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This paper analyzes Romero Esteo's work from a cultural and aesthetic background rarely founded in the peninsular hispanic studies, in spite of being the appropiate one regarding his times. This complex theoretical frame, which has been related afterwards to diverse currents as Posestructuralism, the «New Left» and «Postmodernity», began to be developed in Europe during the sixties. Among the main names of these tendencies, who are the basis for my present approach, Michel Foucault, Roland Barthes, Jacques Derrida, Jean-Francois Lyotard, Gille Deleuze y Felix Guattari, Jean Baudrillard, Umberto Eco o Eugenio Trias are included. Starting from this wide corpus of aesthetic philosophy, which is going to be given an unitary interpretation through a consideration of the barroque condition of contemporary culture —reconsidering the theory of alegory by Benjamin—, this study intends to understand the specifity of an aesthetic project of great originality as well as the cultural background where it has risen.

La escritura huérfana: Miguel Romero Esteo o la sublimidad del grotesco en la última vanguardia