Una alternativa socialista al ethos barroco de Bolívar Echeverría [A Socialist Alternative to Baroque ethos of Bolívar Echeverría].Samuel Arriarán Cuéllar – In Barroco, Severo Sarduy began to employ more “modern” theoretical tools and 33Echeverría, Bolívar, “El ethos barroco”, in Modernidad, mestizaje cultural. by focusing on Bolivar Echeverria’s strategic reading of Walter. Benjamin. .. The Baroque ethos, in Echeverria’s model, is the one that holds. This content 47 Bolívar Echeverría, La modernidad de lo barroco (Mexico City: Era, ),
|Published (Last):||1 June 2005|
|PDF File Size:||2.26 Mb|
|ePub File Size:||19.68 Mb|
|Price:||Free* [*Free Regsitration Required]|
The first statement forces us to ask ourselves: Not to mention the fact that he ignores all other aspects which barrovo and directly contradict these partly Baroque elements.
Bolívar Echeverría – Wikipedia
Yet another question arises: Not long ago David Kelley stated: On the contrary, modernity —embodied in the Enlightenment, into which naturally entered Bacon, Descartes, Galileo, Hobbes, etc. Its exoticism was exalted —reinforced by the skin colour symbolized by Carmen— which, absent from modernity, was incorporated from the outside in, from the periphery, purged of the inherent dangers of the truly exotic.
Why is it that in the Anglo-Saxon world —and spreading— the idea of Early Modernity, applied overwhelmingly to the Hispanic world, is replacing the concept of Renaissanceabandoning definitively the concept of Baroque?
For Toulmin, the inherited vision of the origins of modernity should be rejected once and for all, offering the possibility of a double origin for the modern period. The rift between the humanist era and the modern era is only the result of the cultural agents responsible for the historiographical narrative in which even today the dominant categories remain fossilized.
14 The Concept of Historical Ethos in: Critical Marxism in Mexico
This point calls for an explanation: Later on, he developed a seminar on Marx’s Das Bbarrocowhich lasted six years and included intensive systematic readings of the book. Recently, Pimentel and Marcaida wrote: Moving on to the second idea: Our position, therefore, is not exactly one of postcolonial discourse, because Spain was never a colony but was an empire that had colonies, creating overlapping and conflicting discourses.
Obviously, these hermeneutic aesthetics are essential for speaking with some impunity of the various baroques existing outside the Baroque, but they also prove extremely useful for aesthetic readings of the baroque.
Because, in the simplification, reduction, and bolivae imposed by the grand narrative of European modernity, the past can be summarized as such: This alternate hermeneutic would entail a coming together of the Baroque and the Enlightenment; a dynamic, complex, and conflicting process establishing a modernity which would continue into the modernity of today.
Let us focus of the two following ideas: Or, perhaps it all comes down to proposing a new hermeneutic in which the Baroque and the Enlightenment would join together and conflictingly fertilize and establish a modernity that, passing through 20 th century recycling, would be the same modernity of today.
Nonetheless, his linking of science cosmology and art constitutes his most fruitful contribution to the field. Indeed, the Lacanian affirmation: However, Echeverriq Black Legend as such was merely a set of mechanisms for producing political turmoil echverria propaganda set into motion by emerging powers aspiring to gain independence or to compete with the Spanish Empire. And once Spain lost its hegemony in Europe, its empire had to be passed on to new imperialist powers: Certainly, but barrocoo process of writing the grand narrative of modernity has taken the key criteria of rationalism, empiricism, sensism and Protestant subjectivity for itself, simultaneously erasing their presence from the Baroque.
For Carpentier, the baroque could not be limited to one sole historical period nor to one location alone; on the contrary, the baroque was a collective spirita cultural way of being characterized by dynamic structures and polycentric perspectives that allowed for the recognition and incorporation of difference.
14 The Concept of Historical Ethos
Moreover, it is crucial to consider that echeverriaa the balance of power within the ruling class or between different social classes, along with changes in the geopolitical system —the relation of forces on an international scale or even at the regional level —, can modify the relative position of various cultural discourses. His investigations where mainly and broadly concerned on: The importance given to this attitude makes it compatible with other attitudes, especially with the prevailing attitude, which could be called baroque.
France and England and, to a lesser extent, Holland Germany still had not presented itself as a candidate for neo-imperialist power. Moreover, referring specifically to theatre, Maravall has no qualms about claiming that.
With what conceptual criteria can one refer to such elements? Latin American culture is baroque because it is about synthesis and because it recognizes difference, incorporating it into its cultural body ; and the baroque is a cultural way of being pertaining historically to Latin America. EncoreParis, Seuil, What does a cultural way of being mean?
Consequently, it is necessary to speak of the pluralities of the baroque, as opposed to its barorco and univocal envisioning.
And it was this phase occurring preponderantly in the 18 th century that emphasized the backward, ignorant, barbarous, and uncivilized character of Spain and its empire. In an attempt to escape essentializing identities, we fall into bolkvar very same trap we had tried to avoid.
It was a matter of proposing a new colonization, but one carried out by modern European powers, and not by a superstitious, irrational, lazy, gothic or baroque and backward country. This seems to assume that liberalism could not have been reached from a Baroque starting point, establishing purely fictional incompatibilities.
Rather, we locate ourselves within a post-imperial discourse that necessarily rationalized and conceptualized its position in relation to international forces beginning from the loss of its hegemonic status.
By the end of the 17 th century, Louis XIV had already announced that echsverria Spanish crown was worthless without America. Ultimately, the baroque would serve barrcoo a reference for a future alternative to the reigning capitalist system.
In a sense, this work aims to recover a reality that neither boivar to national apologists nor to the authors of a narrative that bereaves us of our identity.