By David R. Castillo
The time period anamorphosis, from the greek ana (again) and morphe (shape), designates quite a few point of view experiments that may be traced again to the inventive advancements of the 1500's and 1600's. Anamorphic units problem audience to event diverse varieties of perceptual oscillation and uncertainty. photos shift in entrance of the eyes of wondered spectators as they flow from the guts 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 info for (A)wry views: Anamorphosis, Cervantes, and the early picaresque
Y así, ejecutando la ley, desde a cuatro días que el pregón se dio, vi llevar una procesión de pobres azotando por las Cuatro Calles, lo cual me puso tan gran espanto, que nunca osé desmandarme a demandar. (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.
Thus, the narrator refers to the house of the priest, his second master, as the house where “there was nothing to eat” (“y en toda la casa no había ninguna cosa de comer”; 132). Similarly, the house rented by the squire is presented through the eyes of Lázaro as lacking space: “Todo lo que yo había visto eran paredes, sin ver en ella silleta, ni tajo, ni banco, ni mesa, ni aun tal arcaz como el de marras” (153). Lázaro accounts for “what there is in the picture” by stating “what the picture lacks,” that is, by revealing the absence of the objects of his desire.
This procedure of negativization—“procedimiento de negativización” according to Ricapito—is the anamorphic effect by means of which Lázaro’s self-consciousness projects itself onto the narrative. 26 Anamorphic Perspective in Lazarillo Cervantes noted this aspect of the autobiographical discourse characteristic of picaresque narratives. In chapter 22 of Don Quixote, the knight-errant runs into a group of prisoners who are on their way to the galleys. Don Quixote shows a special interest in the misfortunes of the heavily chained Ginés de Pasamonte.