Coming back to Marosa

(Neo)barroqu/se itineraries for a latinamerican reading

Abstract

This text reflects about reading implications from a baroque perspective. Based on my graduate thesis of Marosa di Giorgio poetic work, I will reconstruct the potencies of this american expression. To do so, I will recuperate the inscription of this poet in this aesthetic. Moreover, I will revisit Lezama Lima’s proposal on this literary tradition. 
In a second instance, I will recover the drifts that the Neobaroque —from Severo Sarduy’s tesis— means and how it is complemented with Néstor Perlongher’s Neobarrose, as a (de)territorialized inscription. In order to do so, I will compare both historical drifts —the Cuban and the one from Rio de la Plata—, as well as their critical openings. Far from affirming whether or not the uruguayan poet belongs to this aesthetic, I seek to establish what the Baroque allows us to see, and what methodological decisions are necessary when outlining an analysis that includes this american proposal.