Abstract
This chapter explains how categorical identities are decentered and rearticulated as trans-identity by means of neobaroque mechanisms of representation. To this effect, we will apply concepts from the theories of Neobaroque, semiotics, and gender-queer studies to illustrate how transgressive characters-subjects, in their literary and artistic depiction, destabilize normative categories of identity and facilitate the perception of “transentity” as embodiment of transitive selfhood. Conceptual devices from these theories will help to explain how the use of transgressive modes of representation associated with neobaroque stylistic techniques (that include exuberantly ornate, parodic, metadiscursive, and experimental narrative and visual forms) achieve the destabilization of identity and the figuration of an alternative—nomadic—mode of personal and cultural becoming. The deconstructive techniques of the Neobaroque are further explained with semiotics—specifically applying Peirce’s mobile triadic sign—to demonstrate the fracturing and opening of meaning conveyed by the neobaroque sign/artistic work. The transgressions involved in neobaroque figuration of meaning pave the way to articulating the nomadic transitivity of the trans-self using concepts generated by poststructuralism, queer, Chicana, feminist, and border theories. These concepts include “devenir” or “subject-as-becoming” (Deleuze and Parnet; Deleuze and Guattari), “trans*” (Halberstam), borderland identity (Ruiz-Aho) in its forms of transvestism (Sarduy; Garber), androgyny (Echavarren), and queerness (Jagose). They situate the “nomadic subject” (Braidotti) in transitional “spaces of in-between” (Santiago) in its transit through “points of passage” (Perlongher) to ultimately experience the transformative effects of “nepantlism” (Anzaldúa; Moraga; Vivancos). In this chapter, we articulate these and other concepts related to metamorphosis introduced in Chap. 2 and apply them to the examples of transgression analyzed in Chap. 3, with the ultimate aim of demonstrating the viability of a transitive selfhood embodied in the nomadic trans-self. The chapter ends with an assessment of the socio-political implications of Neobaroque art and literature in the hybrid space of Transmerica.
We enter a neobaroque labyrinth that invites us to walkthrough an enclosure that operates by association of species,of organic bodies, plants, flowers [...] to configure anartificial universe of association of species and forms thatcirculate through the closed body [...].
—Eugenia Prado, “Resistencia neobarroca” (2015; my translation)
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Notes
- 1.
Here, I use my own translation of this fragment of Zamora’s Spanish version of The Inordinate Eye because the English original does not render the same meaning of “exuberance.” However, in the original, we find the following explanation of the eccentric character of the Baroque, which relates to exuberance: “The figurative meaning of ‘inordinate’ parallels its literal sense: ‘inordinate’ structures are not normative, not predictable, but eccentric, disparate, uneven. The Baroque passion to increase and include [as forms of exuberance] characterizes much of contemporary Latin American fiction, and this passion frequently follows from (and may result in) disproportion, disjunction, and their accompanying narrative energies” (2006: xxii; emphasis in original).
- 2.
Alfonso Reyes includes a precise classification of the terms that define the Spanish literary baroque: “cultismo” (better known as “culteranismo”) and “conceptismo” in the essay “Savoring Góngora,” part of his book Cuestiones gongorinas. Cf. in Baroque New Worlds. Eds. Zamora and Kaup (2010), 170–71.
- 3.
Scarpetta explains artifice as part of Neobaroque discourse, “[…] where the narrative is ‘overcoded,’ invaded by a luxury (decorative) or a gratuity (technical), submerged by a waste of signifiers which make it constantly drift […], [a discourse] in which the decoration, the digression, the technical overload, the interlacing of the non-functional elements are not satisfactory in covering the narrative, but which literally constitute it” (1988: 211; my translation).
- 4.
Providing a detailed analysis of the constitutive elements of the baroque style, Sarduy distinguishes artifice with its three mechanisms: substitution, proliferation, and condensation (1978 [1972]: 168–73). He also includes parody with its mechanisms of inter and intratextuality (174–80).
- 5.
In their introduction to Baroque New Worlds: Representation, Transculturation, Counterconquest, Zamora and Kaup adduce the following observation by Carlos Fuentes regarding the importance of the concept of horror vacui (the horror of emptiness) for Baroque art: “The horror vacui of the Baroque is not gratuitous—it is because the vacuum exists that nothing is certain. The verbal abundance of Carpentier’s The Kingdom of This World or of Faulkner’s Absalom, Absalom! represents a desperate invocation of language to fill the absences left by the banishment of reason and faith. In this way, post-Renaissance Baroque art began to fill the abyss left by the Copernican Revolution” (2010: 25).
- 6.
Figueroa points to the visual aspect of baroque aesthetics in relation to simulation: “In turn, from a Baudrillardian perspective, the baroque image is exciting in our times, because more than dissimulating a presence, it is a simulation of an absence; more than a mere visual distortion, it is a true anamorphosis, revealing the conventional character of normal spectacularity. Consequently, the baroque image, reread from this perspective, presents itself as a variable visual possibility based on its contradictory relations between surface and depth. […] it is a reflection on two central categories of modern aesthetics: language and image” (52; my translation, emphasis in original).
- 7.
Critics consider Colibrí as a work of intertextual-parodic reinterpretation of the Latin American “novel of the land” (la novela de la tierra) tradition and Alejo Carpentier’s novel Los pasos perdidos (1953). These positions are explained by Roberto González Echevarría in La ruta de Severo Sarduy (1987: 211–42), in Adriana Méndez-Ródenas’ review of Colibrí in Revista Iberoamericana v. 51 (1985: 399–401), and by Emilio Bejel in Literatura de nuestra América (1983: 106).
- 8.
Edward A. Roberts, in A Comprehensive Etymological Dictionary of the Spanish Language (2014), vol. 2, indicates that the Latin word persōna originally meant a character in a dramatic play or the mask that the actor put on to represent this character. Latin borrowed it from the older Etruscan phersu which literally meant “mask,” and possibly combined it with the Greek prosōpon, meaning “face” or “countenance.” This combination resulted in what would be the original meaning of “person” as “a masked face” or “mask over the face” (346).
- 9.
“In fact, the erotic experience and that of death are two forms of excess that allow man to become more than he is” (Hawley 296; my translation).
- 10.
“immense confusion de la fête” (65), “le potlatch, économie de vaine gloire” (202–03).
- 11.
Sarduy explains: “In eroticism, artificiality, the cultural element, is manifested in the game with the lost object, a game whose purpose is in and for itself, and whose purpose is not the conveyance of a message—that of the reproductive elements in this case—but its waste for the sake of pleasure” (1978 [1972]: 182).
- 12.
In The Postmodern Condition: A Report of Knowledge (1979), Jean François Lyotard defines “postmodern as incredulity toward metanarratives” to which he includes, first and foremost, the meta-legitimizing discourse of Science as expression of technological progress, along with other truth-legitimizing discourses of History, Religion, and Philosophy. To these “grand narratives” of Modernity, Lyotard counterposes “postmodern” language-based options of “the narrative function” and “legitimation through performativity” as alternative methods of “postmodern” legitimation (1984: xxiii–xxv).
- 13.
Socio-critical theories of literature easily relate to the semiotic model in highlighting the role of the socio-cultural context and competency of the interpreter. The school of “sociocriticism” was initiated in France by Lucien Goldman (tracing back to Georg Lukács) and continued by Pierre Zima and Edmond Cros, further evolving in the work of Pierre Bourdieu. It emphasizes socio-cultural determinants of the interpretive process.
- 14.
This idea was introduced by Barthes in his classic Le plaisir du texte, 1973, as the idea that a challenging non-mimetic text can be recreated (or “rewritten”) by the capacity of the reader’s interpretative competency.
- 15.
My personal interview with Mario Bellatin in Mexico City, July 2009. Digital recording and transcription in Spanish, unpublished.
- 16.
Peralta quotes from Lohana Berkins (2000), “El derecho absoluto sobre nuestros cuerpos,” América Libre, September 10, 2010. http://www.nodo50.org/americalibre/. Accessed October 5, 2022.
- 17.
The protagonist and first-person narrator of the novel Yo era una brasa (Montevideo: HUM, 2009) about the intercultural/-sexual transits of an Afro-Uruguayan dance vedette. Due to lack of space, we omit a more detailed analysis of this character.
- 18.
In current usage, this is a Chicano term for an Anglo White woman (Anzaldúa 2007: 217). The Spanish word originally referred to a French or Spanish woman in the Americas, and was used especially in colonial times.
- 19.
Originally published as “O entre-lugar do discurso latinoamericano” in Silviano Santiago, Uma literatura nos trópicos, São Paulo: Editora Perspectiva, 1978.
- 20.
Foucault explains this idea in his lecture “Qu’est-ce qu’un auteur?” [“What Is an Author?”]. Published in Michel Foucault. Dits et écrits. 1954–1988. Vol. I 1954–1969. Paris: Gallimard, 1994. 789–821.
- 21.
We credit Marjorie Garber and the title of her book, Vested Interests (1992), as the inspiration behind this formulation.
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Kulawik, K.A. (2023). One-T(w)o-Many: Neobaroque Articulations of Nomadic Identity. In: Visions of Transmerica. Literatures of the Americas. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-42014-6_4
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