In Transcending Textuality, Ariadna Garcia-Bryce provides a
fresh look at post-Trent political culture and Francisco de
Quevedo's place within it by examining his works in relation to two
potentially rival means of transmitting authority: spectacle and
print. Quevedo's highly theatrical conceptions of power are
identified with court ceremony, devotional ritual, monarchical and
spiritual imagery, and religious and classical oratory. At the same
time, his investment in physical and emotional display is shown to
be fraught with concern about the decline of body-centered modes of
propagating authority in the increasingly impersonalized world of
print. Transcending Textuality shows that Quevedo's poetics are, in
great measure, defined by the attempt to retain in writing the
qualities of live physical display.
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