NOSTALGIAS IMPERIALES: EL NEO-EUROCENTRISMO ACADÉMICO (A PROPÓSITO DEL TRANSBARROCO PERUANO Y SUS DETRACTORES ESPAÑOLES).

In this article, Rubén Quiroz Avila analyzes academic neo-Eurocentrism and its discursive strategy of concealing and delegitimizing the argument of the Peruvian transbaroque. The author argues that in Peru, different literary systems coexist, with the traditional Spanish system being dominant. The transbaroque, although part of a hegemonic sector, questions cultural heterogeneity and conformity to the market. On the other hand, Spanish scholar José Antonio Paniagua García criticizes decoloniality and the emancipatory project of the Peruvian transbaroque, considering them essentialist and a patriotic invention. Paniagua argues that the transbaroque anthology is a reterritorialization that seeks to establish an official canon. In his second article, Paniagua criminalizes transbaroque and equates it with other baroque forms of Latin American poetry. The text criticizes the transnational perspective in the study of Latin American literature, arguing that it does not refer to specific aesthetic phenomena of the region. The author also questions the homogeneity of national identity and the influence of the metropolitan canon in the theorization of the Peruvian transbaroque. The existence of a supposed "kidnapping" of the semantic horizons of other literary appearances in Latin America is mentioned. The author uses the Journal of Literary Criticism and the Iberoamerican/Vervuert publishing house to launch his arguments from the Spanish academy and address a specific readership. The text criticizes the position of critic Paniagua regarding the concept of transbaroque and its relationship with decoloniality. It is argued that Paniagua confuses and distorts the concepts, and that his Eurocentric vision does not understand the diversity of indigenous epistemes in Latin America. Furthermore, his accusation that the transbaroque has kidnapped concepts from other Latin American poetic proposals is criticized. The importance of recognizing the historical context and political violence in transbaroque production is emphasized. The text discusses the fundamental difference between transbaroque and its Parisian counterparts, highlighting its emergence in Peru during the colonial era as a reformulation of the Iberian baroque. Despite the historical evidence, Paniagua characterizes the transbaroque in a hostile and aggressive manner as a manipulative operation of Latin American neobaroque. The text also mentions the Peruvian literary tradition and its connection to indigenous baroque, dismantling the fallacies constructed by Paniagua. The importance of recognizing otherness and questioning the hegemonic literary canon is emphasized. [Extracted from the article]