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...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo |
| Lenguaje: | español |
| Publicado: |
Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana
2000
|
| Materias: | |
| Acceso en línea: | https://dialnet.unirioja.es/servlet/oaiart?codigo=193829 |
| Etiquetas: |
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| _version_ | 1879224610757541888 |
|---|---|
| author | Ganteau, Jean-Michel |
| author_browse | Ganteau, Jean-Michel |
| author_facet | Ganteau, Jean-Michel |
| author_sort | Ganteau, Jean-Michel |
| building | Dialnet |
| collection | Acceso abierto |
| description | 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. |
| first_indexed | 2026-10-16T13:24:02Z |
| format | Article |
| fullrecord | <oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><identifier>dialnet-ART0000004687</identifier><datestamp>2026-10-06</datestamp><dc:title>Post-Baroque sublime? The Case of Peter Ackroyd</dc:title><dc:creator>Ganteau, Jean-Michel</dc:creator><dc:subject>Allegory</dc:subject><dc:subject>barique</dc:subject><dc:subject>diction</dc:subject><dc:subject>excess</dc:subject><dc:subject>expressionism</dc:subject><dc:subject>postmodernism</dc:subject><dc:subject>presentation</dc:subject><dc:subject>redundancy</dc:subject><dc:subject>romanticism</dc:subject><dc:subject>sublimity</dc:subject><dc:description>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.</dc:description><dc:publisher>Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana</dc:publisher><dc:date>2000</dc:date><dc:type>text (article)</dc:type><dc:format>application/pdf</dc:format><dc:identifier>https://dialnet.unirioja.es/servlet/oaiart?codigo=193829</dc:identifier><dc:identifier>(Revista) ISSN 1137-6368</dc:identifier><dc:identifier>(Revista) ISSN 2386-4834</dc:identifier><dc:source>Miscelánea: A journal of english and american studies, ISSN 2386-4834, Nº 22, 2000, pags. 21-44</dc:source><dc:language>spa</dc:language><dc:rights>LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI</dc:rights></oai_dc:dc> |
| id | dialnet-ART0000004687 |
| institution | Dialnet |
| language | spa |
| last_indexed | 2026-10-16T13:24:02Z |
| publishDate | 2000 |
| publishDateRange | 2000 |
| publishDateSort | 2000 |
| publisher | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
| publisherStr | Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana |
| record_format | oai_dc |
| spelling | dialnet-ART00000046872026-10-06Post-Baroque sublime? The Case of Peter AckroydGanteau, Jean-MichelAllegorybariquedictionexcessexpressionismpostmodernismpresentationredundancyromanticismsublimityThis 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.Universidad de Zaragoza: Departamento de Filología Inglesa y Alemana2000text (article)application/pdfhttps://dialnet.unirioja.es/servlet/oaiart?codigo=193829(Revista) ISSN 1137-6368(Revista) ISSN 2386-4834Miscelánea: A journal of english and american studies, ISSN 2386-4834, Nº 22, 2000, pags. 21-44spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI |
| spellingShingle | Allegory barique diction excess expressionism postmodernism presentation redundancy romanticism sublimity Ganteau, Jean-Michel Post-Baroque sublime? The Case of Peter Ackroyd |
| title | Post-Baroque sublime? The Case of Peter Ackroyd |
| title_full | Post-Baroque sublime? The Case of Peter Ackroyd |
| title_fullStr | Post-Baroque sublime? The Case of Peter Ackroyd |
| title_full_unstemmed | Post-Baroque sublime? The Case of Peter Ackroyd |
| title_short | Post-Baroque sublime? The Case of Peter Ackroyd |
| title_sort | post baroque sublime the case of peter ackroyd |
| topic | Allegory barique diction excess expressionism postmodernism presentation redundancy romanticism sublimity |
| url | https://dialnet.unirioja.es/servlet/oaiart?codigo=193829 |
| work_keys_str_mv | AT ganteaujeanmichel postbaroquesublimethecaseofpeterackroyd |