FROM THE BAROQUE TO THE IBERO-AMERICAN NEO-BAROQUE: GROWING COMPLEXITY

Abstract

The work is divided into six sections and fifty entries, in the form of questions and conjectures[1]. The first section (1 to 8) exposes the imperative of ridding the historical examination of sad passions. The second (9 to 24) examines names from the region through a paradox: every proper name is usually improper;  and adds a caution: defining an identity by radical opposition to others is a disastrous artifice, as occurred in the genesis and trend of the name of Latin America. In the third and fourth sections, the baroque is condensed in the coming and going of two archetypes, one initial: the Inca Garcilaso de la Vega (25 to 34), and the other terminal, José Celestino Mutis (35-40), In the fifth section The neobaroque of Latin America is exposed by the hand of a universal Colombian thinker, Fernando Zalamea (41-46). In the sixth (47 – 50), the author summarizes his journey aimed at combining the wealth of the neo-baroque with the transformation of society, through the project of a New Liberating Route for peace, education, science and culture to renew the utopia of constituting education as the fourth public power, a utopia already latent in Thomas More, The New Atlantis and explicit in a speech by Bolívar.