Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-19T08:18:09.938Z Has data issue: false hasContentIssue false
  • English
  • Français

The Baroque as a Problem of Thought

Published online by Cambridge University Press:  23 October 2020

William Egginton
Get access Rights & Permissions [Opens in a new window]

Extract

We're an empire now, and when we act, we create our own reality. And while you're studying that reality—judiciously, if you will—we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors… and you, all of you, will be left to just study what we do.

—Aide to George W. Bush, quoted by Ronald Suskind

Why the Baroque? Why now? As many have argued, the general aesthetic trend of the late twentieth to early twenty-first centuries, often called postmodern, can perhaps more usefully be labeled neobaroque. Is the neobaroque turn of the twentieth century something akin to the neoclassicism of the sixteenth century, or the neo-Gothicism of the nineteenth? Or, on an even more condensed scale, is it similar to the rapid returns of previously dismissed fashion decades, as evidenced by the proliferation in the early years of this century of those beads and bellbottoms associated with flower children and the age of Aquarius?

Type
Theories and Methodologies
Information
PMLA , Volume 124 , Issue 1 , January 2009 , pp. 143 - 149
Copyright
Copyright © 2009 by The Modern Language Association of America

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Benjamin, Walter. The Origin of the German Tragic Drama. Trans. John Osborne. London: Verso, 1977. Print.Google Scholar
Beverley, John. “Going Baroque?” Boundary 2 15.3 (1988): 27–39. Print.CrossRefGoogle Scholar
Brownlee, Marina S. “Postmodernism and the Baroque in María de Zayas.” Cultural Authority in Golden Age Spain. Ed. Brownlee, and Gumbrecht, Hans Ulrich. Baltimore: Johns Hopkins UP, 1995. 107–30. Print.Google Scholar
Buci-Glucksmann, Christine. La raison baroque: De Baudelaire à Benjamin. Paris: Galilée, 1984. Print.Google Scholar
Buci-Glucksmann, Christine. “Von den Allegorien des Barock zu den Allegorien der Indifferenz.” Chapman et al. 148–53.Google Scholar
Calabrese, Omar. Neo-Baroque: A Sign of the Times. Trans. Charles Lambert. Princeton: Princeton UP, 1992. Print.CrossRefGoogle Scholar
Cervantes, Miguel de. El retablo de las maravillas. Ocho comedias y ocho entremeses nuevos, nunca representados. Madrid, 1615. 243v–48r. Ed. Arroyo, Florencio Sevilla. Biblioteca virtual Miguel de Cervantes. Web. 22 Aug. 2008.Google Scholar
Chapman, Dinos, et al., eds. Eine barocke Party. Augenblicke des Welttheaters in der zeitgenössischen Kunst. Vienna: Kunsthalle, 2001. Print.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Kafka: Toward a Minor Literature. Trans. Dana Polan. Minneapolis: U of Minnesota P, 1986. Print.Google Scholar
Egginton, William. “The Baroque House of Reason (Cervantes, Master Architect).” Reason and Its Others: Italy, Spain, and the New World. Ed. Castillo, David and Lollini, Massimo. Nashville: Vanderbilt UP, 2006. 186–203. Print. Hispanic Issues 32.Google Scholar
Egginton, William. How the World Became a Stage: Presence, Theatricality, and the Problem of Modernity. Albany: State U of New York P, 2003. Print.Google Scholar
Egginton, William, and Castillo, David. “The Rules of Chanfalla's Game.” Romance Language Annual (1995): 444–49. Print.Google Scholar
Flor, Fernando R. de la. Barroco: Representación e ideología en el mundo hispanico (1580–1680). Madrid: Cátedra, 2002. Print.Google Scholar
Guardiani, Francesco. “Old and New, Modern and Postmodern: Baroque and Neobaroque.” McLuhan Studies 4 (n.d.): n. pag. Web. 2 Sept. 2008.Google Scholar
Kant, Immanuel. The Critique of Pure Reason. Trans. Paul Guyer and Allen W. Wood. Cambridge: Cambridge UP, 1998. Print.CrossRefGoogle Scholar
Lambert, Gregg. The Return of the Baroque in Modern Culture. New York: Continuum, 2005. Print.Google Scholar
Lope de Vega y Carpio, Félix. Fuenteovejuna. Diez comedias del Siglo de Oro. Ed. Martel, José and Alpern, Hymen. 2nd ed. Prospect Heights: Waveland, 1985. 71–143. Print.Google Scholar
Maravall, José Antonio. Culture of the Baroque: Analysis of a Historical Structure. Trans. Terry Cochran. Minneapolis: U of Minnesota P, 1986. Print.Google Scholar
Maravall, José Antonio. Teatro y literatura en la sociedad barroca. Madrid: Critica, 1972. Print.Google Scholar
Mariscal, George. Contradictory Subjects: Quevedo, Cervantes, and Seventeenth-Century Spanish Culture. Ithaca: Cornell UP, 1991. Print.CrossRefGoogle Scholar
Ndalianis, Angela. (Neo)Baroque Aesthetics and Contemporary Entertainment. Cambridge: MIT P, 2004. Print.CrossRefGoogle Scholar
Ordóñez, Fernando. “Models of Subjectivity in the Spanish Baroque: Quevedo and Gracián.” Hispanic Baroques: Reading Cultures in Context. Ed. Spadaccini, Nicholas and Martín-Estudillo, Luis. Nashville: Vanderbilt UP, 2005. 72–86. Print. Hispanic Issues 31.CrossRefGoogle Scholar
Ortega, José. La estética neobarroca en la narrative hispanoamericana. Madrid: Porrúa, 1984. Print.Google Scholar
Penny, Laura. Your Call Is Important to Us: The Truth about Bullshit. New York: Crown, 2005. Print.Google Scholar
Wölfflin, Heinrich. Renaissance and Baroque. Trans. Kathrin Simon. London: Collins, 1984. Print.Google Scholar
Zamora, Lois Parkinson. The Inordinate Eye: New World Baroque and Latin American Fiction. Chicago: U of Chicago P, 2006. Print.Google Scholar
Žižek, Slavoj. “The Depraved Heroes of 24 Are the Himmlers of Hollywood.” Guardian.co.uk. Guardian News and Media, 10 Jan. 2006. Web. 6 Oct. 2008.Google Scholar