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Journal articles on the topic 'Baroque literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Lawrance. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316. http://dx.doi.org/10.5699/modelangrevi.116.2.0316.

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2

Lawrance, Jeremy. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316–37. http://dx.doi.org/10.1353/mlr.2021.0086.

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3

Levitt, Marcus. ""Toward a Typology of the Baroque in Russian Literature of the XVII—Early XVIII Centuries"." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 9 (December 21, 2021): 128–46. http://dx.doi.org/10.21900/j.vivliofika.v9.919.

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Viktor Zhivov’s 2007 article, here translated into English for the first time, attempts to describe the specific nature of the Baroque in Russia. According to Zhivov, Russian Baroque culture arose via transplantation and was not the result of organic cultural development. Because of their cardinal differences, the language of Western Baroque and that of traditional Russian culture represent polar opposites in many ways. Hence the transplantation of even the most insignificant element results in its radical transformation, highlighting the peculiarities of the process of reception. The article

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4

Wrobel, Jasmin. "“Partenogênese sem ovo ontológico”. A função catalisadora da discussão sobre o (neo)barroco nos intercâmbios interamericanos." Remate de Males 36, no. 1 (2016): 85. http://dx.doi.org/10.20396/remate.v36i1.8646454.

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In this article we intend to demonstrate in how far the discussion about Latin American baroque and neo-baroque “catalysed” the approximations and cultural dialogues between Brazil and Hispanic America in the 20th century. The central axis of our analysis is the Brazilian poet, translator and critic Haroldo de Campos, who regretted the lack of approaches on several occasions and who tried to establish cultural bridges between both sides. After giving a short overview about his relationship to the Hispanic Literatures and his thoughts about a non-hierarchical conception of literature, we are go

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5

Kuperty-Tsur, Nadine, and Claude-Gilbert Dubois. "Baroque Redefined." Poetics Today 19, no. 4 (1998): 613. http://dx.doi.org/10.2307/1773264.

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6

Green, Maria, and Nicole Brossard. "Baroque d'aube." World Literature Today 70, no. 4 (1996): 905. http://dx.doi.org/10.2307/40152320.

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7

Bercot, Martine. "Musset baroque ?" Cahiers de l'Association internationale des études francaises 39, no. 1 (1987): 221–36. http://dx.doi.org/10.3406/caief.1987.2436.

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8

Peshkov, Dmitrii Igorevich. "Systematization of ideas about Latin American Baroque in the works of Emilio Carilla." Филология: научные исследования, no. 4 (April 2025): 121–29. https://doi.org/10.7256/2454-0749.2025.4.74073.

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The article is dedicated to the contribution of Argentine philologist Emilio Carilla in the systematization of baroque concepts in Latin America: it examines the influence of the Dominican cultural scholar Pedro Enriquez Ure&#241;a on him, as well as Carilla's perception of the emerging baroque theories in Latin America, through which their authors clarified the specificity of the Latin American world. Between the publication of Carilla's work "Baroque Literature and the Colonial Environment" (1969) and his next book, only three years passed, but during this time the very field of represen

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9

Anderson, Charlotte, and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." Die Unterrichtspraxis / Teaching German 18, no. 1 (1985): 208. http://dx.doi.org/10.2307/3530025.

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Preece, Julian, Alexander Weber, Gunter Grass, and Dieter Stolz. "Gunter Grass's Use of Baroque Literature." Modern Language Review 92, no. 4 (1997): 1030. http://dx.doi.org/10.2307/3734296.

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Johnson, Lathrop P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." MLN 100, no. 3 (1985): 679. http://dx.doi.org/10.2307/2905544.

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Aikin, Judith P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." German Quarterly 58, no. 1 (1985): 110. http://dx.doi.org/10.2307/406052.

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13

Perrot, Jean. "Dialogisme Baroque." Seventeenth-Century French Studies 14, no. 1 (1992): 27–41. http://dx.doi.org/10.1179/c17.1992.14.1.27.

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14

Merchant, John, and Michael J. Mikos. "Polish Baroque and Enlightenment Literature: An Anthology." Slavic and East European Journal 43, no. 4 (1999): 704. http://dx.doi.org/10.2307/309422.

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15

Slagle, Judith Bailey. "The Baroque in English Neoclassical Literature (review)." Journal for Early Modern Cultural Studies 6, no. 1 (2006): 130–32. http://dx.doi.org/10.1353/jem.2006.0007.

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16

Kofman, Andrey F. "“A Well-organized Disorder”. A Look at the Spanish American Neo-baroque." Literature of the Americas, no. 15 (2023): 70–115. http://dx.doi.org/10.22455/2541-7894-2023-15-70-115.

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The article consists of two parts: theory and artistic practice. The first part examines the history of the concept of Latin American Neo-Baroque. It begins in European art history, first, when J. Burkhard characterized the Baroque as a certain period in the development of art; then, when G. Wölfflin presented the Baroque as a kind of “great style” and singled out its constitutive features; finally, when E. d’Ors formulated the theory of “eternal” styles, “classical” and “non-classical” (baroque) cyclically replacing each other. D’Ors’ concept was accepted and developed by Cuban writers J. Lez

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17

Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.

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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.

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Petrescu, Cristina. "O lugar da literatura monástica feminina no cânone Barroco português." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (2021): 211–22. http://dx.doi.org/10.24193/subbphilo.2021.4.14.

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Women’s Monastic Writing within the Portuguese Baroque Canon. This article aims to approach Portuguese female monastic literature of the seventeenth and eighteenth centuries in terms of its relationship with the Baroque literary canon. Shaped at the border that separates voice and silence, the visible and the spiritual universe, the cult of moderation and the desire to assert, this literature outlined a new type of discourse, which hinted at the intense conflict between suppression and authority, which, in turn, gave rise to a permanent dialogue between the feminine ethos, the controversial ch

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19

Levchenko, Nataliia, Olena Liamprekht, Maryna Povar, and Olena Chukhno. "Adoption of Western Four-Sense Biblical Hermeneutics by Ukrainian Baroque Literature." Revista Amazonia Investiga 9, no. 31 (2020): 178–84. http://dx.doi.org/10.34069/ai/2020.31.07.16.

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The study outlines general principles of biblical hermeneutics influence on the poetics of Ukrainian baroque prose. The Bible perceived by ancient writers as a collection of sacred books written by the Holy Spirit through the mediation of hagiographers is full of metaphors, comparisons, allegories and parables that needed clarification. Biblical hermeneutics developed rules for the Bible exegesis in order to avoid false variants of interpreting the Scripture. The four-sense method of biblical hermeneutics borrowed from Western Catholic tradition helped to avoid controversial interpretation of

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20

Johnson, Christopher D. "On Borges’s B/baroque." Comparative Literature 72, no. 4 (2020): 377–405. http://dx.doi.org/10.1215/00104124-8537731.

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Abstract This article examines Jorge Luis Borges’s ingenious, largely dehistoricized interpretations and imitations of seventeenth-century writers typically called Baroque. It contends that the aesthetic, epistemological, and metaphysical values Borges assigns to works by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges, despite the ingenious

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21

Ganteau, Jean-Michel. "Post-Baroque Sublime? The Case of Peter Ackroyd." Miscelánea: A Journal of English and American Studies 22 (December 31, 2000): 21–44. https://doi.org/10.26754/ojs_misc/mj.200011215.

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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 representa_tio~, by concentrating on the baroque topos of the wor

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22

Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.

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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the

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23

Beverley, John. "Going Baroque?" boundary 2 15, no. 3 (1988): 27. http://dx.doi.org/10.2307/303244.

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Montes, Francisco, and Natália Amarante. "Baroque History: The origin, growth and specimens in the district of Vila Real." ERAS | European Review of Artistic Studies 14, no. 4 (2023): 78–97. http://dx.doi.org/10.37334/eras.v14i4.306.

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This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist

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25

Merlin-Kajman, Hélène. "Un siècle classico-baroque ?" Dix-septième siècle 223, no. 2 (2004): 163. http://dx.doi.org/10.3917/dss.042.0163.

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26

Macé, Stéphane. "Les mutations de l’espace pastoral dans la poésie baroque." Études littéraires 34, no. 1-2 (2004): 169–77. http://dx.doi.org/10.7202/007560ar.

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RésuméCet article vise à étudier l’évolution du décor et du rôle qui lui est dévolu dans la poésie pastorale de l’âge baroque. Pour ce faire, il est y brièvement fait référence à l’héritage antique et néo-latin, ces périodes ayant progressivement construit le statut rhétorique dulocus amoenus. Sont ensuite envisagées les transformations que les poètes baroques font subir à ce décor canonique, tant d’un point de vue thématique (l’émergence du motif de la forêt, du nocturne), esthétique (le poids du cauchemar, la présence récurrente de quelques grands mythes fondateurs) ou technique (la place et

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Wielander, E. "РЕЦЕНЗІЯ НА МОНОГРАФІЮ М. ЗУЄНКО «МІФ У ЛІТЕРАТУРІ АНГЛІЙСЬКОГО БАРОКО»". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, № 96 (2020): 166. http://dx.doi.org/10.34142/2312-1076.2020.2.96.10.

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The monograph “Myth in the Literature of English Baroque” by Dr Maryna Zuienko addresses important questions related to key mythopoetic paradigms in a range of lyrical, epic and dramatic literature written during the English Baroque, with a focus on works by writers such as John Milton, Francis Beaumont, George Herbert and John Bunyan. As such, it constitutes a valuable addition to the fi eld of literary criticism in Ukraine.

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28

Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popula

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29

Romanowski, Sylvie. "Baroque Montesquieu." French Studies LX, no. 1 (2006): 112–13. http://dx.doi.org/10.1093/fs/kni290.

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30

Samsonenko, Daria. "SOCIO-POLITICAL AND SPIRITUAL-CULTURAL PREREQUISITES OF THE SPREAD OF BAROQUE IN UKRAINIAN LANDS." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 158 (2024): 70–76. http://dx.doi.org/10.17721/1728-2640.2024.158.11.

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Background. The Baroque era, which is characterized by its grandeur, dramatic color and exquisite ornamentation, left a bright mark on Ukrainian lands. However, the spread of Baroque architecture, art and culture was not only a stylistic phenomenon; it was deeply intertwined with the contemporary social-political and spiritual-cultural development. Understanding the deep factors that contributed to the spread of Baroque in Ukrainian territories requires the study of the multifaceted dynamics that shaped the culture of this era. Methods. A systematic review of the literature related to the Ukra

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31

Corum, Robert T. "Baroque Typographies: Literature/History/Philosophy (review)." Philosophy and Literature 17, no. 2 (1993): 355–56. http://dx.doi.org/10.1353/phl.1993.0042.

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32

Maskell, David. "Yale French studies. Baroque topographies: Literature/history/philosophy." History of European Ideas 17, no. 2-3 (1993): 347–48. http://dx.doi.org/10.1016/0191-6599(93)90311-d.

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Kolomiiets, Anton. "The Phenomenon of New Spanish Baroque: An Architectural Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 61–67. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306901.

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The paper provides a brief overview of the academic literature on the New Spanish Baroque architecture history. The genesis and spectrum of the scientific opinion of the leading Mexican researchers in this area have been studied and presented. Sculpture is briefly mentioned as a type of fine art inextricably linked to Baroque architecture. The New Spanish Baroque classification modalities according to Manuel González Galván is also presented. The authors and their works mentioned in the article were previously unknown to the Ukrainian researchers. Unfortunately, none of these studies have been

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34

Huan, M. "TRADITIONS OF BAROQUE THEATRE IN THE CREATIVE WORKS OF TARAS SHEVCHENKO (AS EXAMPLE TRAGEDY AND COMEDY OF FEOFAN PROCOPOVYCH "VOLODYMYR" AND DRAMA "NAZAR STODOLYA")." Shevchenko Studies, no. 1(25) (2022): 275–81. http://dx.doi.org/10.17721/2410-4094.2022.1(25).275-281.

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In this article the problem of development of Baroque drama (as example using tragedy and comedy "Volodymyr" of Feofan Procopovych) traditions in the creative works, separately drama "Nazar Stodolya", is analysed. It is analysing the specific of school drama of Ukrainian literature Baroque, its general features and representation in the drama of Kobzar. It is underlined using on the method of one place, time and space. In the drama "Volodymyr" is investigated the problem of the choice – it is not only choice of the Christian religion. It is very important choice between two outlooks – new and

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35

Salvato, Nick. "Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater." Modern Drama 66, no. 1 (2023): 121–23. http://dx.doi.org/10.3138/md-66-1-rev1.

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In Baroque Modernity, Joseph Cermatori upends received ideas about modernism’s anti-theatricality by carefully identifying, and closely unpacking, the surprising strains of baroque theatricality running through works by Nietzsche, Mallarmé, Benjamin, Stein, and others. The book also illuminates the necessity of modern philosophy to modern drama and theatre – and vice versa.

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STRĂUȚIU, Eugen. "Art and society in modern Sibiu." Dialogica 2 (August 15, 2020): 111–21. https://doi.org/10.5281/zenodo.3978114.

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The cultural chronology of Sibiu cannot overlap with the political chronology of Romania or the principality of Transylvania, having its own criteria and benchmarks regarding the beginning and end of an era. Thus, the modernity of Sibiu is similar to the period of expression of the Baroque current, imposed locally after the conquest of the city by the Habsburg Empire (1787) and declined in the decades before the revolution of 1848. The Sibiu Baroque, of Viennese expression, was fully manifested in architecture, painting, theater, sculpture and literature – through personalities educated

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37

Kryvoruchko, S. "Baroque: Myth, Mythopoeia, and Mythopoetic Paradigm." Fìlologìčnì traktati 12, no. 2 (2020): 153–54. http://dx.doi.org/10.21272/ftrk.2020.12(2)-17.

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38

Faraudo, Rosario. "Sor Juana and the Painters - A neo-baroque Perspective." Anuario de Letras Modernas 14 (July 31, 2009): 63–70. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.673.

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This text intends to explore how renewed interest in the Baroque has transcended the field of literature and Sor Juana is once more attracting the attention of artists who update the Baroque with contemporary techniques and attitudes. The text focuses mainly on a contemporary picture of Sor Juana, parodying the well-known portrait by Miguel Cabrera and how it also contains elements of the Neo-Baroque. In addition, this picture includes in the composition the first quatrain of one of the poet’s sonnets, which creates an ekphrastic dimension and multiplies the possible readings.

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Santa-Aguilar, Sara. "Baroque metaphors and Nietzschean influence in Vivaldi Metal Project’s The Four Seasons." Metal Music Studies 9, no. 2 (2023): 215–32. http://dx.doi.org/10.1386/mms_00106_1.

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In this article I will analyse how a widespread metaphor of Renaissance and Baroque literature, the comparison between the stages of life and the seasons of the year, is updated via a contemporary perspective and transformed through an intertextual relation with Nietzsche’s Thus Spoke Zarathustra in Vivaldi Metal Project’s The Four Seasons. I highlight the strong presence of Baroque aesthetics in symphonic metal and I aim to propose, from a literary perspective, a model for the analysis of the presence and transformation of Baroque elements in this subgenre.

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Barthes, Roland, and Susan Homar. "The Baroque Face." Review: Literature and Arts of the Americas 53, no. 1 (2020): 21–23. http://dx.doi.org/10.1080/08905762.2020.1748424.

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Levchenko, Nataliia, Olena Liamprekht, Oksana Zosimova, Olena Varenikoba, and Svitlana Boiko. "Emblematic Literature as a Form of Biblical Hermeneutics." Revista Amazonia Investiga 9, no. 32 (2020): 61–69. http://dx.doi.org/10.34069/ai/2020.32.08.7.

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The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” –

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RADOMAN, Aleksandar. "THE PASSION OF CHRIST THEME BY I. A. NENADIĆ IN THE MONTENEGRIN BAROQUE LITERATURE." Lingua Montenegrina 16, no. 2 (2015): 181–204. https://doi.org/10.46584/lm.v16i2.472.

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The literary work of Ivan Antun Nenadić (1723-1784) has still not been fully published, but it can be argued that his more important published works have received adequate literary-historical reception. Given the various designations present in the literature and the genre and style of his poetics, the issue of his poetic background in the paper entitled The Passion of Christ Theme by I. A. Nenadić in the Montenegrin Baroque Literature reveal late Baroque period writing characteristics, implying that the author used transformed genres of medieval poetics, giving them a new form at both, formal

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Oropesa, Salvador A. "Obscuritas and the Closet: Queer Neobaroque in Mexico." PMLA/Publications of the Modern Language Association of America 124, no. 1 (2009): 172–79. http://dx.doi.org/10.1632/pmla.2009.124.1.172.

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During the Baroque period, Luis De GÓngora y Argote (1561–1627) wrote the first Spanish-language closeted literature. Some three hundred years later, the challenging originality of his closet verse, openly studied and appreciated by a cultured, intellectual elite, played a pivotal role in the development of homosexual literature in the early-twentieth-century avant-garde movements of Spain and Latin America. This essay will briefly explore how twentieth-century Mexican avant-garde writers expressed the closet using baroque models. The thesis is that the rhetorical strategies of obscuritas prov

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44

Zhuravel, O. D. "To the Study of Visual Poetics in the Old Believer Literature of the 18th Century." Critique and Semiotics 38, no. 1 (2020): 249–62. http://dx.doi.org/10.25205/2307-1737-2020-1-249-262.

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The article raises the problem of visual poetics in the Old Believer literature. The author analyzes the texts of Baroque rhetoric and sermons created on the Vyg during the 18 th century, including the works written by the Vyg leaders Andrei Denisov and Andrei Borisov. The author argues that focalization in the Old Believer literary culture is linked to general poetic attitudes. The Baroque Poetics implied the intensive inclusion of the illustrative material in the texts. Visual metaphors were meant to clarify the writer's idea, and simultaneously execute a didactic function. The author shows

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45

Avifah, Alvi, and Deddy Kurniawan. "Rhetorische Figuren in Baroque Poetry "Der Welt Wollust" from The Student's Perspective of German Literature Department at The Universitas Negeri Malang." Journal DaFIna - Journal Deutsch als Fremdsprache in Indonesien 8, no. 1 (2024): 36. https://doi.org/10.17977/um079v8i12024p36-50.

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Language style, known in German as rhetorische Figuren, is one of the elements of poetry and the focus of stylistics, a discipline of linguistics. This research aimed to describe rhetorische Figuren on Baroque poetry, ,,Der Welt Wollust" by Andreas Gryphius to perspective students of the German Literature Department at the State University of Malang. Baroque is a literary periodization identified in German literature. The qualitative descriptive method was used in this research. Using an open questionnaire technique, the research's data is in the form of information on the student's perspectiv

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46

Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.

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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as a

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47

Skrine, Peter, and Judith Popovich Aikin. "German Baroque Drama." Modern Language Review 80, no. 1 (1985): 210. http://dx.doi.org/10.2307/3729450.

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48

Sperberg-McQueen, M. R., and Judith Popovich Aikin. "German Baroque Drama." MLN 100, no. 3 (1985): 665. http://dx.doi.org/10.2307/2905537.

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García, César. "Cardinal Mazarin’s Breviary of politics: Exploring parallelisms between the Baroque and public relations in a post-truth society." Public Relations Inquiry 9, no. 3 (2020): 295–310. http://dx.doi.org/10.1177/2046147x20920805.

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This article suggests we live in a neo-Baroque era of communication between organizations and publics. The 17th and 18th centuries are particularly rich in literature about the importance of building a reputation to get and retain power. These authors consider communication management, a key factor in how monarchs, princes, and governments must relate to their constituencies to make their power sustainable. A chief minister to the French kings Louis XIII and Louis XIV, Cardinal Mazarin’s Breviary of Politics offers a solid representation of Baroque thought on communication and power. A critica

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Campos, Raquel. "Haroldo de Campos: um caso concreto-barroco." Elyra, no. 17 (2021): 43–52. http://dx.doi.org/10.21747/2182-8954/ely17a3.

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This research aims to analyze the poetic writing of Haroldo de Campos, which brings a baroque language closer to a concrete language, exemplifying this supposed paradox through the poem A Máquina do Mundo Repensada. Augusto de Campos, his brother, defined him as a kind of “concrete-baroque”, capable of bringing together these two apparently contradictory facets in his production. The defense of the inclusion of the Brazilian baroque in the formation of national literature made by Haroldo also reverberated in his work, leaving baroque traces in his writings, as will be shown below. Finally, the

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