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Queer Baroque: Sarduy, Perlongher, Lemebel

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Queer Baroque: Sarduy, Perlongher, Lemebel City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2020 Queer Baroque: Sarduy, Perlongher, Lemebel Huber David Jaramillo Gil The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3862 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] QUEER BAROQUE: SARDUY, PERLONGHER, LEMEBEL by HUBER DAVID JARAMILLO GIL A dissertation submitted to the Graduate Faculty in Latin American, Iberian and Latino Cultures in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2020 © 2020 HUBER DAVID JARAMILLO GIL All Rights Reserved ii Queer Baroque: Sarduy, Perlongher, Lemebel by Huber David Jaramillo Gil This manuscript has been read and accepted for the Graduate Faculty in Latin American, Iberian and Latino Cultures in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Carlos Riobó Chair of Examining Committee Date Carlos Riobó Executive Officer Supervisory Committee: Paul Julian Smith Magdalena Perkowska THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Queer Baroque: Sarduy, Perlongher, Lemebel by Huber David Jaramillo Gil Advisor: Carlos Riobó Abstract: This dissertation analyzes the ways in which queer and trans people have been understood through verbal and visual baroque forms of representation in the social and cultural imaginary of Latin America, despite the various structural forces that have attempted to make them invisible and exclude them from the national narrative. My dissertation analyzes the differences between Severo Sarduy’s Neobaroque, Néstor Perlongher’s Neobarroso, and Pedro Lemebel’s Neobarrocho, while exploring their individual limitations and potentialities for voicing the joys and pains of being queer and trans in an exclusionary society. As I analyze the literary works of each artist, I also explore non-traditional forms of literature and non-literary objects found in their individual oeuvres. In doing so, I examine various forms of bodily sovereignty, representation practices, embodied forms of resistance, and dynamic forms of queer and trans living and survival. My investigations provide evidence that, in spite of dictatorial and neoliberal systems of power, spaces of creativity and exploration emerge through which artists reject imposed ideologies, embrace resistant aesthetics, and exercise political innovation. By recovering the Baroque, these artists denounce heteronormativity, phallocentrism, and normative sexualities while recognizing the place of sexual and gender minorities in Latin American culture and politics. iv ACKNOWLEDGEMENTS Early in my graduate studies, I became inspired by the work of activists, artists, and scholars who proudly and bravely addressed and explored the lives of queer and trans communities. With time, this dissertation arose from a myriad of conversations, collaborations, and relationships that wished to see sexuality and gender discussed further and in new ways. I would like to express my deepest gratitude to my advisor Dr. Carlos Riobó. Through my conversations with him, I was exposed to a series of illuminating debates and academic practices which guided my academic studies and research interests. Under his supervision, I was encouraged to face particular fears, gain confidence in my work, and benefit from significant opportunities. Without his persistent help, the goal of this project would not have been realized. I wish to thank the many professors who showed me what being a scholar, researcher, and educator was all about: Paul Julian Smith and Magdalena Perkowska whose insights as dedicated scholars and feedback as committee members were whole-heartedly appreciated and proved monumental towards the success of this study; and Diana Conchado, Marithelma Costa and María Luisa Fischer who, during my undergraduate studies at Hunter College, acted as intellectual and professional examples to which I could aspire. I wish to thank all the amazing people who are a part of the Latin American, Iberian, and Latino Cultures Department. The friendships that I developed with each and every member of the department speak to the supportive and encouraging environment found at LAILaC, which is unquestionably rare and of inestimable value. I owe a great debt to the Ph.D. Program in History at The Graduate Center, CUNY. As a College Assistant, I had the great pleasure of meeting a group of brilliant faculty and students whose intellectual passion I found inspiring. I would like to pay my special regards to Marilyn v Weber whose undeniable humor, kind generosity, and indispensable guidance helped make my tenure in this program and the completion of this project enjoyable experiences. I also wish to show my gratitude to the Social Media Fellows Program of the Graduate Center Digital Initiatives in which I had the pleasure of collaborating with and learning from a friendly and cooperative group of individuals. I am especially indebted to my predecessor, Jennifer Prince, who showed me kindness and support from the very moment we met. I would also like to recognize the spirit of happiness and friendship enjoyed as a member of the Colombian Studies Group of The Graduate Center, CUNY and The New School led by Jorge Alvis, Andrés Ceballos, Aura Hernández Cárdenas, Adrián Díaz, Diana Mantilla-Raad, Sara Ladino and Óscar Aponte. I wish to acknowledge the financial support received at The Graduate Center, CUNY which helped this project reach its goal: the Dean K. Harrison Award, the Doctoral Student Research Grant, and the Provost’s Pre-Dissertation Research Fellowship granted me the opportunity of immersing myself in research and writing. I would like to thank the members of the Sexualities Section of the Latin American Studies Association Congress whose feedback was of great value to this project. I would like to recognize the assistance received by the librarians at the Mina Reese Library and the Firestone Library who helped me access rare and valuable resources. I would like to thank CiberLetras, where a part of Chapter 3 was published. Lastly, and most importantly, I wish to acknowledge my family. Without their support and great love, this work would not have been possible. Fabo & Jordis –who became my protectors when I most needed help– mis defensores. Ma & Pa –who taught me the importance of resilience and sacrifice– mis héroes. My husband, Gary –who shone light in the darkest of moments – mi inspiración. vi CONTENTS ABSTRACT ................................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................ v CONTENTS .................................................................................................................................. vii CHAPTER 1 ................................................................................................................................... 1 Introduction ................................................................................................................................. 1 Rationale...................................................................................................................................... 2 State of the Matter ....................................................................................................................... 3 Ben Sifuentes-Jáuregui ............................................................................................................ 3 Krzysztof Kulawik ................................................................................................................. 10 Theoretical Background ............................................................................................................ 12 Neobaroque ............................................................................................................................ 12 Trans Theory .......................................................................................................................... 17 Severo Sarduy ........................................................................................................................ 35 Néstor Perlongher .................................................................................................................. 37 Pedro Lemebel ....................................................................................................................... 41 Methodology ............................................................................................................................. 43 Terminology .............................................................................................................................. 44 Conclusion ................................................................................................................................. 46 CHAPTER 2 ................................................................................................................................. 48 Introduction ............................................................................................................................... 48 Queer
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