» » Imperial Lyric: New Poetry and New Subjects in Early Modern Spain (Penn State Romance Studies)

eBook Imperial Lyric: New Poetry and New Subjects in Early Modern Spain (Penn State Romance Studies) ePub

by Leah Middlebrook

eBook Imperial Lyric: New Poetry and New Subjects in Early Modern Spain (Penn State Romance Studies) ePub
Author: Leah Middlebrook
Language: English
ISBN: 0271035188
ISBN13: 978-0271035185
Publisher: Penn State University Press; 1 edition (May 13, 2009)
Pages: 206
Category: History & Criticism
Subcategory: Literature
Rating: 4.1
Votes: 855
Formats: doc mobi lrf rtf
ePub file: 1764 kb
Fb2 file: 1322 kb

Present scholarly conversations about early European and global modernity have yet to acknowledge fully the significance of Spain and Spanish cultural production. Poetry and ideology in early modern Spain form the backdrop for Imperial Lyric, which seeks to address this shortcoming. Based on readings of representative poems by eight Peninsular writers, Imperial Lyric demonstrates that the lyric was a crucial site for the negotiation of masculine identity as Spain’s noblemen were alternately cajoled and coerced into abandoning their identifications with images of the medieval hero and assuming instead the posture of subjects. The book thus demonstrates the importance of Peninsular letters to our understanding of shifting ideologies of the self, language, and the state that mark watersheds for European and American modernity. At the same time, this book aims to complicate the historicizing turn we have taken in the field of early modern studies by considering a threshold of modernity that was specific to poetry, one that was inscribed in Spanish culture when the genre of lyric poetry attained a certain kind of prestige at the expense of epic. Imperial Lyric breaks striking new ground in the field of early modern studies.

Sometimes academic books simply earn their authors tenure--as I hope this one did for Middlebrook. "Imperial Lyric," however, is also well-written and has plenty of interesting poetry to support its description of the shift in imperial Spanish poetic and cultural taste, from epic imagination ("El Cid") to the more elegant and coterie-focused lyric.--For Americans, with Walt Whitman and, say, Sharon Olds in mind, Middlebrook's account is distant-mirror, through-a-glass darkly stuff: the Spanish have been there, and now we're doing it.--The poems referenced are given in Spanish, with pleasant translations.
It might be a good idea to revise the transcriptions of Spanish texts; some of them are crowded with errata. «Imperial Lyric», in addition, contains a number of erroneous statements which maybe should be revised too. I have found the following: (1) In page 73 the author affirms that «tormenta» means both «storm» and «suffering». Evidently, she mixes up «tormenta» and «tormento»: the former means «storm»; the latter means «suffering». (Sometimes, a single letter matters.) (2) In page 74, note 13, Middlebrok states: «The poems of the First and Second Books [she is writing about Boscán] are numbered continuosly, which provides further evidence that they should be read together». In the 1543 editio princeps of Boscán's works, however, compositions are NOT numbered AT ALL. Middlebrook probably drew her conclussion from the 1999 edition by Carlos Clavería, where compositions are probably numbered continously. (3) In page 54, note 41, the author amazingly says that «coplas de pie quebrado» contain «seven- and five-syllable» lines. The fact is that they do not contain but eight- and four-syllable lines. (4) In page 171, note 41, and again in pages 173-174, note 44, we read that Pacheco, responsible for a posthumous edition of Fernando de Herrera's poetry, «referred to having repaired and completed poems that had been damaged in a shipwreck»; «reported that he had saved [the volume] from a shipwreck and had restored many of the pages that had been damaged in the event» (!). Well: Pacheco did not say so; as a matter of fact, the alleged «shipwreck» never happened. Middebrook probably misunderstood some passages where modern scholars METAPHORICALLY describe as a «naufragio» («shipwreck») the sudden dissapearance of manuscripts which followed Herrera's death in 1597.
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