Baroque Aesthetics and 21st Century Literary and Visual Production in Latin-America

A special issue of Humanities (ISSN 2076-0787). This special issue belongs to the section "Cultural Studies & Critical Theory in the Humanities".

Deadline for manuscript submissions: closed (30 November 2022) | Viewed by 2179

Special Issue Editor

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Guest Editor
Department of Modern Languages & Literatures, California State University, Los Angeles, CA 90032, USA
Interests: literary theory; aesthetics; literature and philosophy; The Avant-garde; 20th and 21st century Latin-American short story; history of the Spanish American novel; creative writing and creative reading; Spanish Journalism; visual and cultural criticism; Baroque and Neo-baroque aesthetics

Special Issue Information

Dear Colleagues,

During the early decades of the 20th century, the work of such authors as Eugeni d’Ors, Alfonso Reyes, and Alejo Carpentier initiated a critical trend that reclaimed the logic and aesthetics of the historical baroque as a way to approach a broad range of artistic expressions in Latin America. This theoretical framework, summarized in the general idea of the “Neo-baroque”, explored the logic of instability, ambiguity, and transformation that characterized baroque aesthetics as appropriated in 20th century Latin America. Through this perspective, a broad range of movements have been studied, from Modernism to the experimental avant-garde, from the formal fantasies of Magical Realism to the explosion of the signifier in the so-called poets of the Neo-baroque school.

As we embark on the third decade of the 21st century, we recognize the tectonic stresses and paradigm shifts that are shaping the literary and artistic production coming out of Latin America. This globalized, virtualized, de-territorialized, torn-apart, and reconfigurable century is setting the stage for renewed challenges that require new conceptualizations. It is time to expand our understanding of what and where Latin America is and, therefore, problematize the ways in which we approach the art produced in the midst of this fluid, paradoxical, and always-changing geo-symbolic coordinate.

For this Special Issue of Humanities, we want to offer an opportunity to engage with the critical consciousness gained by these 21st century instabilities and to experiment with innovative methodological and hermeneutic approaches. In brief, we propose to re-energize the impetus of a skewed, anamorphic Neo-baroque perspective in order to explore new ways of thinking from, through, and about current literary and visual production in a “Latin America” we now conceive as a territory in accelerated flux, conditioned by new contradictory historical, cultural, and political forces.

Prof. Pablo Baler
Guest Editor

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  • neo-baroque
  • baroque aesthetics
  • literary and artistic production
  • Latin America

Published Papers (1 paper)

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10 pages, 225 KiB  
Neo-Barroco, the Missing Group of the New American Poetry
by Paul E. Nelson
Humanities 2023, 12(1), 5; - 28 Dec 2022
Viewed by 1336
The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, [...] Read more.
The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, Jack Spicer), and the Beats (Allen Ginsberg, Gary Snyder, Michael McClure). The word seminal is used in a traditional way, from the root: “of seed or semen … full of possibilities”, but here also because the work is dominated by men and the omission of poets like Diane di Prima and Joanne Kyger seems especially egregious now. As compared to the whiteness of academic verse of the time, the New American Poetry was radical and more diverse, but could be seen as quite inadequate in those aspects from a contemporary perspective. Of course culture must always be judged in proper context, including its era and the anthology has had a powerful impact on the poetry of the continent from which it came. This paper posits that The New American Poetry, had it looked even slightly off the shore of North America, could have included the Neo-Barroco school of Latin American poetry. The affinities are almost endless and the limited scope of even the most radical poets of the post-war generation is exposed. Full article
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