details and phases of the noble progression from natural feeling to action and eloquence and so to head off comic alternatives. As such, his respectable version perhaps best highlights the disrespectful elements in Marlowe and Góngora.24 For there were generic ambivalences on offer within the story...