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Latin American Neo-Baroque: Senses of Distortion by Pablo Baler

By Pablo Baler

PabloBaler reviews the ruptures and continuities linking the de-centered dynamics of the 17thcentury to the common sense of instability that permeates 20th century visible and literary construction in Latin the United States. Bringing philosophy, literary interpretation, artwork feedback, and a poetic method of the historical past of principles, Baler deals a brand new standpoint from which to appreciate the uncanny phenomenon of baroque distortion. This interdisciplinary inquiry not just ends up in a extra particular formula concerning the singularity of the reappropriations of the baroque in Spanish the United States, but in addition permits a extra complete evaluation of its old succeed in within the broader context of the representational quandary of modernity.

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However, it articulates the profound distortion that defines epistemological fantasy in Borges, based on the ironic simultaneity of totality and collapse, transparency and degradation. As in so many other stories, Borges deconstructs the fleeting attainment of legibility, recurring this time to the particularly baroque topos of memento mori. As soon as one has discerned the intrusion of Tlön into the real world, glimpsed the utopia of an ordered world (even alphabetically) in all spheres of reality, the narrator, undaunted, just busies himself revising the translation of a funerary treatise, Sir Thomas Browne’s Urn Burial.

57–59, emphasis mine) Thus, “Tlön, Uqbar, Orbis Tertius” seems to constitute a postmodern translation of the topos of Vanitas as it is shown, masterfully, in Holbein’s The Embassadors (1533). The French envoys to Henry VIII are haughtily watching over instruments that symbolize the spheres of knowledge (astronomy, arithmetic, geometry, and music) while at their feet, from an anamorphic perspective, a skull intrudes, threatening, as an infallible symbol of death, the attainments of all knowledge, temporal and spiritual.

Thus, Harries considers distrusting the eye as one of the distinctive traits of the emergence of the modern view of reality, and traces it back to Nicholas of Cusa (1401–1464), whose principle of docta ignorantia reveals that all knowledge is subject to the distorting power of perspective (Harries 43) insofar as it cannot take into account the infinity of possible centers. The skepticism this position implies nourished the idealistic project of Descartes, who acknowledged Nicholas of Cusa as a precursor.

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