Matteo Rei

L’immaginario goloso nella poesia del Barocco: ritratti “em metáfora de doce”

Introduction

L’immaginario goloso nella poesia del barocco: ritratti “em metáfora de doce”. Esplora l'immaginario goloso nella poesia barocca portoghese. Analizza ritratti femminili descritti con metafore di dolciumi, richiamando lo stile di Arcimboldo.

Abstract

In Portuguese Baroque literature there are numerous texts that refer to the pleasures of gluttony and in particular to sweets production, whose development is enhanced by the spread of sugarcane cultivation in the Lusitanian overseas domains. In this context, the present paper intends to focus on three poems in which the motif of the portrait undergoes an original development, since the figures described take shape, somewhat like the heads painted by Arcimboldo, from the combination of distinct but related elements. Indeed, the authors of the texts under consideration survey individual parts of the female body by associating them with different varieties of confectionery products.

Review

This paper promises an engaging and original exploration of Portuguese Baroque poetry, focusing on the intriguing intersection of gluttony, confectionery, and the representation of the female body. The title, ‘L’immaginario goloso nella poesia del Barocco: ritratti “em metáfora de doce”,’ immediately signals a specialized and nuanced study. The abstract effectively outlines the paper's scope, grounding its literary analysis in the historical context of burgeoning sweets production due to sugarcane cultivation in the Lusitanian overseas domains. The central premise—that female portraits in these poems are constructed through a unique 'sweet metaphor,' akin to Arcimboldo's composite figures—suggests a fresh analytical lens for understanding Baroque poetic imagination. The paper's primary strength lies in its innovative conceptual framework. The "metáfora de doce" offers a compelling and potentially groundbreaking approach to analyzing poetic descriptions, moving beyond conventional literary tropes to reveal a sophisticated engagement with material culture and sensory experience. The comparison to Arcimboldo's composite portraits is particularly insightful, providing a clear visual analogy for the textual strategy of surveying individual body parts and associating them with distinct varieties of confectionery products. This focused analysis of three specific poems indicates a commitment to deep textual engagement, promising rich readings that will undoubtedly illuminate previously overlooked dimensions of these Baroque texts and their authors' artistic ingenuity. To fully realize its ambitious claims, the paper would benefit from a thorough exploration of the broader cultural and ideological implications of this 'gluttonous imaginary.' Beyond the formal analysis of metaphor, a robust discussion on how these sweet portraits contribute to or complicate Baroque notions of femininity, desire, or even colonial economy would significantly enhance its impact. For instance, the abstract’s mention of "sugarcane cultivation in the Lusitanian overseas domains" opens a crucial avenue for exploring the intersection of literary representation with the material realities and power dynamics of the colonial enterprise. Overall, this paper presents a highly promising and potentially significant contribution to the study of Baroque literature, offering a unique perspective that effectively bridges literary analysis with cultural history.

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