Garcilaso de la Vega and the Material Culture of Renaissance Europe (Toronto Iberic)

__Garcilaso de la Vega and the Material Culture of Renaissance Europe__ examines the role of cultural objects in the lyric poetry of Garcilaso de la Vega, the premier poet of sixteenth-century Spain. Garcilaso De La Vega And The Material Culture Of Renaissance Europe Examines The Role Of Cultural Objects In The Lyric Poetry Of Garcilaso De La Vega, The Premier Poet Of Sixteenth-century Spain. As A Pioneer Of The 'new Poetry' Of Renaissance Europe, Aligned With The Court, Empire, And Modernity, Garcilaso Was Fully Attuned To The Collection And Circulation Of Luxury Artefacts And Other Worldly Goods. In His Poems, A Variety Of Objects, Including Tapestries, Paintings, Statues, Urns, Mirrors, And Relics Participate In Lyric Acts Of Discovery And Self-revelation, Reveal Memory As Contingent And Unstable, Expose Knowledge Of The Self As Deceptive, And Show How History Intersects With The Ideology Of Empire.--publisher's Web Site. Introduction: Engaging The Material -- Weaving, Writing, And The Art Of Gift-giving -- Empire, Memory, And History -- Objects Of Dubious Persuasion -- The Mirror And The Urn -- Eros At Material Sites -- Staging Objects In Pastoral -- Epilogue. Mary E. Barnard. Includes Bibliographical References And Index.

Garcilaso de la Vega and the Material Culture of Renaissance Europe examines the role of cultural objects in the lyric poetry of Garcilaso de la Vega, the premier poet of sixteenth-century Spain. As a pioneer of the “new poetry” of Renaissance Europe, aligned with the court, empire, and modernity, Garcilaso was fully attuned to the collection and circulation of luxury artefacts and other worldly goods. In his poems, a variety of objects, including tapestries, paintings, statues, urns, mirrors, and relics participate in lyric acts of discovery and self-revelation, reveal memory as contingent and unstable, expose knowledge of the self as deceptive, and show how history intersects with the ideology of empire.

Mary E. Barnard’s study argues persuasively that the material culture of early sixteenth-century Europe embedded within Garcilaso’s poems offers a key to understanding the interplay between objects and texts that make those works such vibrant inventions.

Acknowledgements Note on Editions and Translations List of Illustrations Introduction: Engaging the Material Chapter 1: Weaving, Writing, and the Art of Gift-Giving Tapestry Culture The Poem as Fabric: Weavers and Writers Chapter 2: Empire, Memory, and History An Archive in Cloth Unearthing Carthage Chapter 3: Objects of Dubious Persuasion The Lyre and the Viol(a) The Shell Boat A Marble Statue Chapter 4: The Mirror and the Urn At the Fountain of Narcissus The Urn's Tale Chapter 5: Eros at Material Sites Weaver Nymphs in Crystal Palaces Daphne's Scenographic Body Mapping the Humoral Interior Tablet of the Soul Chapter 6: Staging Objects in Pastoral Falling in Love with a Statue Mourning Becomes Material Conclusion Notes Works Cited Index "Garcilaso de la Vega and the Material Culture of Renaissance Europe examines the role of cultural objects in the lyric poetry of Garcilaso de la Vega, the premier poet of sixteenth-century Spain. As a pioneer of the 'new poetry' of Renaissance Europe, aligned with the court, empire, and modernity, Garcilaso was fully attuned to the collection and circulation of luxury artefacts and other worldly goods. In his poems, a variety of objects, including tapestries, paintings, statues, urns, mirrors, and relics participate in lyric acts of discovery and self-revelation, reveal memory as contingent and unstable, expose knowledge of the self as deceptive, and show how history intersects with the ideology of empire."--Résumé du site web de l'éditeur