Luso-Brazilian Review 41:2 offering a different reading and analysis of the texts through which Santos proves her theories. In the section "Lo kitsch en la era neobarroca" Santos dialogues with both the literary and cultural dynamics in the work of Cuban Severo Sarduy. She counterpoints her observations on his writing by approaching his work in conjunction with his contemporary José Lezama Lima. She builds her case by providing examples that analyze Sarduy's literature through his use of the aesthetics pertaining to the visual and plastic arts. Beyond this Santos also formulates a brief, yet extremely detailed history of the neobarroco style while meshing it with the appearances of kitsch and camp elements. One area that could have been further contextualized and explained is Santos's delineation of the relevant aspects of queer theory within the framework she proposes. Although the approximations she makes are precise, detailed, and cutting-edge, readers may not completely arrive at the conclusions that she intends. Perhaps the solution would have been to texture (even more) the examples Santos uses within those terms pertaining to the queer theoretical postulates that she refers to. Beyond this, the task that Santos's book embarks on from the outset is
Luso-Brazilian Review – University of Wisconsin Press
Published: Apr 25, 2005
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