¿De qué hablamos cuando hablamos de barroco?
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Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Centro de Estudios de Teoría y Crítica Literaria.
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La noción, relativamente moderna, de barroco ha sido a lo largo del siglo XX y, con renovado impulso, en los últimos treinta años, un asunto teórico y crítico muy estudiado y discutido, y casi inevitable a la hora de pensar la historia literaria y crítica latinoamericana. Dos cuestiones han guiado, central pero desigualmente, su interés: una, referente a su concepto; otra, pertinente a su corpus. Y así, es frecuente que la relación entre concepto y corpus, ya por sobreentendida ya por autoevidente, resulte desatendida o permanezca implícita. En este sentido, este ensayo pretende no sólo visualizar dicha noción y algunos de sus problemas teórico-críticos pertinentes; sino, y en términos metodológicos, responder a la siguiente pregunta: ¿cuál es la relación entre la noción “barroco” y sus corpus (o ciertos corpus)? Finalmente: ¿qué hace del “barroco” (noción y corpus) algo tan exquisito y tan extendido en la crítica literaria?
Throughout the twentieth century, and specially in the last thirty years, the relatively modern notion of the Baroque has been a most studied and discussed theoretical and critical issue, almost mandatory when thinking about Latin American literary and critical history. Two issues have centrally but unequally guided the interest in the Baroque: one, referred to its concept, and the other related to its corpus. Therefore, the relation between concept and corpus remains unattended or implicit, being considered as understood or self-evident.In this regard, this essay tries not only to visualize this notion and some of its theoretical and critical problems, but also -in methodological terms-to answer the following question: ¿what is the relation between the idea of the “Baroque” and its corpus, or some of its corpus? Finally, ¿what makes the “Baroque” idea and corpus something so exquisite and extended through literary critique?
Throughout the twentieth century, and specially in the last thirty years, the relatively modern notion of the Baroque has been a most studied and discussed theoretical and critical issue, almost mandatory when thinking about Latin American literary and critical history. Two issues have centrally but unequally guided the interest in the Baroque: one, referred to its concept, and the other related to its corpus. Therefore, the relation between concept and corpus remains unattended or implicit, being considered as understood or self-evident.In this regard, this essay tries not only to visualize this notion and some of its theoretical and critical problems, but also -in methodological terms-to answer the following question: ¿what is the relation between the idea of the “Baroque” and its corpus, or some of its corpus? Finally, ¿what makes the “Baroque” idea and corpus something so exquisite and extended through literary critique?
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