This essay reflects upon the principal aesthetic notions that define the so-called Neobaroque poetic. In this regard, new evidence is presented in order to justify the use of two words (synonymous), neo-no-barroco and barrococó instead of “Neo-baroque”, considering this term a misnomer since it projects the idea –by the use of the prefix– that it is a direct descendent of the Spanish Baroque, which is an incomplete truth. The relationship of the neo-no-barroco / barrococó with the foundational idea of Romanticism; that poetry should think about thinking is obvious and yet, it has not been adequately analyzed. Therefore, having an etymological reconfiguration of the aesthetic associated with difficulty and with the overlapping rhetorical pitfalls that demand the act of reading at a higher concentration level, the neo-no-barroco or barrococó poetic will be able to reach a more precise definition and allow the inclusion of poetic voices hitherto unconsidered as Neobaroque.
Espina, E. (2015). Neo-No-Barroco o barrococó: Hacia una perspectiva menos inexacta del neobarroco. Revista Chilena De Literatura, (89). Retrieved from https://revistas.uchile.cl/index.php/RCL/article/view/36598
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