SYNTAXES OF THE SELF: THE NEO-BAROQUE IN JOHN RECHY'S CITY OF NIGHT.
Chicanx literary production has been a respected field of scholarly critique since the early twentieth century, constituting a site of cultural rupture and new articulations of the national. Though frequently associated with Ethnic Studies or English department canons due to the use of the English l...
| Publicado en: | Romance Notes Vol. 60; no. 3; pp. 575 - 587 |
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| Formato: | Artículo |
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University of North Carolina Press
2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=150280664&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 150280664 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00357995 2CL jtl: Romance Notes issn: 00357995 maglogo: N pubinfo: dt: 2020 vid: 60 iid: 3 pid: 2027 pub: University of North Carolina Press artinfo: ui: 150280664 10.1353/rmc.2020.0054 ppf: 575 ppct: 12 formats: fmt: @attributes: type: P size: 328KB tig: atl: SYNTAXES OF THE SELF: THE NEO-BAROQUE IN JOHN RECHY'S CITY OF NIGHT. aug: au: WIND, ARIEL J. affil: University of California, Berkeley su: Rechy, John, 1931- English language Latin American literature Baroque aesthetics Baroque literature sug: subj: Rechy, John, 1931- English language Latin American literature Baroque aesthetics Baroque literature ab: Chicanx literary production has been a respected field of scholarly critique since the early twentieth century, constituting a site of cultural rupture and new articulations of the national. Though frequently associated with Ethnic Studies or English department canons due to the use of the English language, Mexican-American author John Rechy and his breakout novel City of Night (1963) must be conceptualized as a vital link connecting Latin American and U.S.-based literature canons. In order to do so, City of Night should be read as a major contribution to, and historical extension of, the Neo-Baroque aesthetic and cultural tradition. By looking principally to the theories of Mabel Moraña, César Salgado, and Angela Ndalianis, the Neo-Baroque is shown to be a postmodern movement-cum-trope of resistance popularly practiced in Latin America that includes the use of inventive language tricks, emphasizes the role of the performative, taboo, and sexualized body, and is a tactic oft incorporated by "out" gay writers who critically observe from society's margins. Neo-Baroque traits can be seen in City of Night's foray into politico-linguistics, such as the use of neologisms, arbitrary capital letters, lack of apostrophes, and the particular use of colons and em-dashes, but also in the use of narrative fragmentation, abject decadence, and the Bakhtinian nonhierarchical "ordered chaos" of the carnivalesque. Lastly, when read through the lens of Gloria Anzaldúa's concept of mestiza consciousness, City of Night exemplifies how Chicanx identity politics may factor into literature of the Neo-Baroque in the mid to late twentieth century. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Romance Notes is the property of University of North Carolina Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Romance Notes holder: University of North Carolina Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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