Reviewed by:

• Hispanic Baroque Ekphrasis: Góngora, Camargo, Sor Juana by Luis Castellví Laukamp
• Antonio J. Arraiza-Rivera

HANDSOMELY ILLUSTRATED AND ENGAGINGLY written, the book under review analyzes the role of ekphrasis in Luis de Góngora's Soledades (1613), Hernando Domínguez Camargo's San Ignacio. Poema heroico (1666), and Sor Juana Inés de la Cruz's Primero Sueño (1692). In doing so, Castellví Laukamp seeks to illuminate how criollo authors Camargo and Sor Juana deploy verses of an empathically visual nature to (circum)vent the aesthetic and ideological issues that bound them to their European models and readership (12). In this context, the term ekphrasis encompasses various types of poetic descriptions akin to the rhetorical figure enargeia. The book is less about establishing a typology of unequivocally ekphrastic objects or procedures and more about how and why Góngora, and the writers drawn to his poetics, embed digressive and rhetorically ornate sequences in longer works. This approach to ekphrasis enables the incorporation of ancillary concepts and allusions to works of art to explain the importance of such sequences (10).

Chapters 1 and 2 examine scenes where the lovelorn peregrino of the Soledades is prompted by a goatherd and a fisherman to contemplate land and seascapes, respectively. The interplay evidenced in these passages between ekphrasis and teichoschopy, the trope whereby nature is viewed from "a high vantage point" (23), serves a proleptic function and yields an abbreviated vision of totality. In combining these procedures, a sort of paragone or artistic comparison is established: a minute description of nature, using language that evokes painting techniques (ekphrasis), competes with descriptions informed by iconographic conventions aligned with cartography and epic poetry (teichoschopy) (23). As a result, both protagonist and readers of the Soledades have to imagine what lies beyond sight. Nature is thus doubly bracketed, first by the interlocutors who lead the peregrino to see a river view or the seashore and then by the spatiotemporal coordinates that condition each viewing. Each episode becomes an anticipation of things to come in the poem and a metaliterary meditation on the power of language to convey all of nature.

San Ignacio. Poema heroico benefits from discussion in chapters 3 and 4. Camargo's overwrought renditions of a sculpted crucified Christ that Ignatius [End Page 163] of Loyola contemplates and the saint's eight-day long ecstatic rapture incited by the image are read as an attempt to navigate the challenges posed by doctrinal compliance, Bloomian anxiety of influence, and the poet's sense of belatedness as a New World author. The result is a poem Castellví Laukamp finds steeped in diglossia, following Walter Benjamin's definition in The Origin of German Tragic Drama (1928): an illustration of the tensions that arise between artistic intent and adherence to Counter-Reformation values (86). Treating Ignatius's ecstasy as "a special category of ekphrasis" (101) convincingly underscores a guiding thread throughout the book: in each of the cases studied, ekphrasis bridges the gap between an unfathomable reality and the perception of that reality by poetic protagonists who remain silent while actively engaged in contemplation. In that sense, Camargo's decision to poeticize the unknown contents of Ignatius's mystical experience, similar to his recreation of an unidentified crucifix, upholds the historicity of both events while delving into stylistic experimentation (95). Chapter 4 explains with great insight why Camargo's treatment of the hagiographical subject sets him apart from his literary predecessors.

Sor Juana's most famous silva takes up chapters 5 and 6. The main hypothesis asserts that ekphrasis in her Primero Sueño goes beyond Góngora and Camargo's apposite experiments by trying to render abstract concepts and intellectual constructs (132). The simile in which the soul's fantasía is compared to the legendary lighthouse of Alexandria is read in relation to Hermetic texts, positing a fragment of the thirteenth-century Arabic grimoire Picatrix—disseminated among Neoplatonist and Hermetic circles—as a possible inspiration (146–47). The Egyptian pyramids described in Primero Sueño get a reading richly documented with sources in support of the idea that...

审核人：

• 西班牙巴洛克 Ekphrasis: Góngora, Camargo, Sor Juana by Luis Castellví Laukamp
• Antonio J. Arraiza-Rivera

这本书插图精美且引人入胜，在评论中分析了 ekphrasis 在 Luis de Góngora 的Soledades (1613)、Hernando Domínguez Camargo 的San Ignacio 中的作用。Poema heroico (1666) 和 Sor Juana Inés de la Cruz 的Primero Sueño (1692)。在这样做的过程中，Castellví Laukamp 试图阐明克里奥罗的作者 Camargo 和 Sor Juana 如何运用具有同理心的视觉性质的诗句来（规避）将他们与欧洲模式和读者群联系在一起的审美和意识形态问题（12）。在这种情况下，术语ekphrasis包含各种类型的诗意描述，类似于修辞人物enargeia. 这本书不是关于建立明确的 ekphrastic 对象或程序的类型学，而是关于 Góngora 和被他的诗学所吸引的作家如何以及为什么在较长的作品中嵌入离题和修辞华丽的序列。这种 ekphrasis 方法可以将辅助概念和典故纳入艺术作品，以解释此类序列的重要性 (10)。

第1,2章检查其中失恋场景佩雷格里诺所述的Soledades由牧羊人和渔民分别思量陆地和海洋景观，提示。在 ekphrasis 和teichoschopy之间的这些段落中所证明的相互作用，即从“高处”（23）观察自然的比喻，起到了预感功能并产生了整体的缩影。在结合这些程序时，建立了一种典范或艺术比较：对自然的细致描述，使用唤起绘画技巧的语言（ekphrasis），与与制图学和史诗（teichoschopy）一致的图像学惯例所告知的描述相竞争(23)。因此，《索莱达》的主人公和读者都不得不想象看不见的东西。因此，自然被双重包围，首先是由带领游者观看河景或海滨的对话者，然后是限制每次观看的时空坐标。每一集都成为对诗中即将发生的事情的预期，以及对语言传达所有自然的力量的元文学沉思。

圣伊格纳西奥。Poema heroico受益于第 3 章和第 4 章的讨论。 Camargo对洛约拉的伊格内修斯[End Page 163]所设想的被钉十字架的基督的过度演绎和圣人被图像煽动的长达八天的狂喜被解读为试图驾驭教义服从、布卢姆式的影响力焦虑以及诗人作为新世界作家的迟到感所带来的挑战。结果是卡斯特尔维·劳坎普 (Castellví Laukamp) 根据沃尔特·本杰明 (Walter Benjamin) 在《德国悲剧戏剧的起源》(The Origin of German Tragic Drama) 中的定义，发现一首充满双语的诗（1928 年）：说明艺术意图和坚持反宗教改革价值观之间出现的紧张关系（86）。将伊格内修斯的狂喜视为“一种特殊的 ekphrasis 类别” (101) 令人信服地强调了贯穿全书的一条指导性线索：在所研究的每个案例中，ekphrasis 弥合了深不可测的现实与保持沉默的诗歌主角对现实的感知之间的差距在积极思考的同时。从这个意义上说，卡马戈决定将伊格内修斯神秘经历的未知内容诗化，类似于他对身份不明的十字架的再创造，在深入研究文体实验的同时，坚持了这两件事的历史性（95）。第 4 章以深刻的洞察力解释了为什么 Camargo'

Sor Juana 最著名的席尔瓦占据了第 5 章和第 6 章。主要假设断言，她的Primero Sueño中的 ekphrasis试图呈现抽象概念和智力结构，从而超越了 Góngora 和 Camargo 的适当实验（132）。在灵魂的明喻幻想曲进行比较，亚历山大灯塔传奇读取相对于全封闭的文本，并主张13世纪阿拉伯魔法书的片段Picatrix -disseminated柏拉图和全封闭间界，作为一个可能的灵感（146-47 ）。Primero Sueño 中描述的埃及金字塔得到了丰富的文献资料，这些资料支持以下观点：...