Abstract
Examining the work of British-Guyanese artist Hew Locke in view of the 17th century aesthetic category of the baroque, this essay suggests that Walter Benjamin's conception of allegory provides the most fitting interpretive framework for understanding the dialogic agency of diasporic indirection that characterizes Locke's investigations into the crisis of sovereignty. What makes it post-colonial is the double-voiced strategy whereby questions of violence and mourning are inscribed beneath a dazzling masquerade of cross-cultural quotation.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
