Eccentric Periodization: Comparative Perspectives on the Enlightenment and the

Baroque
Author(s): LOIS PARKINSON ZAMORA
Source: PMLA , May 2013, Vol. 128, No. 3 (May 2013), pp. 690-697
Published by: Modern Language Association

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 PM LA

theories and
methodologies

Eccentric
Periodization:
Comparative
There is no classification of the universe that is not arbitrary and con
Perspectives on the jectural. ... But the impossibility of penetrating the divine scheme of
the universe cannot dissuade us from outlining human schemes, even
Enlightenment and though we are aware that they are provisional.
the Baroque —Jorge Luis Borges, "The Analytical Language of John Wilkins" (104)

OUR PROFESSIONAL PRACTICE OF GROUPING CULTURAL PRODUCTS

LOIS PARKINSON ZAMORA
INTO HISTORICAL CATEGORIES HAS RECENTLY BEEN THE SUBJECT OF

lively critical discussion, as well as some consternation.1 Here I want

to consider how, and how well, periodization organizes knowledge
in the field of comparative literature. Organizing knowledge is what
scholars do in all disciplines, of course, but the organizational mod
els differ according to our objects of study. Historians may be the
most dependent on schemata of periodization, but literary scholars
aren't far behind.2 Literature curricula in United States universities
are largely organized according to diachronic historical categories,
whether they are labeled by centuries or by rubrics tied to a historical
period's style or ideology or political circumstances. This is not sur
prising since European periodic categories long precede the establish
ment of curricula in the United States. Periods are powerful because
they carry with them their own historical accumulations and applica
LOIS PARKINSON ZAMORA is professor
of comparative literature and chair of
tions, and they become dialectical as we engage their diverse cultural
and historical
the Department of Comparative Cultural meanings. For this reason, they can be particularly
Studies at the University of Houston. useful
She to comparatists. Indeed, to speak of any period at all is to make
a comparative
frequently writes about the visual arts statement. One period necessarily implies others, each
and their relation to literature, most re
period a part that exists in relation to other parts and to an implied
cently in The Inordinate Eye: New World
whole—a provisional "classification of the universe," to quote from
Baroque and Latin American Fiction (U of
the passage by Jorge Luis Borges that I take as my epigraph.
Chicago P, 2006) and Baroque New Worlds:
Representation, Transculturation, Counter
In most cases, periodization functions as metaphor, conveying
conquest (Duke UP, 2010), which sheaesthetic
co information about styles and themes, as well as proposing
historical
edited with Monika Kaup. The Inordinate parameters. Periodic categories pretend to analogy, if not
identity,
Eye is translated into Spanish as La mirada among the cultures and regions they encompass, and this
exuberante (Vervuert; UNAM, 2011). is the cause for consternation that I mentioned above. Periodization

©> 2013 LOISPARKINSON

2013 LOIS PARKINSON ZAMORA
ZAMORA
690 PMLA 128.3 (2013), published by the Modern Language Association of America

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 128.3 J Lois Parkinson Zamora 691

will inevitably create artificial alignments yes

among what may otherwise be markedly contin
different cultural products and practices. If ment's
It k
l/l
injudiciously imposed, periodic categories Spanish is e
will erase local differences in favor of met- ligh
ropolitan similarities and thus curtail or re- the
move cultural agency except as it conforms tu
to European conventions. We must begin to lectu
critique our own practice of periodization by ones"),
acknowledging the potential dangers of ap-
(M
say
propriation at the outset and by employing that neit
comparative strategies to differentiate among enment.
cultures, histories, and intentions. Mire), Paz's es
Latin American intellectuals and writ- asymmetr
ers have been engaged in this project since can period
the 1930s, rethinking European periodic cat- razón cr
egories according to local imperatives. I refer ni Robe
below to several theorists who developed al- bourgeoi
ternative schemata of periodization and, in- pierre"; L
deed, alternative ways of thinking about the ico, accor
nature of tradition—the nature of continuity, missed
rupture, originality, transculturation, and the Europ
incorporation. I follow their lead in refusing Perh
the premise that periodization must imply intellectua
(or impose) uniformity and, further, the idea except
that European categories have been or could drawing
be imposed in Latin America without cultural Mexico's
or critical revision. To the contrary, European hs Jesui
periodic denominators, when transposed to f°r the
Latin America, have tended to highlight dif- comparat
ferences as well as continuities and have thus titled D
foregrounded the distinctive histories and cul- Baroq
tures of Latin America vis-à-vis Europe. This the ency
process, which I will call eccentric periodiza- ism of t
tion, has provided ample grounds for compar- more l
ative critique; after all, what more comparative Mexica
task could we undertake than uncovering dis- affirmin
tinct cultural processes and products beneath ness. Cel
identical periodic labels? Here, then, I take the
. , , , , . , , 1 j , Así, al estudiar la historia antigua de México,
opportunity to look briefly at two related in- .. , . ..
rr ' . t • como Clavijero; al cantar sus bellezas natura
stances of this eccentric periodization in Latin , , T a- 1 ~
r les y sus costumbres, como Landivar; al com
America: the enlightenment and the baroque. pendiar sus referencias bibliográf
Enlightenment is translated in Spanish Eguiara y Eguren, estos hombres, má
as la ilustración, meaning literally "illumina- la ilustración, pertenecen al barro
tion" and, by metaphoric extension, a period amparados en la tesis de Edmu
of learning, erudition, intellectual clarity, and, man, aceptamos que América se

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692 Eccentric Periodization: Comparative Perspectives on the Enlightenment and the Baroque PMLA

2 al repertorio de ideas y de valores en que se frente a Europa en el arte" ("America's Rela

m sustenta la cultura occidental, habría que fi- tion to Europe in the Arts"). This is the first
~ jar su identidad en las peculiaridades de tal time that a Latin American cultural critic had
ç incorporación. (91-92,94) directed attention not to the reproduction of
[Francisco Javier] Clavijero, who studied the European baroque models but rather to the
E ancient history of Mexico, [Rafael] Landivar, departures from those models: different ma
"0 who sang the praises of its natural beauty and terials and techniques, different authors and
« customs, and [Juan José] Eguiara y Eguren, audiences, different indigenous and African
2 who collected its bibliographical references, iconographies, and, not least, a different time
Ï belonged more to the Baroque than to the frame—baroque artifacts in the Americas
v Enlightenment. ... If, based on the theo- were produced over a longer period of time
ries of Edmundo O'Gorman, we accept that than were those in Europe (roughiy a century
America is incorporated into the repertory an<J a half> frQm 164Q ^ Ngw Spain tQ mQ ^
of ideas and values that sustain Western cul- . rT1 ... T
., . , , , r , some parts of Brazil). The Cuban author Jose
ture, then our identity will have to be defined . ,
,. „ ,c. ,. , .,. Lezama Lima had surely read Guido s essay,
according to the specific way in which this ' '
incorporation has taken place. (499, 500) because in hi
"La curiosidad barroca" ("Ba
European universalism encountered the par- ity )>be ci*e
ticularism, and particularities, of New Spain baroque ar
and was eventually incorporated into an on- Brazilia
going baroque—an enlightened baroque, if roque is no l
you will. Celorio concludes his challenge to then, but r
Paz as follows: "De nuestra excentricidad no ment of
se desprende, pues, que no tengamos tradición baroque h
crítica sino que precisamente por tal excen- positions r
tricidad nuestra crítica adopta modalidades the Europea
específicas, toda vez que en nuestra historia New World
las luces alternaron amigablement con el bar- barroco n
roco" ("From our eccentricity, then, we must well as a h
conclude not that we lack a critical tradition Anothe
but that, precisely because of our eccentric- joins Lezam
ity, we adopt critical structures of our own. So baroqu
we recognize in our past an amicable alterna- pean baro
tion between the values of the Enlightenment example
and those of the Baroque"; 95; 501). In Mexico and perio
periods have not been successive but simulta- not a per
neous, continuous, intertwined, and multi- and yet t
layered, as they remain today, an inseparable Latin Am
union, says Celorio, of criticism and passion. qué es Amé
Celorio's analysis reflects the critical barroco? Por
recuperation and revalidation of the New zaje, engen
World baroque as a historical period and, is Latin Am
more important, as a cultural ideology. This baroque? B
process began in the 1930s, most explicitly in engender
an essay by the Argentine art historian Angel "Baroque"
Guido, written in 1936 and titled "América 1975, Carpe

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12 8.3 J Lois Parkinson Zamora 693

can forms of expression alongside imported and crea

European ones: the pyramids at Teotihuacán may do
in Mexico, the sculpted Mexica goddess roque eon
Coatlicue, the ceremonial site of Mitla, in multiple: d
Oaxaca, which are, for him, as baroque as the bar
facades and altarpieces of the churches built Palag
by Catholic colonizers. The coexistence of 93)—tho
European, indigenous, and African cultures in Latin
has produced a "superimposición de estilos later C
... ese estilo sin estilo que a la larga, por pro- tion of
ceso de simbiosis, de amalgama, se erige en Amer
un barroquismo peculiar" ("superimposition enous, Euro
of styles ... a style without a style that in the cient and m
long run, through a process of symbiosis and in dynamic
amalgamation, became a peculiar kind of Ba- impelled by
roque"; "Ciudad" 62-63; "City" 246). This ba- "núcleos prol
roque "style without a style" is dynamic and and "células
dramatic in its impulse to accumulate and clei," "prolifer
include: cultural syncretism is central to Car- "Barroco" 1
pentier's theory of the New World baroque 97). Baroqu
and to the ongoing influence of his theory fragments an
among Latin American writers and critics. trifugally till
It is ironic, then, that the source of Car- So Carpentier
pentier's theory is European. Eugenio d'Ors, historical dur
a Catalonian art historian, published a trea- I don't k
tise on the baroque in 1935, written in French riodizers ev
and titled Du baroque (he would publish it did, since Ca
in Spanish in 1944 as Lo barroco). D'Ors was gives him cre
working in Paris during the 1930s, and Car- roque. Their
pentier, too, was in Paris and would have read early 1930
d'Ors's treatise then. D'Ors dismisses the much younge
usual periodization of the baroque and, in- d'Ors's ideas as
deed, the usual definition of period; instead, to represent
he writes of "eons" produced by metaphysical ence. (D'Ors
and stylistic tensions in every age and culture. in 1904.) In
For d'Ors, baroque eons are characterized by for seeing
"esquemas multipolares en vez de unipolares; Catalonian w
fundidos y continuos, no discontinuos y re- 1922 at the ag
cortados" ("multinuclear schémas instead of ing in Spanis
single-centered ones, their elements merged a literary in
and continuous rather than discontinuous in Catalan)
and separate"; "Querella" 87; "Debate" 87). thetic movem
Baroque media are always intertwined—ar- centisme. In
chitecture speaks to sculpture, painting to to Paris as t
poetry, mathematics to music; the interaction internatio
of expressive forms disrupts fixed categories lectual coope

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694 Eccentric Periodization: Comparative Perspectives on the Enlightenment and the Baroque | PMLA

£ of Pontigny, he convened the seminar that "multinuclear schema." He disrupts historical

m would result in the 1935 publication of Du ba~ progression and succession, rethinks causes
q roque. He remained in France until the Span- and consequences, in order to play freely
3 ish Civil War impelled his return to Spain in with time. So, in his walk through the Prado,
£ 1937. In 1938 he was named national director d'Ors exercises his predilection for unfixed
g of fine arts, and he worked under the Franco fragments, multiple meanings, and compará
is dictatorship to recuperate works of art that tive possibilities.
m had been removed from Spain for safekeeping D'Ors's effort to reconceptualize peri
ls by the republican government. His collabora- odization eighty years ago in the Prado is al
£ tion with the Franco dictatorship, his support most touching, given that this museum was
of Mussolini, and his friendships with Karl and remains unusually rigid in its historical
** Schmitt, Osbert Sitwell, and Filippo Mari- organization. Most museums are periodi
netti, among others, are probably part of the cally organized, but the Prado is even more
reason for his obscurity, but there are other so because it is the royal collection. Mon
reasons as well. With the exception of Lo bar- archs follow predictably one after another;
roco, which, as we have seen, was wonderfully they and their families grow up, grow old,
revitalized in Latin American surroundings and are succeeded, their court painters inde
by Carpentier, d'Ors's many essays and glosas fatigably documenting time's passing, first for
("glosses," as he called his literary fragments) the Hapsburgs, then for the Bourbons. Who
remain strangely limited by and to their au- doesn't know what Philip IV looks like, with
thor's personality and immediate ambit. Velásquez's amazing renderings of that long
There is, however, another exception, Austrian jaw, or Charles IV, the rotund Bour
a small volume written by d'Ors in 1922 in bon with his large family in Goya's successive
Spanish and titled Tres horas en el Museo del portraits? No wonder d'Ors felt the need to
Prado ("Three Hours in the Prado Museum"). create comparative constellations that related
In it d'Ors strolls through the galleries of the to one another in "multinuclear" ways—
Prado, speaking as a guide to an ideal visitor, merging and continuous, rather than sequen
explaining his intention: "olvidar la cronolo- tial and separate. The Prado is not short on
gía y clasificar autores y obras por su actitud baroque masterpieces, so it may have been
estética únicamente" ("to forget chronol- there that his first inkling of the expansive
ogy and classify artists and works solely ac- capacities of the baroque began to take shape,
cording to their aesthetic attitude"; 49; my In 2012-13 there was an exhibition at
trans.). We must remember that museums at the Museum of Fine Arts, Houston, of more
the time hung paintings floor to ceiling and than one hundred major works from the
side by side, with little space between frames, Prado. And guess what? The Prados cura
grouping works, large and small, by a given tors struggled to do exactly what d'Ors did in
artist. As we accompany d'Ors on his visit, his three-hour stroll in the museum in 1922:
then, we imagine ourselves in surroundings break up the march of decades and dynas
very different from those of today's Prado. ties. Works were grouped according to genres
Moving from room to room, d'Ors observes and themes (religious, historical, and mytho
affinities among artists and makes connec- logical scenes; court and bourgeois portraits;
tions among frames—often unexpected ones, still lifes; landscapes; genre scenes), and sev
between Poussin and Goya, for example. It is eral paired works were hung side by side to
as if the stroll itself—his own kinetic activ- show similarities, differences, influences, and
ity, his spatial displacements—allowed him to shared techniques across centuries. The result
intuit cultural and aesthetic relations in their was a satisfying eccentricity, where painters

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 12 8.3 Lois Parkinson Zamora 695

created their precursors, Borges-d'Ors style, concern is how periodization supports and ar
it
and viewers were encouraged to create tradi- enriches comparison. In this context, he ad 0
"*

tions of our own. dresses the idiosyncrasies of English periodic

I would note one more eccentricity in categories, insists that they are isolating be- *
the application of the baroque as a periodic cause they are unique, and calls for greater Î
category, and that is its absence from English critical definition of the English baroque in g
literary and cultural histories. England's order to facilitate their comparative study: %
T
seventeenth century is periodized
O a
a
to a welter of terms referring
0 to
litical circumstances (Elizabethan, Jacobean, tainties as to the extension, valuation, and pre- ê
Caroline, Restoration) and styles and groups cise content of the term> baroque has fulfilled ~
(metaphysical, Cavalier, Puritan, Augustan, and is sti11 fulfilling an important function. It
some of these coined in less-than-celebratory has Put the Problem of Periodisation and of a
i . 1 • i.\ rpt r . .1 . .1 1 • pervasive style very squarely; it has pointed
hindsight). The fact that the baroque was, in r ,
to the analogies between the literatures of the
the seventeenth century, the
different countries and between the several
promine
of the Catholic Counter-Reformation would
arts. It is still the one convenient term that re

have influenced its banishment as a category fers tQ the style whkh came after the Renais,
from Anglo-Protestant literary studies, de- sanee but preceded actual neoclassicism. For a
spite obvious comparabilities of styles and history of English literature the concept seems
themes in, say, Jacobean and Golden Age especially important since there the very ex
theater or the culteranismo of Francisco de istence of such a style has been obscured by
Quevedo and John Donne or the baroque the extension given to the term Elizabethan
coincidencia oppositorum and the metaphysi- and by the narrow limits of the one compet
cals' impulse to "amalgamate disparate expe- ing traditional term: "metaphysical." ... The
rience" (247).3 The phrase is T. S. Eliot's. Eliot indubitable affinities with contemporary Con
and his contemporary Mario Praz revived tinental movements would stand out more
interest in English baroque poetry during the clearly if we had a sYstematic stud7 of the
. , j enormous mass of translating and paraphras
1920s. Eliot doesn t use the term baroque, and , , ,
, , , _ , ing from Italian, French, and Spanish which
although Praz does, most notably in his later , , , ,rr ,
° ' was going on throughout the [English] seven
essay Baroque in England, the category re- teenth century £y£n
mains largely beyond the pale of English lit- Continental poets. B
erary and cultural studies. aesthetic term which has
The rarity of comparative studies of sev- stand the literature of
enteenth- and eighteenth-century English and help us to break the
Spanish literary cultures may be incidental to ary history from per
the nonalignment of their systems of peri- political and soc
odization, but, as I have said, periodic denom
inators are powerful; they accrue weight over Wellek's concern with
time as they are defined, developed, and ap- ("periodisations deriv
plied, and thus they come to organize knowl- social history") dem
edge in their areas. This assertion is amply purpose of periodizatio
demonstrated in René Wellek's landmark raneous styles and in
essay "The Concept of Baroque in Literary relation. Without co
Scholarship." Wellek is rigorously historical parative study will be
and geographic; his subject is the European So Wellek's essay c
baroque in the seventeenth century, and his of eccentric periodizat

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 696 Eccentric Periodization: Comparative Perspectives on the Enlightenment and the Baroque PMLA

2 one we have seen in our Latin American
.2
m theorists. For Wellek the challenge is not to
"J discover diverse cultural products operating
q under an identical periodic label, as in the
5 New World baroque, but rather to discover
g similar products operating under different
•a periodic labels, as in the case of the English
a seventeenth century. The baroque is attrac
2 tive to him not because it offers the fluidity
£ and diversity of Carpentier's "proliferating
Jj nuclei" but rather because "it is a term which
** prepares for synthesis" (108). Born in Vienna
and educated in Prague, Wellek published his
study of the baroque six years after immigrat
ing to the United States, having left Europe
after the Nazi invasion of Czechoslovakia in
1939. His first teaching job was at the Univer
sity of Iowa, where he would have written this
mata. See the essays in Pomper, Elphick, and Vann, in
particular Green's.
3. See Kaup on Eliot as a neobaroque poet and theorist.
4. In 1962 Wellek added a postscript to his 1945 essay,
in which he repeated and intensified his call for greater
recognition of the baroque in English literary studies.
Works Cited
Borges, Jorge Luis. "The Analytical Language of John Wil
kins." Other Inquisitions (1937-1952). Trans. Ruth L. C.
Sims. Austin: U of Texas P, 1965.101-05. Print.
Carpentier, Alejo. "The Baroque and the Marvelous
Real." Trans. Tanya Huntington and Lois Parkinson
Zamora. Magical Realism: Theory, History, Commu
nity. Ed. Zamora and Wendy B. Faris. Durham: Duke
UP, 1995. 89-108. Print.
. "Lo barroco y lo real maravilloso." 1975. La novela
latinoamericana en vísperas de un nuevo siglo y otros
ensayos. Mexico City: Siglo XXI, 1981. 111-35. Print.

essay while watching Europe burn. He went . "City of Columns." Trans. Michael Schuessler. Za

from Iowa to Yale in 1946, where he was to mora and Kaup 244-58.
—. "La ciudad de las columnas." Tientos y diferencias.
become so central to our academic discipline
1964. Ensayos. Mexico City: Siglo XXI, 1990. 61-73.
that we tend to forget his eccentric trajectory. Print. Vol. 13 of Obras completas.
We shouldn't, because it enriches our under Celorio, Gonzalo. "Del barroco al neobarroco." Ensayo
standing of this exiled scholar's attention to de contraconquista. Mexico City: Tusquets, 2001.
75-105. Print.
the unifying capacity of baroque periodiza
. "From the Baroque to the Neobaroque." Trans.
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Maarten van Delden. Zamora and Kaup 487-507.
ative literary study as such.
d'Ors, Eugenio. "The Debate on the Baroque in Pontigny."
Wellek's synthetic European baroque, Car Trans. Wendy B. Faris. Zamora and Kaup 78-92.
pentier's and d'Ors's transhistorical baroque, . "La querella de lo barroco en Pontigny." Lo bar
Celorio's enlightened Mexican baroque—each roco. 1944. Madrid: Tecnos, 2002. 63-101. Print.
. Tres horas en el Museo del Prado. 1922. Madrid:
of these baroques reflects particular cultural
Tecnos, 1989. Print.
and historical imperatives, and together they
Eliot, T. S. "The Metaphysical Poets." Selected Essays:
provide comparative challenges and oppor ¡917-1932. New York: Harcourt, 1932. 241-50. Print.
tunities, along with the cultural products Green, William A. "Periodizing World History." Pomper,
to which they refer. They are provisional, as Elphick, and Vann 53-65.
Borges noted in "The Analytical Language of Guido, Ángel. "América frente a Europa en el arte." Re
descubrí miento de América en el arte. Rosario: Im
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Modernities in Literature, Visual Art, and Film. Char
Notes
lottesville: U of Virginia P, 2012. Print.
1. See, e.g., the essays in PMLA's Theories and Meth Lezama Lima, José. "Baroque Curiosity." Trans. María Pé
odologies section titled "The Long and the Short: Prob rez and Anke Birkenmaier. Zamora and Kaup 212-40.
lems in Periodization" (127.2 [2012]: 301-56). . "La curiosidad barroca." La expresión americana.
2. With the growth of world history as a discipline, 1957. Mexico City: Fondo de Cultura Económica,
historians are also interrogating received periodic sche 1993. 79-106. Print.

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12 8.3 Lois Parkinson Zamora 697

Paz, Octavio. Praz,

Children of Mario. "Baroque
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7 in
Po
Romanticism to lology
the 61.3
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ft
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ft
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. Los hijos del limo; Del romanticismo a la va
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a
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ft

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Blackwell, 1998.Print. Print.3"
O
a
o

p
*2.
»
i/i

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