LatinX excess: from the Baroque to rasquachismo, tracing a culture of extravagance
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| Titel: | LatinX excess: from the Baroque to rasquachismo, tracing a culture of extravagance |
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| Autoren: | Perez, Leah (author) |
| Verlagsinformationen: | University of Southern California Digital Library (USC.DL), 2022. |
| Publikationsjahr: | 2022 |
| Schlagwörter: | Roski School of Art and Design (school), Curatorial Practices and the Public Sphere (degree program), Master of Arts (degree) |
| Beschreibung: | Using Alejo Carpentier?s The Baroque and the Marvelous Real as a foundation for justifying the Baroque as an Indigenous American invention, this thesis will explore how the Baroque was formed through the appropriative interventions of the Spanish empire. Baroque, coming from the Spanish word for a misshapen pearl, holds a broad connotation of an aesthetic that is simply too much and has origins in the abject.Using a number of examples in art history, film, pop culture, performance art, and queer theory, this thesis creates a case for how the Baroque never left the Americas and in fact migrated across the U.S. Mexico border with the Chicanx descendants of the Mechica. In this thesis I argue that Surrealism, realismo m�gico, and rasquachismo are in direct lineage with the Baroque. Considering the works of artists such as Asco, Nao Bustamante, Coco Fusco, rafa esparza and no� olivas, as well as films such as West Side Story (1961), Como agua para chocolate (1992), and The Exterminating Angel (1962) I will showcase how the Baroque is present in both Latinx and non-Latinx representations of Latinx emotions, the Latinx body, and what Jos� Esteban Mu�oz would come to call Brown disidentifications; this thesis focuses on how Baroque attitudes live on in a number of mediums. As I trace the development of the Baroque in the Americas, from Tonantzin to Asco I am interested in pursuing how it lives in the cultural lexicon of Latinidad; an ethos built on excess, religion, and paradoxes. |
| Publikationsart: | Thesis |
| Sprache: | English |
| DOI: | 10.25549/usctheses-ouc110964815 |
| Dokumentencode: | edsair.doi...........840327d4b888ed7379ea60d16979a445 |
| Datenbank: | OpenAIRE |
Nájsť tento článok vo Web of Science | Abstract: | Using Alejo Carpentier?s The Baroque and the Marvelous Real as a foundation for justifying the Baroque as an Indigenous American invention, this thesis will explore how the Baroque was formed through the appropriative interventions of the Spanish empire. Baroque, coming from the Spanish word for a misshapen pearl, holds a broad connotation of an aesthetic that is simply too much and has origins in the abject.Using a number of examples in art history, film, pop culture, performance art, and queer theory, this thesis creates a case for how the Baroque never left the Americas and in fact migrated across the U.S. Mexico border with the Chicanx descendants of the Mechica. In this thesis I argue that Surrealism, realismo m�gico, and rasquachismo are in direct lineage with the Baroque. Considering the works of artists such as Asco, Nao Bustamante, Coco Fusco, rafa esparza and no� olivas, as well as films such as West Side Story (1961), Como agua para chocolate (1992), and The Exterminating Angel (1962) I will showcase how the Baroque is present in both Latinx and non-Latinx representations of Latinx emotions, the Latinx body, and what Jos� Esteban Mu�oz would come to call Brown disidentifications; this thesis focuses on how Baroque attitudes live on in a number of mediums. As I trace the development of the Baroque in the Americas, from Tonantzin to Asco I am interested in pursuing how it lives in the cultural lexicon of Latinidad; an ethos built on excess, religion, and paradoxes. |
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| DOI: | 10.25549/usctheses-ouc110964815 |