Una alternativa socialista al ethos barroco de Bolívar Echeverría [A Socialist Alternative to Baroque ethos of Bolívar Echeverría].Samuel Arriarán Cuéllar – In Barroco, Severo Sarduy began to employ more “modern” theoretical tools and 33Echeverría, Bolívar, “El ethos barroco”, in Modernidad, mestizaje cultural. by focusing on Bolivar Echeverria’s strategic reading of Walter. Benjamin. .. The Baroque ethos, in Echeverria’s model, is the one that holds. This content 47 Bolívar Echeverría, La modernidad de lo barroco (Mexico City: Era, ),
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Its exoticism was exalted —reinforced by the skin colour symbolized by Carmen— which, absent from modernity, was incorporated from the outside in, from the periphery, purged of the inherent dangers of the truly exotic. In this respect, I would like to note something that can blivar be justified by my first trip to Mexico during which I became conscious of a very striking and silenced classicist tendency within the Baroque.
¿un Socialismo Barroco? [a Baroque Socialism?]
What is meant by bbarroco statement historically the baroque has been the cultural state of Latin America? With what conceptual criteria can one refer to such elements? In an attempt to escape essentializing identities, we fall into the very same trap we had tried to avoid.
EncoreParis, Seuil, Was it baroque at one time and now no longer is?
The purely postcolonial discourses applied to Hispanic America and countries such as Spain fall on the border between a colonizing and a postcolonial nation. The fundamental problem is, therefore, the fact that the Baroque is seen as a homogenous and closed whole whether through stylistic criteria or through culturalist visions despite its echeerria discursive plurality.
And in order to finally complete this circle of arrogance which always accompanies the helplessness of the otherin the early nineteenth century this modern Europe, with the Schlegels as its protagonists, would definitively write the role reserved for Spain: Retrieved from ” https: Why is it that in the Anglo-Saxon world —and spreading— the idea of Early Modernity, applied overwhelmingly to the Hispanic world, is replacing the concept of Renaissanceabandoning definitively the concept of Baroque?
Of course, we could follow Antoine Compagnon and view the tradition of modernity as a set of ruptures, each one of which —the new modernity— is constructed on top of the obscurity of its predecessors, though it is curious that not all of its predecessors have been forgotten equally And it was this phase occurring preponderantly in the 18 th century that emphasized the backward, ignorant, barbarous, and uncivilized character of Spain and its empire.
Our position, therefore, is not exactly one of postcolonial discourse, because Spain was never a colony but was an empire that had colonies, creating overlapping and conflicting discourses. Spain is the land of superstition and submission to the Holy See of Romemaking it the natural enemy of the British especially because of its contempt for all that belongs to God, or rather, to the pure God imagined by Cromwell and his people. Historical ethos, capitalist circulation, four ethe [ clarification needed ] of modernity: For Carpentier, the baroque could not be limited to one sole historical period nor to one location alone; on the contrary, the baroque was a collective spirita cultural way of being characterized by dynamic structures and polycentric perspectives that allowed for the recognition and incorporation of difference.
Obviously, these hermeneutic aesthetics are essential for speaking with some impunity of the various baroques existing outside the Baroque, but they also prove extremely useful for aesthetic readings of the baroque. Everything was rewritten to change the leading roles and to design new genealogies.
Emphasizing its uncivilized character, Northern European nations metaphorically displaced the Spanish Empire to the periphery of modern Europe.
Out of these two origins, one would continue to be undervalued until now, being seen as belonging to an archaic world order. What does a cultural way of being mean? However, as Raymond Williams indicates, not all cultural discourse is hegemonic; rather, marginal discourses do exist as well —whether emerging or residual—, even despite the fact that the integrative capacity of hegemonic discourse may have seemed to overpower every era.
Moreover, based on what Weber in Iarocci 11 would assert, out of the pre-Baroque period —the Discovery of the Americas, the Renaissance and the Reformation—only the Protestant Reformation would be integrated into the genealogy of modernity, due to its avant la lettre embodiment of reason and modern subjectivity. Ernest Cassirer, nevertheless, is incapable of imagining an Enlightenment without Renaissance humanism.
We can wager that, from this moment on, we are no longer dealing with a propaganda-based program used for fighting the great power of Western Europe.
The first statement forces us to ask ourselves: Mexico CityMexico. Of course, I will avoid commenting on the way in which the Spanish and Hispanic peoples themselves internalized and appropriated the role that others had written for them.
Or, perhaps it all comes down to proposing a new hermeneutic in which the Baroque and the Enlightenment would join together and conflictingly fertilize and establish a modernity that, passing through 20 th century recycling, would be the same modernity of today.
Since Enlightenment thinkers carried out their self-examination, self-description, and self-labelling, many conceptualizations of this era exist which, for the sake of escaping excessive anthologizing, I will avoid both listing and discussing. Let us provide some examples from the cultural milieu. The rift between the humanist era and the modern era is only the result of the cultural agents responsible for the historiographical narrative in which even today the dominant categories remain fossilized.
Consequently, the Baroque and the Iberian Peninsula were erased from the grand narrative of European and Western modernity. Galileo and Descartes were aware of this, though more as rationalists and scientists than simply because they were baroque, of course; but baroque writers confusedly glimpsed this hidden path] La cultura However, can this vision be applied to the baroque?
In a sense, this work aims to recover a reality that neither belongs to national apologists nor to the authors of a narrative that bereaves us of our identity. Was it and does it continue to be baroque?
And, if there did exist a culture whose creation did not involve synthesis, then, what would it involve? And this explains why Maravall and Villari affirm that Descartes and Bacon, coming from this perspective, are exceptions to the Baroque.
Bolívar Echeverría (Author of La Modernidad de Lo Barroco)
This alternate hermeneutic would entail a coming together of the Baroque and the Enlightenment; a dynamic, complex, and conflicting process establishing a modernity which would continue into the modernity of today.
What would these elements be? Does this imply that the baroque cultural state is not a universal form? Histories, epistemologies, and identities in the eighteenth-century Atlantic worldStanford, University of California Press, The words of Oliver Cromwell at the opening of Parliament on September 17, are enlightening: From a leftist perspective, the Maravallian vision did, however, come to indirectly consolidate the iconic vision of the Baroque as an incarnation of Bolivad identity: For Toulmin, the inherited vision of the origins of modernity should be rejected once and for all, offering the possibility of a double origin for the modern period.
Let us focus of the two following ideas: