Marvell's Latin Poetry and the Art of Punning

This chapter analyses Marvell’s linguistic ingenuity as exemplified by his Latin poetic corpus. Here, it is argued, a pseudo Lucretian sensitivity to the parallelism between the structure of Latin words and the structure of the world co-exists with a linguistic methodology that is essentially Marinesque. Close examination of the Latin poems as a whole assesses the nature and significance of etymological play, paronomasia, puns on juxtaposed Latin words, on place names, and on personal names. It is suggested that such devices demonstrate ways in which the neo-Latin poetic text can serve both as a linguistic microcosm of the literary contexts in which they are employed, and as a re-invention of the artifice, extravagant conceits, and baroque wit of Marinism. The result is a neo-Latin ‘echoing song’ that is both intra- and intertextual. Through bilingual punning and phonological wit Marvell plays with a classical language only to demonstrate its transformative potential. The chapter concludes by offering a new reading of Hortus in relation to the garden sections of Marino’s L’Adone, in which an extravagantly luscious setting confounds the senses and is mirrored linguistically by word-clusters and labyrinthine punning.

AfterImage:for baroque flute and fixed media

Commissioned by Sonic Arts Network and Huddersfield Contemporary Music Festival with funds from ACGB for Eleanor Dawson (flute)

Informalilty in the Social and Culture Life in the City Centre of Nairobi

We live in a world of advanced technology, stiff global competition and rapid transformation of all facets of life and as a result architecture has not been spared. These transformations affect the social relations, cultural consumption and political economy that have influenced the manner in which people perform in and out of space in the city centres. The residents have adopted strategies for negotiating through the spaces sanitized by authorities and other agents. The public spaces provide the background materials for informal urban practices that are sometimes deemed illegal yet are necessary for animating the city spaces. Cities market themselves ecstatically beyond the baroque with a more visible presence of the contending parties through trademarks, public relations invasively advertised in streets, monuments (signature buildings or projects), and language. This paper comes out of a research carried out in Nairobi in February and March 2007. It examined how the notions of globalisation are reflected in the life in the city centre; the impacts on the quality of life of users of the city centre and how informal urbanism has developed as copying strategy to deal with the transformations due to liberalization and globalization.

Fragmentos de Soto de Rojas: a ‘new’ mythological fable of the Spanish Baroque

The twentieth-century poet Gerardo Diego’s commitment to the recovery of a ‘sub-genre’, the mythological fable, evident in his Fábula de Equis y Zeda (1930) has been acknowledged by Peinado Elliot (2006), among others. However a recent discovery in his archive has revealed a hitherto unknown aspect of the poet’s scholarly commitment to this endeavour. A transcription of a previously unpublished, and until recently, unknown Baroque mythological fable with the title ‘Fábula de Alfeo y Aretusa’ was recently found by his daughter Elena, alongside an unpublished study by the young poet of said fable entitled ‘Un poema manuscrito del siglo XVII de la biblioteca Menéndez Pelayo’. Rosa Navarro Durán (2012) is convinced that the correspondences with Soto de Rojas’ 'Los fragmentos de Adonis' and the clear imprint of Góngora’s 'Soledades' and his 'Fábula de Píramo y Tisbe' permit us to attribute it, with some confidence, to Pedro Soto de Rojas. This essay will consider the significance of this exciting discovery for our reading of Soto de Rojas’ existing corpus, exploring in particular the poem’s links with the dark eroticism of the Fragmentos de Adonis, (1652) and the early Fábula de la Naya.(1623)

The Potency of Pastoral in Hispanic Baroque poetry

This monograph demonstrates that aesthetic and ontological anxieties continue to find diverse expression within the contrived textual artifice of the bucolic space. Drawing upon expansive definitions of the Hispanic literary Baroque, (Beverley, 1980, 2008, Echevarría 1993, Ross 1993, Chemris 2008 , Egido 2009 ) the study analyses the pastoral verse of representative poets of the period to demonstrate that they re-enter an Arcadia that has been defamiliarized but is nonetheless inexorably connected to the classical origins of the mode. Pastoral, in common with other literary forms, is subject to a process of re-evaluation which was latent in its classical legacy. Within the intricacies of this literary construct, surface artistry sustains an effect of artless innocence that is vibrantly contested across the secular, sacred, parodic and colonial text.