Background
Armas, Frederick Alfred De was born on February 9, 1945 in Havana, Cuba. Came to the United States, 1959, naturalized, 1968. Son of Alfredo and Ana Maria (Galdos) De Armas.
(Frederick de Armas argues in this work that throughout hi...)
Frederick de Armas argues in this work that throughout his literary career, Cervantes was engaged in a conversation with the classical authors of Greece and Rome, especially through the interpretations of antiquity presented by the artist Raphael. Rather than looking at Cervantes' texts in relation to other literary works, this book demonstrates how Cervantes' trip to Italy and his observation of Italian Renaissance art--particularly the works of Raphael at the Vatican--led him to create new images and structures in his works.
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( As a young man, Miguel de Cervantes left his home in Sp...)
As a young man, Miguel de Cervantes left his home in Spain and travelled extensively through Italy, experiencing all that the Italian Renaissance had to offer. In his later writings, Cervantes sought to recapture his experience through literature, and literary critics have often pointed to Italian texts as models for Cervantes' writing. The art of the period, however, has seldom been examined in this context. Focusing on Don Quixote, Frederick A. de Armas unearths links between Cervantes' text and frescoes, paintings, and sculptures by Italian artists such as Cambiaso, Michelangelo, Raphael, and Titian. His study seeks to re-engage the critics of today by formulating the link between Cervantes and the Renaissance through an interdisciplinary dialogue that establishes a new set of models and predecessors. This dialogue is used to explore a variety of issues in Cervantes including the absence of a single guiding pictorial program, the doubling of archaeological reconstruction, and the use of ekphrasis as allusion, interpolation, and an integral component of the action. Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work. This detailed and exhaustive study is an invaluable contribution to both Hispanic and Renaissance studies.
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(In classical mythology Astraea, the goddess of justice, c...)
In classical mythology Astraea, the goddess of justice, chastity, and truth, was the last of the immortals to leave Earth with the decline of the ages. Her return was to signal the dawn of a new Golden Age. This myth not only survived the Christian Middle Ages but also became a commonplace in the Renaissance when courtly poets praised their patrons and princes by claiming that Astraea guided them. The literary cult of Astraea persisted in the sixteenth century as writers saw in Elizabeth I of England the imperial Astraea who would lead mankind to peace through universal rule. This and other late flowerings of the Astraea myth should not be taken as the final phases of her history. Frederick A. de Armas documents in this book what may well be the last great rebirth of Astraea, one that is probably of greater political, religious, and literary significance than others previously described by historians and literary critics. The Return of Astraea focuses on the seventeenth-century Spanish playwright Pedro Calderón de la Barca, and analyzes the deity's presence in thirteen of his plays, including his masterpiece, La Vida es Sueho. Her popularity in this period is partially attributed to political motives, reflecting the aspirations and fears of the Spanish monarch Philip IV. In this broad study, grounded on such diverse fields as astrology, iconography, history, mythology, and philosophy, de Armas explains that Astraea adopts many guises in Calderón's dramas. Ranging from the Kabbalah to Platonic thought and from satires on Olivares to cosmogonic myths, he analyzes and reinterprets Calderón's theater from a wide range of perspectives centered on the playwright's utilization of the myth of Astraea. The book thus represents a new view of Calderón's dramaturgy and also documents the popularity and significance of this astral-imperial myth during the Spanish Golden Age.
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( The Roman poet Ovid, author of the famous Metamorphoses...)
The Roman poet Ovid, author of the famous Metamorphoses, is widely considered one of the canonical poets of Latin antiquity. Vastly popular in Europe during the Renaissance and Early Modern periods, Ovid's writings influenced the literature, art, and culture in Spain's Golden Age. The book begins with examinations of the translation and utilization of Ovid's texts from the Middle Ages to the Age of Cervantes. The work includes a section devoted to the influence of Ovid on Cervantes, arguing that Don Quixote is a deeply Ovidian text, drawing upon many classical myths and themes. The contributors then turn to specific myths in Ovid as they were absorbed and transformed by different writers, including that of Echo and Narcissus in Garcilaso de la Vega and Hermaphroditus in Covarrubias and Moya. The final section of the book centers on questions of poetic fame and self-fashioning. Ovid in the Age of Cervantes is an important and comprehensive re-evaluation of Ovid's impact on Renaissance and Early Modern Spain.
http://www.amazon.com/gp/product/1442641177/?tag=2022091-20
(Among the many ancient techniques that shift or become pr...)
Among the many ancient techniques that shift or become problematized during the Renaissance and the Baroque periods, this volume focuses on one in particular, that of ekphrasis. It is through the lens of experimentation with the technique of ekphrasis that we can view Cervantes' texts.
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Armas, Frederick Alfred De was born on February 9, 1945 in Havana, Cuba. Came to the United States, 1959, naturalized, 1968. Son of Alfredo and Ana Maria (Galdos) De Armas.
Bachelor magna cum laude, Stetson University, DeLand, Florida, 1965. Doctor of Philosophy (Carnegie fellow 1965-1968), University North Carolina, 1968.
Member faculty Louisiana State University, Baton Rouge, 1968-1988, professor Spanish, 1978-1988, acting chairman department, 1979-1980, director graduate studies, 1980-1985. Professor Spanish and comparative literature Pennsylvania State University, 1988-1991, Distinguished professor Spanish and comparative literature, 1991-1998, Edwin Erle Sparks professor Spanish and Comparative Literature, 1998-2000, fellow Institute for Arts and Humanities, 1989-2000. Professor Spanish University Chicago, 2000-2001, Andrew W. Mellon distinguished professor humanities, 2001—2010, chairman department romance languages and literature, 2005—2010, Andrew W. Mellon distinguished service professor, since 2010.
Visiting associate professor University Missouri, Columbia, 1977, visiting professor, 1986. Visiting professor Duke University, 1994.
(Frederick de Armas argues in this work that throughout hi...)
(Among the many ancient techniques that shift or become pr...)
( As a young man, Miguel de Cervantes left his home in Sp...)
(In classical mythology Astraea, the goddess of justice, c...)
(In classical mythology Astraea, the goddess of justice, c...)
(Seventeenth-century French author Paul Scarron's Roman co...)
( The Roman poet Ovid, author of the famous Metamorphoses...)
Member Modern Language Association, Comparative Literature Association, Renaissance Society of America, American Association Teachers Spanish and Portuguese, Association Internat, Hispanistas, Hispanic Society of America (correspondent), Cervantes Society of America (vice president 2004-2007, president since 2007).