Abstract
Taking as a starting point a later stage in Severo Sarduy’s life (and, in more than one sense, a symbolic return to the origin), this article intends to characterize the author’s resistant position against his present in the early 1990s in order to project it into our present and understand, at the same time, how the paradoxes of the modern were assimilated. This was then an early approach (mainly as an effect of the contact with the plastic arts) to a debate that is now taking place around the concepts of post-aesthetics and post-autonomy. The article identifies, in several areas of the author’s work, the introduction of the neo-baroque as a way to dramatize the theme of an art and a literature that are constantly threatened by their own dissolution, and to produce an aesthetic practice and theory capable of regulating the complex relations between plastic and literary creations and the foreign, the irreducible or the external.
Keywords
Sarduy; theatricality; regimes; aesthetics