The anthology The Body in Parts presents itself as a kind of critical blazon
of the early modern body, each essay focusing on some body part which, in its negotiations with the whole, frustrates and suspends attempts towards a corporate unity.
And, steeped in the exalted heights fictional chivalry endorses, after underlying the "temperamento pujante e carismatico" of Vargas Llosa, Pinon also blazons
his figure with an aura of gallantry as she vicariously revives Versaillesque derring-do with this romantic depiction of the Peruvian writer: "Parecia um espadachim pronto a enfrentar, destemido, na bela Place des Vosges, os soldados do Cardeal Richelieu.
At times, Pousette-Dart places such "mustachioed" canvases one atop the other, in double or triple register, like a stack of boats or blazons
They cover the secret of secrets, column at the end of time, blazons
of the saints, the grail, the fountain of the bleeding lance, God's throne on Earth, mapping the pathways, the effluents of deity, in plain sight, and the Eucharist.
His eclectic collection, ranging from imported Netherlandish roundels to heraldic blazons
and new commissions from the English glaziers William Peckitt and William Price the Younger, is revealed here in the wake of the restoration of Strawberry Hill.
Warley states that both critical trends were more related to class issues than to literary analysis of the sequence, and he suggests that New Historicist emphasis on political subtexts in sequences and feminist focus on Petrarchan blazons
are still caught up in earlier conceptual frameworks.
In discussing the Amoretti, she argues that the tendency of blazons
to commodify women, as in sonnet 15, "Ye tradefull merchants," is criticized within the sequence.