By David R. Castillo
The time period anamorphosis, from the greek ana (again) and morphe (shape), designates various standpoint experiments that may be traced again to the creative advancements of the 1500's and 1600's. Anamorphic units problem audience to event diversified kinds of perceptual oscillation and uncertainty. photographs shift in entrance of the eyes of questioned spectators as they circulation from the heart of the illustration to the margins, or from one aspect to the opposite. (A) Wry perspectives demonstrates that a lot of the literature of the Spanish Golden Age is weak, and certainly calls for, indirect readings (as in anamorphosis).
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Additional resources for (A)Wry Views: Anamorphosis, Cervantes and the Early Picaresque (Purdue Studies in Romance Literatures, V. 23)
A. Van Praag and del Monte, later argued against these interpretations on the basis of an alleged burlesque tone that in their view dominates the discourse of Guzmán, other Hispanists have insisted on Guzmán’s relationship with Counter-Reformation culture in discussing the moral (Rico) and socioeconomic (Maravall, La picaresca) dimensions of the picaresque. Rico distinguishes between two distinct phases in Guzmán’s life, a first period of action dominated by the presence of the young pícaro and a second period of narration, in which the repentant and penitent Alfarache recalls his past acts of villainy, interspersing them with moral reflections: “un primer tiempo de acción, con un versátil Guzmanillo de protagonista; y un segundo tiempo de narración, en el que el sesudo y penitente Alfarache levanta acta de sus pasadas trapacerías, entremetiéndolas de reflexiones morales” (65).
167) The appearance of contingency in the cracks of the Scholastic universe allows for a type of rethinking of society that could lead to socioeconomic reforms, but it also marks the birth of a new conservatism, which—as we can see in the above passage—begins to see the poor as moral aberration, a cancer to be extirpated from the social body, not through socioeconomic reform, but by means of moral discipline and tougher punishment. These repressive tendencies place the responsibility for indigence on the shoulders of the poor, who are viewed as idle and dishonest social elements.
By underscoring the fact that what the spectator sees depends on his/her point of view. We will see this same principle at work in many of Cervantes’s texts, and also in certain passages of Lazarillo and La pícara Justina. On the other hand, Cervantes’s experimental narrative style is often reminiscent of Velázquez’s “technique of incompleteness”—as Maravall puts it. Today, it is something of a commonplace to speak of Velázquez’s “unfinished” and “careless” painting. Yet, the anamorphic quality of Velázquez’s technique is often unrecognized.