Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
47
result(s) for
"Kaup, Monika"
Sort by:
Neobaroque in the Americas
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 Americasenvisions the baroque as an anti-proprietary expression that brings together seemingly disparate writers and artists and contributes to the new studies in global modernity.
eBook
Revolutionary Shadows: Borderlands Identity in the Fiction of Américo Paredes
According to David Montejano, the rebellion was a violent reaction against the agricultural modernization that, beginning around 1900, dispossessed Texas-Mexicans of their lands, imposing a new farm order and turning former vaqueros and rancheros into an army of landless migrant farmworkers.18 Seditionist attacks specifically targeted the modern installations in the border landscape that formed the material basis of commercial farming, including “train derailments, bridge burnings, and sabotage of irrigation pumping plants” (Anglos and Mexicans, 117). [...]Paredes’s spatial palimpsests mirror the psychological palimpsests in his borderlands fiction: just as physical, external space is depicted as a repository of residual and dominant formations, so is the inner psyche of his borderlands protagonists a world where archaic and suppressed layers coexist and conflict with recent and dominant tendencies. [...]at a meta-textual level—although Paredes himself has dismissed the idea—George Washington Gómez might be read as a kind of dystopian “shadow” autobiography of the author, which speculates about the future before it arrives, imagining a worst-case scenario of the person he might become.34 Paredes was born in the same year as his modern antihero (1915); the novel was written in the late 1930s, before Paredes had ever left the Valley. Forward-looking and rational, Cuitla dreams of a “tractor, had seen himself enthroned upon it, driving up and down the fields” (91). Because the post-revolutionary ejido is a “modern version of the traditional Indian communal land holding” beholden to modern principles of commercial agriculture rather than traditional subsistence farming, Cuitla finds himself slipping into the role of patrón to the ejidatarios (Williamson, Penguin History, 397).
Journal Article
CHAPTER 11: Mexico City's Dissonant Modernity and the Marketplace Baroque: Salvador Novo's Nueva grandeza mexicana and Bernardo de Balbuena's La grandeza mexicana
[...]these include its European origins as the expression of Absolutism and the Counter-Reformation, its Atlantic crossings as the cultural instrument of Iberian colonialism, as well as the New World baroque-the rebellious adaptation of the European baroque at the hands of 17th and 18th century Latin American artists who appropriated the art of the colonizer and turn it into an expression of their own: in José Lezama Lima's formulation, in the Americas, the baroque became the art of counterconquest (arte de contraconquista). [...]the Contemporános' efforts to \"link up Mexican letters with the main currents of contemporary European and American art and literature\" (Verani 124-125),3 constituted a contentious position in the Mexico of the 1920s and 30s. According to Rama, the characteristics of mannerism-the work's epigonic position in relation to the European literary canon, the preference for artifice and anti-realism rather than naturalism, and a transgressive formalism, such as the use of hyperbole and ingenious conceits-serve as tools for Balbuena to signpost his poem's critical difference from European models. [...]to Balbuena, whose chapter on religion offers a long catalogue of convents and religious societies, Novo barely devotes one page to religion, covering not institutions but popular religious practices during Holy Week and the Day of the Dead. [...]the review of ministries and government bodies occurs by way of a walking tour of the centre that also attends to the visible effects of administration on residents' lives, such as access to markets and water. According to Guido, the second cycle of conquest occurs in the 19th century-ironically, the century of Latin American Independence-when new Latin American states are once again subjected to European hegemony through the positivist ideologies adopted by the new criollo political elites in their efforts to modernize their young nations.
Journal Article
The Neobaroque in W. G. Sebald's \The Rings of Saturn\: The Recovery of Open Totality Countering Poststructuralism
Part documentary, part fiction, at once a personal memoir, travel literature, a photographic essay, and a wide-ranging and learned cultural history, W. G. Sebald's The Rings of Saturn is a genre-bending narrative that attempts nothing less than a deconstructive critique, and reconstructive poetics, of modernity in the age of globalization. Here, Kaup examines the unique, genre-defying model of encyclopedism and universalism presented in The Rings of Saturn, a model at once postdeconstructionist and postpositivist. She argues that the neobaroque provides Sebald with a model for Rings of Saturn's critical globalism and the inspiration for the bold continuities forged across distances of space, time, and discipline that make up its encyclopedic poetics.
Journal Article
\¡Vaya Papaya!\: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro
Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popularizing the notion of an insurgent, mestizo New World baroque unique to the Americas. Carpentier and Lezama Lima are the key authors of the notion of a decolonizing American baroque, a baroque that expressed contraconquista (counterconquest), as Lezama punned, countering the familiar identification of the baroque with the repressive ideology of the Counter-Reformation and its allies, the imperial Catholic Iberian states (80). Lezama and Carpentier argue that the imported Iberian state baroque was transformed into the transculturated, syncretic New World baroque at the hands of the (often anonymous) native artisans who continued to work under the Europeans, grafting their own indigenous traditions onto the iconography of the Catholic baroque style. The New World baroque is a product of the confluence (however unequal) of Iberian, pre-Columbian, and African cultures during the peaceful seventeenth century and into the eighteenth in Spain's and Portugal's territories in the New World. The examples studied by Lezama and Carpentier are all from the monumental baroque sculpture and architecture of Mexico, the Andes, and Brazil's Minas Gerais province: the work of the Brazilian mulatto artist O Aleijadinho (Antônio Francisco Lisboa [1738–1814]; see fig. 2 in Zamora in this issue) and the indigenous Andean artist José Kondori (dates unknown; see fig. 1 in Zamora), central Mexico's Church of San Francisco Xavier Tepotzotlán (fig. 1), and the folk baroque Church of Santa María Tonantzintla (see fig. 3 in Zamora), to mention a few landmarks and names.
Journal Article
Neobaroque: Latin America's Alternative Modernity
Indeed, third world critics such as Dussel, Chakrabarty, and García-Canclini have charged that the postmodern critique of the violence of modernity and its totalizing grand narratives of rational knowledge is nothing but a \"provincial\" European analysis that has only limited validity in the global periphery. Rather than once again mimic Europe as it undergoes yet another (now postmodern) cycle of modernity's development, New World and Indian intellectuals seize the postmodern crisis of the modern as the occasion to challenge the Eurocentric historical consciousness that, as Chakrabarty points out, attempted to \"measure . . . the cultural distance . . . that was assumed to exist between the West and the non-West\" through time (Provincializing 7).
Journal Article
The Architecture of Ethnicity in Chicano Literature
Mexican houses and the Mexican vernacular architecture found everywhere in the Southwest are examined in Chicano literature, such as Richard Rodriguez's \"Days of Obligation\" and Sandra Cisneros' \"The House on Mango Street.\"
Journal Article
Becoming-Baroque: Folding European Forms into the New World Baroque with Alejo Carpentier
Kaup argues that the recovery of the Baroque is linked to the crisis of the Enlightenment and instrumental reason. The twentieth-century crisis of Enlightenment rationality opens the way for the rediscovery of an earlier, alternate rationality and mode of thought that had been repressed and vilified as an aberration beginning in the eighteenth century and continuing through the nineteenth. In the first decades of the twentieth century, both European and American theorists and writers rediscovered the modernity of the Baroque.
Journal Article