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Neobaroque in the Americas
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In a comparative and interdisciplinary analysis of modern and postmodern literature, film, art, and visual culture, Monika Kaup examines the twentieth century's recovery of the baroque within a hemispheric framework embracing North America, Latin America, and U.S. Latino/a culture. As "neobaroque" comes to the forefront of New World studies, attention to transcultural dynamics is overturning the traditional scholarship that confined the baroque to a specific period, class, and ideology in the seventeenth century. Reflecting on the rich, nonlinear genealogy of baroque expression, Neobaroque in the Americas envisions the baroque as an anti-proprietary expression that brings together seemingly disparate writers and artists and contributes to the new studies in global modernity.

Table of Contents

  1. Frontmatter
  2. pp. 1-6
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  1. Contents
  2. pp. 7-8
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  1. Illustrations
  2. pp. ix-x
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  1. Acknowledgments
  2. pp. xi-xii
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  1. Introduction: Neobaroque Alternative Modernities
  2. pp. 1-27
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  1. 1. Neobaroque Eliot: Antidissociationism and the Allegorical Method
  2. pp. 29-66
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  1. 2. The Neobaroque in Djuna Barnes: Melancholia and the Language of Abundance and Insufficiency
  2. pp. 67-120
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  1. 4. Antidictatorship Neobaroque Cinema: Raúl Ruiz’s Mémoire des apparences and María Luisa Bemberg’s Yo, la peor de todas
  2. pp. 183-242
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  1. 5. Hemispheric Genealogies of the New World Baroque: Early Modern New World Baroque and Diasporic Baroques in Contemporary U.S. Latino/a Art and Culture
  2. pp. 243-309
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  1. Notes
  2. pp. 311-351
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  1. Selected Bibliography
  2. pp. 353-364
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  1. Index
  2. pp. 365-378
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