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date: 04 June 2020

Abstract and Keywords

The usefulness of the label “baroque” as a literary concept has been fiercely contested ever since Wölfflin first applied a term usually imagined in terms of the visual arts to literature. We will question how different traditions of literary scholarship have imagined and redrawn that relation between form and ideology, and how they have embraced, rejected, or hybridized the baroque as a label. How has the concept enabled or thwarted a comparative work thinking beyond national literary tradition? We turn to two case studies in order to find out what the concept of the literary baroque has allowed in different traditions: in France, where the early modern period has often been defined in terms of a particularly French classicism; and in Latin America, where the style became a proxy for American innovation within European traditions.

Keywords: Wellek, Rousset, transnational, Alonso Reyes, Generación del 27, Góngora, Latin Americanism, colonialism, neobaroque, Lezama Lima

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