The term affect used to refer to a much broader semantic field than the one it refers to today. The psychoanalytic and post-structural viewpoints at times lead us to forget the sophisticated code inherited from Aristotelian and Galenic literature, also impregnated of Platonic and Hermetic cosmology, which once supported the European early-modern psychological, literary and visual cultures. Classical rhetoric and poetics, as well as every form of Christian spirituality emanate from the distinction between the two poles which still delimit the scope of the psychic and the physiological equilibrium: ethos and pathos. Bearing into account Spanish, Italian, English, French and German literary, musical and visual materials, as well as critical concepts such as power or performativity, La retórica de los afectos analyses some aspects of this distinction and contingency.
– Rhetorica. University of California Press, XXXI, 1 (2013): 121–124. ISSN 0734-8584, electronic ISSN 1533-8541. ©2013 by The International Society for the History of Rhetoric. Review Díaz Marroquín. Rhetorica. 2013.31.1.121
– Bulletin of Spanish Studies, 87, No 7 (2010): 988-990. “Review on Lucía Díaz Marroquín. La retórica de los afectos”.
LUCÍA DÍAZ MARROQUÍN (M.A. State University of New York at Stony Brook; Doctorado cum laude Universidad Complutense de Madrid), is currently a Ramón y Cajal Lecturer and Researcher at the Universidad Complutense de Madrid. She continues her research while presenting her results at centres such as the University of Oxford (2012-2013), the Università di Bologna (2011-2012) and the Centre for Early-Modern Exchanges at University College (University of London) (2010-2011).
This book is the result of a post-doctoral research project at the Warburg Institute (School of Advanced Study; University of London) and of the project Performing the Temperaments. It was developed in collaboration with the Institute of Musical Research (School of Advanced Study; University of London), thanks to the generous help awarded by the John Coffin Memorial Trust. In 2012 she published two further books on the history of vocal technique, drama and opera: an annotated edition of Manuel Patricio García’s Traité complet de l’art du chant (Kassel: Reichenberger, 2012) and a monography on bel canto singing and dramatic practices: La práctica del canto según Manuel García (Madrid: CSIC, 2012).