Post-Baroque sublime? The Case of Peter Ackroyd
This paper focuses on Peter Ackroyd's English Music as a landmark in contemporary manifestations of the baroque tradition in British literature. It is based on contemporary approaches to the baroque as an aesthetic constant or strain -more than on a periodization-theory of the baroque. The demonstra...
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| Formato: | Artículo |
| Lenguaje: | español |
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Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana
2000
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| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=193829 |
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| Sumario: | This paper focuses on Peter Ackroyd's English Music as a landmark in contemporary manifestations of the baroque tradition in British literature. It is based on contemporary approaches to the baroque as an aesthetic constant or strain -more than on a periodization-theory of the baroque. The demonstration is tripartite in structure. I first concentrate on the ingredients of what may be called a "baroque diction" (flux, hyperbole, overflowing of the frame, etc.). I then move on to the representation of artifice and the artifice of representation, by concentrating on the baroque topos of the world as a stage, tge examination of metaleptic ploys and their implications in terms of ontological or transcendent potentialities. The last part addresses the question of the baroque as a way to probe at the boundaries of traditional, phenomenonal realism, as a force meant to extend the province of traditional mimesis by replacing representation with presentation. I conclude with some reflections on the expressionist functions of the baroque as an avatar of romanticism. |
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