The example I use to test my hypothesis is the book Las Correspondencias, of Alí Calderón, who uses pastiche, parody, testimony and recycling, as neobaroque forms, to recontextualize historical and literary pasts in our historical moment of the 21st century.
Abstract: In this article I distinguish the semantic differences between cultural mixing, crossbreeding and hybridization, and who their communicating vessels enable the development and practice of hybrid poetry. Later, I make a historical review of some ideas of authors and concepts of the theory of literary genres for highlight procedural oppositions, also highlight some examples of modern poetry that advanced some attributes of the generic problem of contemporary poem, for which I propose the lyrical diaspora concept to highlight the difference between the modal self and the different voices participating in the enunciation of the poem. I’m interested in studying the modal self and its diverse stylistic operation in the contemporary hybrid poem in two modes: the first as a destabilization of the lyrical genre and the second as a new poetic program. The example I use to test my hypothesis is the book Las Correspondencias, of Alí Calderón, who uses pastiche, parody, testimony and recycling, as neobaroque forms, to recontextualize historical and literary pasts in our historical moment of the 21st century.