Journal articles on the topic 'Baroque Art and Literature'
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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.
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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.
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Johnson, Christopher D. "On Borges’s B/baroque." Comparative Literature 72, no. 4 (December 1, 2020): 377–405. http://dx.doi.org/10.1215/00104124-8537731.
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Abstract This article examines Jorge Luis Borges’s ingenious, largely dehistoricized interpretations and imitations of seventeenth-century writers typically called Baroque. It contends that the aesthetic, epistemological, and metaphysical values Borges assigns to works by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges, despite the ingenious difficulty of his own writings, refuses to countenance this stance. This refusal turns also on Borges’s distinction between writing he fervently praises as “classic” and writing he ambiguously blames as “baroque.” The former serves as the explicit model for his own invention; but the latter implicitly, agonistically, informs much of his thinking and writing as well. Borges’s unwillingness to distinguish the historical Baroque from a recurring, eternal baroque is understandable, given his philosophy of art and history; however, it ignores how periodization can have the heuristic and conceptual function of finding unity in multiplicity, a unity that includes divergent styles and ideologies.
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Ciaramitaro, Fernando. "Reseña de: Pasolini, Alessandra y Pilo, Rafaella (eds.), Cagliari and Valencia during the Baroque Age." Espacio Tiempo y Forma. Serie IV, Historia Moderna, no. 32 (July 16, 2019): 375. http://dx.doi.org/10.5944/etfiv.32.2019.25202.
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García, César. "Cardinal Mazarin’s Breviary of politics: Exploring parallelisms between the Baroque and public relations in a post-truth society." Public Relations Inquiry 9, no. 3 (May 24, 2020): 295–310. http://dx.doi.org/10.1177/2046147x20920805.
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This article suggests we live in a neo-Baroque era of communication between organizations and publics. The 17th and 18th centuries are particularly rich in literature about the importance of building a reputation to get and retain power. These authors consider communication management, a key factor in how monarchs, princes, and governments must relate to their constituencies to make their power sustainable. A chief minister to the French kings Louis XIII and Louis XIV, Cardinal Mazarin’s Breviary of Politics offers a solid representation of Baroque thought on communication and power. A critical analysis of his book shows that many of the elements associated with Baroque art, a style born with a propagandistic purpose that appeals to irrationality and primary emotions through a combination of dramatic visual elements, could be found to have profound resemblances with the way public relations is practiced in our current post-truth era. This era shows how communication managers and leaders have been able to reach their objectives by being irrational, thanks to the echo chamber provided by both social media and mainstream media with their multiplicity of truths, where a community of like-minded individuals, sort of a correlate of the ‘believers’ in the Baroque period, are looking to confirm their preconceptions. The resemblances between Mazarin and Baroque’s simulation art, privileging appearances, the visual and emotional over facts, squares surprisingly well with how recent or current leaders such as Donald J. Trump, Boris Johnson or George W. Bush connect with the masses. Perhaps these political leaders are being irrational, but there is a rationality in using irrationality to their advantage.
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Riegl (book author), Alois, Andrew Hopkins (book editor and translator), Arnold Witte (book editor and translator), and Gregory Davies (review author). "The Origins of Baroque Art in Rome." Renaissance and Reformation 34, no. 1-2 (March 13, 2012): 296–98. http://dx.doi.org/10.33137/rr.v34i1-2.16191.
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Oser, L. "Reality Calling: Mayflies and the Baroque Art of Richard Wilbur." Literary Imagination 2, no. 2 (January 1, 2000): 223–35. http://dx.doi.org/10.1093/litimag/2.2.223.
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Rachlin, N., R. Scullion, and S. van Tuinen. "Mannerism, Baroque, and Modernism: Deleuze and the Essence of Art." SubStance 43, no. 1 (January 1, 2014): 166–90. http://dx.doi.org/10.1353/sub.2014.0006.
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Golahny, Amy. "Poe’s References to the Visual Arts." Edgar Allan Poe Review 22, no. 1 (June 1, 2021): 6–29. http://dx.doi.org/10.5325/edgallpoerev.22.1.6.
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Abstract Poe’s references to the visual arts have long been noted, but rarely examined for personal and original content. Barbara Cantalupo’s recent monograph is an exception in this regard and proposes that Poe’s interest in the arts was deep and generally concerned beauty and aesthetic issues. Facile with aspects of antiquity, the Renaissance, and the Baroque, Poe had an enthusiasm for artists working in the United States that was more personal than his interest in those from the European past. He knew firsthand works by Joshua Shaw, Clark Mills, and Hiram Powers. Without traveling to continental Europe, Poe became familiar with Renaissance and Baroque art through his reading and by viewing works in New York and Philadelphia. He was sufficiently familiar with foremost artists and antiquities to make references that strengthened his characters and settings. In commenting on exhibits in New York, Poe revealed his opinions, both positive and negative. Conversant with the typical qualities of major categories of art, Poe did not stray from the generally received information about past art but evidently relied on his own observations for current art. Ultimately, Poe’s interest in the visual arts depended on how he could use painting and sculpture in his writings.
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Ambroży, Paulina. "Wading through black jade in Marianne Moore’s sunken cathedral: The modernist sea poem as a Deleuzian fold." Studia Anglica Posnaniensia 50, no. 4 (December 1, 2015): 79–97. http://dx.doi.org/10.1515/stap-2015-0034.
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Abstract The study is a close reading of Moore’s poem “The Fish” (1918) through the conceptual lens of Gilles Deleuze’s trope of the fold, as explained in his influential 1988 study of Leibniz, The Fold: Leibniz and the Baroque. The purpose is to explore Moore’s (neo)baroque sensibility and her peculiar penchant for Baroque tropes, images and forms. The Deleuzian concept of the fold, with its rich epistemological implications and broad cultural applicability as the universal trope of crisis, change, unrest and transience, helps to comprehend Moore’s own philosophical and aesthetic concerns. The study, in accord with the interdiscursive character of the contemporary studies of modernism draws from art history, philosophy, theory, literature, and visual arts, to uncover a strong Baroque undercurrent in the poet’s polyphonic imagination. Seen in the light of Deleuze’s fold, Moore’s poem emerges as a quasi-Baroque ruin, a sunken cathedral-cum-graveyard, with a theatrical chiaroscuro lighting and folding and unfolding of sense, which both shelters and entombs the severely wounded modernist soul.
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ABDULRAZZAQ AL-RUBAIEE, AHMED. "EL ESTILO LITERARIO EN LA EPOCA BARROCA." Al-Adab Journal 1, no. 127 (December 5, 2018): 40–48. http://dx.doi.org/10.31973/aj.v1i127.199.
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At the end of the middle eras, began in Spain an era of literary integration called it the (Golden era) Unlike political events which was prevalent there, Spain was from the side political lives he situation is stressed and internal divisions, but from the literary side She reached the peak of her relationship.
The term Baroque refers to a movement of art, literature and culture, spread in Spain since the end of the sixteenth century until the end of the seventeenth century, In the seventeenth century began Literary productions from theater, novel, poetry and prose reach its grandeur, and there appeared prominent writers They knew in Spain and the world as well such as (Luba de Veca) and his style in theater and literary currents, Who followed his approach.
The current study consists of two chapters:
Chapter one refers to the beginning and prosperity and the end of baroque style in Spanish literature.
The second chapter explains it operation evolution of the method (baroque) especially in lyric poetry of the baroque, We spoke in it about the most prominent figures in the field of poetry during the golden era.
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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.
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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.
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Nelson, Thomas J. "Attalid aesthetics: the Pergamene ‘baroque’ reconsidered." Journal of Hellenic Studies 140 (November 2020): 176–98. http://dx.doi.org/10.1017/s0075426920000087.
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Abstract:In this paper, I explore the literary aesthetics of Attalid Pergamon, one of the Ptolemies’ fiercest cultural rivals in the Hellenistic period. Traditionally, scholars have reconstructed Pergamene poetry from the city’s grand and monumental sculptural programme, hypothesizing an underlying aesthetic dichotomy between the two kingdoms: Alexandrian ‘refinement’ versus the Pergamene ‘baroque’. In this paper, I critically reassess this view by exploring surviving scraps of Pergamene poetry: an inscribed encomiastic epigram celebrating the Olympic victory of a certain Attalus (IvP I.10) and an inscribed dedicatory epigram featuring a speaking Satyr (SGO I.06/02/05). By examining these poems’ sophisticated engagements with the literary past and contemporary scholarship, I challenge the idea of a simple opposition between the two kingdoms. In reality, the art and literature of both political centres display a similar capacity to embrace both the refined and the baroque. In conclusion, I ask how this analysis affects our interpretation of the broader aesthetic landscape of the Hellenistic era and suggest that the literature of both capitals belongs to a larger system of elite poetry which stretched far and wide across the Hellenistic world.
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Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.
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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as analytical method in performanceanalysis of pieces of music (intonation and structural analysis), andrevealing the value of the baroque repertoire in the process of becoming amodern vocalist. Applied methods reveal the practical performing aspectof the study. The scientific novelty of the article is to identify andsummarize the main factors and techniques of training that becomenecessary for modern performers of baroque vocal music, influencing theformation of a vocalist and the further performance of another vocalrepertoire. This question is considered from the singer-performer’s point ofview the application of the rules and traditions of baroque performance inmodern conditions. Both the works of composers and the methodologicalliterature of the Baroque era, as well as the experience of contemporaryrecognized singers, the personal experience of the author as a singerperformerof baroque music, and pieces of music, are in the field of view.In the conclusions it is noted that the broad analysis of pieces of music,involved in performing practice, makes it possible to reveal the existenceof important requirements for vocalists in the Baroque art, from whichboth the musical aesthetics of the Baroque and the tradition of baroqueperformance gradually grew.
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AZOVTSEVA, Sofia. "SERMON AS A RELIGIOUS COMMUNICATION (EMOTIONAL TOOLS OF PERSUASION IN THE SERMONS BY ANTONIJ RADYVYLOVS’KYI)." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 9–17. http://dx.doi.org/10.37708/ezs.swu.v18i1.1.
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Territorially and mentally, Ukraine is the borderland of different civilizations. Ukraine’s geographical location and historical conditions have drastically affected the course of social, political and cultural developments. It appears that the Baroque era became an important bridge in the convergence of Western and Eastern Europe. The rhetoric and homiletic genre held an important place in the art system of the old Ukrainian literature, and even more so in the Ukrainian Baroque literature in the time of radical national upheavals and inter-confessional wars. Since the early 1600’s the Ukrainian sermon acquired some new features, which was due mostly to the socio-historical changes. A major role in the development of church oratory prose was played by the instructors of the Kyiv-Mohyla Collegium, whose rhetoric textbooks relied on both the ancient theory of rhetoric art and the Baroque works of the literati from Central and Western Europe. The "new" type of a sermon, i.e., a topical kazannia (sermon), evolved as a part of the anti-Catholic cultural and religious movement, which was a reflection of the socio-political situation. Whereas in the 1500’s and early 1600’s theUkrainian sermon constituted an exegesis of the Biblical text (expository sermons) designed in a moral and instructive spirit, the late 1600’s saw the arrival of the sermon whose main feature became the departure from the homily principle. Instead, the Gospel passages were interpreted in compliance with the principles of a rhetorical speech, or, to be more exact, of a topical kazannia. Antonij Radyvylovs’kyj was a Kyiv-Mohyla Collegium alumnus, so his sermons were built on the premises of Rhetoric art.
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Clarke, Theodore C., and Scott J. Bolton. "The planets and our culture a history and a legacy." Proceedings of the International Astronomical Union 6, S269 (January 2010): 199–212. http://dx.doi.org/10.1017/s1743921310007428.
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AbstractThis manuscript relates the great literature, great art and the vast starry vault of heaven. It relates the myths of gods and heroes for whom the planets and the Medicean moons of Jupiter are named. The myths are illustrated by great art works of the Renaissance, Baroque and Rococo periods which reveal poignant moments in the myths. The manuscript identifies constellations spun off of these myths. In addition to the images of great art are associated images of the moons and planets brought to us by spacecraft in our new age of exploration, the New Renaissance, in which we find ourselves deeply immersed.
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Meadows, Harrison. "Disruptive marginality: The representation of wildness in Lope de Vega’s Baroque dramatic art." Romance Quarterly 65, no. 4 (October 2, 2018): 180–91. http://dx.doi.org/10.1080/08831157.2018.1517534.
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Houen, Christina. "When Caged Birds Sing: The Many-folded Subject in the Baroque World of Heian Japanese Women's Writing." Deleuze Studies 5, no. 1 (March 2011): 97–117. http://dx.doi.org/10.3366/dls.2011.0010.
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In this article, the world of Heian women's literature is interpreted through Deleuzian concepts of desire and becoming and figures of the rhizome, the Baroque fold and origami, supported by Elizabeth Grosz's concept of art as originating in the impulse to seduction. Within the constraints of movement, dress and behaviour imposed by a polygamous hierarchical court society, Heian women created a rich body of literature that celebrated and subtly critiqued their world. Through aesthetic intensification of form and imagination within a labyrinthine cloistered society, they folded their fictional and autobiographical subjectivities into intricate patterns of desire. The richly described and imagined world of their fictional and confessional literature, still read, translated and transformed into other art forms, celebrates the freedom of the imagination even in confined and controlled circumstances.
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Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (September 2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.
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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.
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Patroeva, Natalia V. "THE RHETORICAL ASPECT OF “EPINIKION” BY FEOFAN PROKOPOVICH." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 3 (2022): 72–86. http://dx.doi.org/10.31860/2712-7591-2022-3-72-86.
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The search for techniques and ways of artistic expression as a style- and genre-forming means of decorating the text was the main concern of baroque writers. This article analyzes the rhetorical devices of poetic texts by Feofan Prokopovich in comparison with recommendations that Feofan gives in his treatises “On the Poetic Art” and “On the Art of Rhetoric”. “Epinikion” demonstrates the early Feofan’s adherence to the Church Slavonic cultural tradition. It contains the widest range of Slavonic literary lexical and grammatical features and rhetorical devices. Feofan’s use of rhetorical devices testifies to his «moderate» baroque aspirations, noted by Aleksandr Mikhailovich Panchenko. “Epinikion” is written in the ode genre. In it, along with metaphor, comparison, metonymy, synecdoche, allegory, personification, paraphrase, antonomasia, and hyperbole, Feofan uses sarcasm and caustic irony against enemies, whom he calls «barbarians» and “heretics”. In his syllabic texts, Feofan quite strictly observes the requirements he prescribes in his works on poetic art and rhetoric: the avoidance of pomposity and decorative excesses in texts of the middle style and even a more moderate use of figures of speech in the plain style texts. It is no coincidence that Feofan Prokopovich was probably the first to call for the abolition of the baroque poetic and rhetorical devices in his treatises. With his poetic gift, this stern and strict supporter of Peter the Great’s reforms sought to demonstrate the use of a new style, rhetoric, and poetics in Russian literature. Feofan’s poetic texts differ to a large extent from seventeenth-century verses and paved the way for Russian classicism and the new Russian poets — Antioch Kantemir, Vasily Trediakovsky and Mikhail Lomonosov.
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Yankova, Mariya. "Мотив хвороби в історії літератури і культури посттоталітарних країн Центрально-Східної Європи." Studia Ucrainica Varsoviensia, no. 9 (December 17, 2021): 219–22. http://dx.doi.org/10.31338/2299-7237suv.9.19.
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The article is dedicated to the issues considered during the international conference “The motive of the disease in the history of literature and culture of post-totalitarian states of Central and Eastern Europe”, which took place on November 6, 2020. The main topics of the speakers were focused on the disease as a weakness in the literature, the trauma of loss, the theme of illness and healing in world literature from its beginning to the present, including the periods of Kyiv Rus, Renaissance, Baroque and Modernism and the traumatic experience in the narratives of the Holodomor, Ukrainian women’s prose and the ability of Ukrainian sacred and decorative, as well as modern women’s art to visualize the disease and help artists overcome their injuries.
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Pilipowicz, Denys. "Traktat ars moriendi w literaturze ukraińskiego baroku na przykładzie dzieła Катихисїс албо наука христїанская Innocentego Winnickiego." Slavica Wratislaviensia 168 (April 18, 2019): 77–87. http://dx.doi.org/10.19195/0137-1150.168.6.
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The ars moriendi treatise in Ukrainian baroque literature: The example of Innocenty Winnicki’s Catechism, or the Knowledge of Christianity The author of this article focuses on bishop Innoceny Winnicki’s Catechism, or the Knowledge of Christianity and its relationship to European ars moriendi texts. The art of dying gave sick and elderly people practical tips on how to prepare for death and how to achieve salvation. The author shows the reception of Latin Catholic literature patterns in the literature of the Ukrainian baroque period and the cultural characteristics of the Polish-Ukrainian cultural border, where the influence of the East and the West overlapped. Трактат арс морієнді в літературі українського бароко на прикладі Катихисїс албо наука христїанская Інокентія ВинницькогоПрезентована стаття присвячена характеристиці твору перемиського єпископа Інокентія Винницького на фоні жанрових зразків присутніх у західноєвропейській літературі. Суттю мистецтва вмирання було передати людям хворим та старшим, які наближаються до кінця свого життя практичні поради як готуватися на смерть та отримати спасіння. Проведений аналіз дав змогу показати рецепцію латинських, католицьких літературних зразків в українській літературі аналізованого періоду та показати культурну своєрідність польсько-українського пограниччя, де сплітаються впливи Сходу й Заходу.
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Hart, Jonathan Locke. "Steinberg, Leo. Renaissance and Baroque Art: Selected Essays. Ed. Sheila Schwartz." Renaissance and Reformation 44, no. 2 (October 5, 2021): 276–79. http://dx.doi.org/10.33137/rr.v44i2.37557.
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Hart, Jonathan Locke. "Steinberg, Leo. Renaissance and Baroque Art: Selected Essays. Ed. Sheila Schwartz." Renaissance and Reformation 44, no. 2 (October 5, 2021): 276–79. http://dx.doi.org/10.33137/rr.v44i2.37557.
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Barthes, Roland, and Susan Homar. "The Baroque Face." Review: Literature and Arts of the Americas 53, no. 1 (January 2, 2020): 21–23. http://dx.doi.org/10.1080/08905762.2020.1748424.
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Saliba, Nada. "The Significance and Representation of the Nuruosmaniye Mosque as a Baroque Monument." Chronos 21 (April 30, 2019): 167–86. http://dx.doi.org/10.31377/chr.v21i0.486.
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The Baroque style of architectural building, which had prevailed in much of Europe during the seventeenth and eighteenth centuries, emerged for the first time in the mid-eighteenth century in Istanbul. It was the Nuruosmaniye mosque in its Baroque tendencies that broke away from the traditional Anatolian and distinctive classical Sinan style of building. As Cerasi puts it, "It is no rough quotation or mere imitation of foreign styles, but a clever transposition of a foreign vocabulary into a perfectly dominated indigenous poesis." (Cerasi 1988: 98) This genius in reversing the roles and borrowing this foreign language of Baroque and applying it on a monument from Ottoman Turkey in a synthesis of two worlds is at the core of the Nuruosmaniye, which is considered one of the best representations of Baroque spirit in the Ottoman Empire. Moreover, what adds to this mystery is the little information regarding the architect and the direct origins that influenced the building of this mosque. This paper addresses the events that led to the building of the Nuruosmaniye and the penetration of Baroque influence into Turkey. While the character of the Nuruosmaniye retains a certain originality amongst the mosques of its time, true recognition of the Nuruosmaniye seems to have been suspended. With the exception of a few historians, the likes of Dogan Kuban and Aptullah Kuran, one may postulate that the Nuruosmaniye has been poorly represented in current historiography on Ottoman art—especially in contrast with previous Ottoman monuments, namely those of the Sinan period. While presenting a rich and rare evaluation of the Nuruosmaniye, this paper attempts to counterbalance the Nuruosmaniye's absence from literature dealing with Ottoman an history.
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Trusted, Marjorie. "Transatlantic works of art: the hybrid qualities of two kinds of baroque." Renaissance Studies 34, no. 4 (August 2019): 669–86. http://dx.doi.org/10.1111/rest.12594.
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Meimei, Huan. "THE WORLDVIEW PRINCIPLES OF THEOPHAN PROKOPOVYCH'S "POETICS"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 34–39. http://dx.doi.org/10.17721/1728-2659.2022.31.07.
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The article examines the peculiarities of the worldview foundations of "Poetics" by Theophan Prokopovych. The thesis is substantiated that the ideological foundations of the treatise are generally educational. It is emphasized on the author's criticism and denial of Baroque norms, as the opposition to the enlightenment theses. Prokopovych represents the author's vision of well-known concepts and categories of theoretical poetics, showing the examples of the world literature. The thinker argues with traditional understandings of a number of categories, while offering innovative and relevant to his era theses. The writer develops the idea of the necessity to adhere to the stated theoretical provisions, representing them as a model for further literary development. The treatise, having not only theoretical but also practical character, represents the peculiarities of literary evolution. In "Poetics" by Theophan Prokopovych, we observe the development of the tradition of creating such treatises in school institutions. The author's contribution to the improvement of this genre and its existence in Ukrainian literature is important. The studied treatise represents the author's departure from the baroque tradition of poetics, even in some cases its denial, the presentation of individual worldview in the field of theory and history of literature. T. Prokopovych offered his vision of poetic art and its understanding in an educational way. The traditional thesis in science about the worldview principles of the treatise "Poetics" as synthetic in nature, combining traditions of Antiquity, Medieval, Renaissance, Baroque, is discussed and supplemented by considerations of the predominance in the treatise of classical and enlightenment elements. The author's character is also clearly shown in the presentation of T. Prokopovych's artistic texts in "Poetics", which tend towards the Enlightenment style. In general, written in the era of Ukrainian literary Baroque "Poetics" by Theophan Prokopovych leads a discussion with the ideas and theses of the day as those that have lost their relevance and need to be modernized. Thus, the essence of the worldview principles of the treatise is in their revolutionary nature in relation to the ruling era and the establishment of innovation in the field of theory and history of literature, which Prokopovych notices in the Enlightenment.
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Buttes, Stephen. "The Failure of Consuelo’s Designs: Carlos Fuentes and Trompe l’Oeil Modernity." Revista Canadiense de Estudios Hispánicos 41, no. 2 (January 10, 2017): 297–324. http://dx.doi.org/10.18192/rceh.v41i2.2148.
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Este artículo estudia las tensiones entre los elementos barrocos y los elementos góticos en Aura (1962) de Carlos Fuentes. Estableciendo conexiones entre esta novela y La región más transparente (1958), el ensayo argumenta que en Aura Fuentes radicaliza la teatralidad de las formas barrocas y las góticas para señalar sus límites. Con el uso de la segunda persona singular, la novela desarrolla un concepto de modernidad que no se subordina a los modelos políticos existentes, un modelo parecido al arte anti-teatral en su variante pastoral estudiado por Michael Fried. Palabras clave: Carlos Fuentes, lo barroco, lo gótico, la antiteatralidad, la autonomía literaria The present study examines the tensions between Baroque and Gothic elements in Carlos Fuentes’ Aura (1962). Analyzing unstudied connections between La región más transparente (1958) and Aura, the essay argues that Fuentes radicalizes the theatricality of Baroque and Gothic forms in his novel in order to signal their limits. With his use of the second person singular to narrate the novel, he seeks to develop a new concept of modernity, one that would not be subordinated to already existing political models. This concept of literary form parallels the pastoral conception of antitheatrical art studied by Michael Fried. Keywords: Carlos Fuentes, Baroque, Gothic, antitheatricality, literary autonomy
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Knapp. "Rethinking the Literary Baroque." Criticism 62, no. 1 (2020): 165. http://dx.doi.org/10.13110/criticism.62.1.0165.
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Dolskaya-Ackerly, Olga. "Vasilii Titov and the ‘Moscow’ Baroque." Journal of the Royal Musical Association 118, no. 2 (1993): 203–22. http://dx.doi.org/10.1093/jrma/118.2.203.
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The Baroque, which manifested itself in Muscovy during the course of the seventeenth century, has been recognized as one of the most dynamic and influential eras of Russian musical and artistic creativity. When looking at the history of Russian music one has a tendency to equate the new stylistic trends of the second half of the seventeenth century with those of the highly westernized eighteenth, and to dismiss both merely as periods of Western imitation. In reality music manuscripts reveal otherwise, and now that compositions are finally becoming available in transcription we realize that an entire era remains to be recognized and re-evaluated. In art and architecture, that era, known as the ‘Moscow’ or the ‘Naryshkin’ Baroque, is distinguished by a blend of Italian, Dutch, Russian, Ukrainian and Bielorussian features in a style that, although influenced by foreign elements, was none the less distinct from any in existence at the time. The Moscow Baroque embraced many aspects of the arts, from iconography, architecture and the applied arts to literature and music. Endorsed by Tsar Alexei Mikhailovich (1645–76), foreign influence began to penetrate Muscovy, ushering in a cognizance of Western concepts that began to clash with the rich and long-established spiritual and cultural traditions. In fact Muscovy was just emerging from an aesthetic explosion known as the Golden Age of national artistic expression. Familiar are the magnificent onion-dome churches that were created during the sixteenth century and the flourishing musical centres in Novgorod and Moscow, where composers and singers developed an intrinsically Russian musical style. This was also the age of indigenous Russian polyphony (e.g. strochnoe moskovskoe, strochnoe novgorodskoe, znamennoe and demestvennoe mnogogolosie) which preceded the wave of Western infiltration that inadvertently led to an untimely halt of the evolutionary process of national awakening. Prior to that halt, the Moscow Baroque stands as a brief but unique chapter in the development of the Russian choral tradition.
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Colombo, Stefano. "Silent Poetry: The Disputation on the Immaculate Conception by Carlo Maratti, Revisited." Zeitschrift für Kunstgeschichte 85, no. 2 (June 1, 2022): 152–80. http://dx.doi.org/10.1515/zkg-2022-2003.
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Abstract This paper re-examines the Disputation on the Immaculate Conception by Carlo Maratti (1686) and its reception in hitherto understudied poems which were first published in 1686 and 1687. Although the poems are chiefly celebratory and refer to the tradition of encomiastic pictorial description, this essay demonstrates how they help us understand the beholder’s engagement with Baroque art. It first analyzes the poems as both encomiastic speech and ekphrastic poetry to explain how epideictic description persuasively moves readers to venerate the Virgin, thus rekindling the cult of the Immaculate Conception. Subsequently, a comparative reading of the poems and the painting demonstrates how art and literature mutually informed each other to create new aesthetic and intellectual values. A detailed comparison between visual and verbal languages will therefore offer a new interpretative framework to reassess the painting, the poems, and their public.
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Bogomolets, O. "ICONOGRAPHY: ON BAROQUE MENTALITY OF UKRAINIANS." Philosophical Horizons, no. 45 (October 22, 2021): 96–110. http://dx.doi.org/10.33989/2075-1443.2021.45.243038.
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Based upon the empirical background of professional and folk baroque icons represented in the Radomysl Castle Museum’s exhibitions, this article reveals the compositional, artistic and ideological characteristics of the Ukrainian baroque icon painting. The coincidence of its images and ideals with the national character and public aspirations of Ukrainians is also described. It is due to this that the Ukrainian baroque icon painting (both professional and folk) in the time of long statelessness and cultural decentralization became the main means of rendering collective reminiscences that are basic for the preservation of ethnic and cultural identity, and social ideals with them. The latter transformed over time into mental models that unconsciously determined the ideological and value priorities of Ukrainians. They, as evidenced by the compositional specification of the baroque icons presented in the Radomysl Castle Museum’s collection, were much influenced by the ideas of the world’s transformation and achieving the Kingdom of Heaven on earth through the ascetic activity of heroes, which was basic for the baroque worldview. For a man of the “Baroque era,” such heroes were not only Orthodox saints, but also religious and political figures. Moreover, it was assumed that they could even ignore the demands of Christian moralists for the sake of promoting the specific vital interests of the people. Their ascetic activity was considered one of the main prerequisites for the transformation of the world, the prototype of which was the Mother of God. For Ukrainians, she was not only a tireless patron for disadvantaged and suffering ones, but also a prototype of the selfless love that would rule the world (“the holy Ukrainian land”), as the result of its transformation. The sincere hope of Ukrainians for the protection of saints, combined with an unshakable faith in the divine “omnipresence” and the fullness of the whole world with God’s wisdom led to the establishment of ontological optimism in the Ukrainian consciousness. This means the belief in the ultimate overcoming of all life obstacles without personal efforts. Ideas and mental models formed and transmitted by Ukrainian baroque icon painting, due to the spiritual leaders of the 19th century’s national revival (with the absolute primacy of Taras Shevchenko and his both literature and art heritage) acquired secular features. They continued to determine the way of thinking and behavior of Ukrainians. Even today, they sincerely believe that the renewal of the world and the formation of new and just order does not require any personal effort and is to be achieved by the forces of some heroes they would call.
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Monzón Pertejo, Elena. "Suárez, Juan-Luis, project dir. The Baroque Art Project: A Data Collection of Hispanic Baroque Painters and Paintings from 1550 to 1850. Other." Renaissance and Reformation 43, no. 4 (April 16, 2021): 254–57. http://dx.doi.org/10.33137/rr.v43i4.36400.
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Demchenko, Alexander I. "Antiquity (A Millennium before the Birth of Christ). The Basis of European Culture." ICONI, no. 2 (2020): 6–25. http://dx.doi.org/10.33779/2658-4824.2020.2.006-025.
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The peculiarity of the series of essays published by the magazine is that with the maximum compactness of the presentation, it provides a summary of the main phenomena of world artistic culture, covered in General both from the point of view of the General historical process, and in relation to various types of creativity (literature, fne art, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and the division into separate types of art with the genre specifcation inherent in each of them is overcome, which meets the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are considered in stages: the Ancient world, Antiquity, the Middle Ages, the Renaissance, the Baroque, the Enlightenment, Romanticism, Postromanticism, Modern I, Modern II, Modern III, Postmodern, and as an afterword — «The Golden age of Russian artistic culture».
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Demchenko, Alexander I. "The Enlightenment (the Second Half of the 18th Century). The Horizons of Light and Reason. Second Essay." IKONI / ICONI, no. 4 (2021): 6–19. http://dx.doi.org/10.33779/2658-4824.2021.4.006-019.
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The essence of the series of essays published by the magazine is that with the maximum compactness of the presentation, it provides a summary of the main phenomena of world artistic culture, covered in General both from the point of view of the General historical process, and in relation to various types of creativity (literature, fine art, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and the division into separate types of art with the genre specification inherent in each of them is overcome, which meets the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are considered in stages: the Ancient world, Antiquity, the Middle Ages, the Renaissance, the Baroque, the Enlightenment, Romanticism, Postromanticism, Modern I, Modern II, Modern III, Postmodern, and as an afterword — "The Golden age of Russian artistic culture".
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Lotery, Kevin. "Folds in the Fabric: Robert Morris in the 1980s." October 171 (March 2020): 77–114. http://dx.doi.org/10.1162/octo_a_00379.
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At the beginning of the 1980s, Robert Morris took a decisive and shocking turn. Abandoning the strategies of agency reduction, abstraction, and indeterminacy that had guided his practice since the 1960s, he began to make paintings instead. Architectural in scale and gaudy in their depictions of eviscerated human remains and post-apocalyptic landscapes, the new paintings trafficked in those myths of painting that Neo-Expressionism was just then resurrecting as bankable signs for a consumerist decade: expressivity, figuration, and narrative, among them. What, then, could unite the theorist of anti form—maker of the process-based, anti-object folds, tangles, and mounds of felt and thread waste—with the painter of the baroque, Neo-Expressionist daubs? This paper argues that the paintings of the 1980s, despite their seeming reversals, provide a key for understanding Morris's way of working from his earliest lead and felt projects forward. What they reveal, in short, is an oeuvre guided by a baroque logic of “the fold,” an aesthetic of non-invention that aimed, not at creating but at commandeering and multiplying, for better or worse, existing aesthetic and discursive structures, be they those of Conceptual art, post-Minimalism, or Neo-Expressionism.
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Leone, Stephanie C., and Paul A. Vierthaler. "Innocent X Pamphilj's Architectural Network in Rome." Renaissance Quarterly 73, no. 3 (2020): 897–952. http://dx.doi.org/10.1017/rqx.2020.122.
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This study employs network analysis and microhistory to challenge the standard narrative about architecture and patronage in Baroque Rome, that of celebrity patron-artist relationships. It investigates the artists and artisans below this elite team and the plurality of relationships that developed among them. The subject is Innocent X Pamphilj's monumental works of art and architecture, at the Vatican, Piazza Navona, Campidoglio, Lateran, and Janiculum Hill, commissioned for the 1650 Holy Year. It argues that competent artisans and their relationships influenced the operation of building sites and presents Innocent X as the patron of an industrious architectural enterprise.
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Demchenko, A. I. "Romanticism (the First Half of the 19th Century). The Pathos of Individualism." IKONI / ICONI, no. 1 (2022): 7–38. http://dx.doi.org/10.33779/2658-4824.2022.1.007-038.
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The essence of the series of essays published by the journal is that with the maximum compactness of the presentation it provides a summary of the main phenomena of world artistic culture, covered in general both from the point of view of the overall historical process and in relation to the various forms of art (literature, fine arts, architecture, music, theater and cinema). At the same time, there is a tendency to overcome the customary categorization of national schools and the division into separate forms of art with the genre specification inherent in each of them, which meets the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are examined in stages: the Ancient World, Antiquity, the Middle Ages, the Renaissance, the Baroque Era, the Enlightenment, Romanticism, Post-Romanticism, the First Modern Age I, the Second Modern Age, the Third Modern Age, the Post-Modern Age, and as an afterword — “The Golden age of Russian Artistic Culture”.
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Demchenko, Alexander I. "The Enlightenment (the Second Half of the 18th Century). Horizons of Light and Mind. First Essay." ICONI, no. 3 (2021): 6–21. http://dx.doi.org/10.33779/2658-4824.2021.3.006-021.
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The essence of the series of essays published by the magazine is that with a maximum compactness of presentation it provides a summary of the main phenomena of world artistic culture covered in general, both from the point of view of the general historical process, and in relation to the various forms of art (literature, the visual arts, architecture, music, theater and cinema). At the same time, the usual categorization of national schools and division into separate types of art with the genre specification inherent in each of them is overcome, which meets the positive trends of globalization and provides a holistic view of artistic phenomena. The following artistic and historical periods are considered in a stepwise manner: the Ancient world, Antiquity, the Middle Ages, the Renaissance, the Baroque Period, the Enlightenment, Romanticism, Post-Romanticism, the First Modern Period, the Second Modern Period, the Third Modern Period, the Postmodern Period, and as an afterword — “The Golden Age of Russian Artistic Culture”.
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Norets, Maxim V., and Olga B. Elkan. "Literary and musical synthesis in modern foreign literature: Works of Johann Sebastian Bach as urtext." Imagologiya i komparativistika, no. 18 (2022): 191–210. http://dx.doi.org/10.17223/24099554/18/10.
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The article presents the results of the analytical work with the verbal texts of modern foreign prosaists, poets and Johann Sebastian Bach’s music texts. Inn the opinion of the authors of the research, through centuries, works by Bach inspire representatives of different branches of art to look for new instruments for achieving intermediavity of art works and a high level of its synesthesia. One of the basic categories in the context of synthesis of arts is “musicality” as a reflection of the processes of using traditional music instruments and techniques while creating literary texts. Bach’s works themselves turn out to be a very important step in the development of the tradition of literary-music synthesis - Bach used the means, firstly, of musical rhetoric baroque to gain such synthesis. An even more interesting fact is that the very heritage of Bach appeared to be one of the most popular “objects” of musical-ization of the literary text. In the analyzed works of William Coales, Gabriel Josipovici, Richard Powers, Thomas Bernhard, George Tabori, Dieter Thomas Kuhn, Nancy Huston, Anna Enquist, the authors of the article discover Bach’s forebasis, a kind of an urtext, that allows considering the mentioned literary texts to be a highly representative material for solving the problems of the synthetic character of the art culture of the 21st century that indeed requires a deep reflection. Among the results of today’s exponential development of electronic technologies, there exists one important factor in the realization of art peoples’ centuries-old expectations - the forming of the possibility for the emergence (rather massive already) ofworks of art whose creation would involve different types and art forms. On the one hand, this factor makes it necessary to analyze the historical perspective, the evolution of the methods and models of synthesis of arts some authors create; on the other, however paradoxical it may seem, it seems to give a new impulse to experiments of writers, musicians, artists, who try, even remaining in general within the “traditional” boundaries of the types of their art (literature, music, art consequently), to actively use artistic means traditional for these types of art for achieving the effect of crossing the boundaries of “only” literature, music or art. This trend seems to be particularly noticeable in modern European literature. The aim of the given article is to identify the specific instruments of modern foreign prosaists who choose Bach’s music texts as the urtexts of their literary works. The authors declare no conflicts of interests.
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Loughery, John. "Sexual Violence: Baroque to Surrealist." Hudson Review 55, no. 2 (2002): 293. http://dx.doi.org/10.2307/3853006.
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Asieieva, Т. О. "TEXT-FORMING FUNCTIONS OF IMPERATIVES IN LEONTII KARPOVYCH’S SERMONS." Linguistic and Conceptual Views of the World, no. 68 (1) (2021): 9–17. http://dx.doi.org/10.17721/2520-6397.2021.1.01.
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In this article we study the texts of Leontii Karpovych in the context of a new type of sermon — the baroque sermon of the 17th century. The seventeenth century is notable for the fact that the aesthetics of the Baroque brought Ukrainian religious literature to a qualitatively new level, enriched it with many original compositions. In this context, we emphasize the figure of Leontii Karpovych, as in his work the features of a new type of sermon are beginning to be clearly pronounced, although the first texts date back to 1617. In order to form the views of believers and to enshrine in their minds religious teachings, to convey to them the word of God, the preacher must be able to use language resources skillfully that will help to achieve the goal. We analyze the functions of imperative forms of verbs in Leontii Karpovych’s baroque sermons. The sermon is studied as a communicative act between the preacher and the recipient. In the article we study the peculiarities of the functioning of grammatical categories of person and number in the text of Leontiі Karpovych’s sermon. We put emphasis on the use of imperative forms in accordance with the structural canon of the baroque sermon of the 17th centurу (the structure of the sermon consists of exordium, narration, and conclusion). Also, we investigate the functioning of performative verbs (mental and social) because the sermon, as a genre of religious literature, is based on the act of communication of the preacher with the audience. We analyze the consequences of using certain forms of imperatives (rapprochement with the audience, separation from the audience, the formation of a call to action, the actualization of the role of the preacher as a mentor), and the productivity of these forms.
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Ortiz García, José A. "La poètica de la mort en la poesia catalana dels segles XVII i XVIII." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 171. http://dx.doi.org/10.7203/scripta.10.11080.
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Resum: L’objectiu d’aquest estudi és proposar una visió sobre el tòpic de la mort en la poesia catalana pels segles XVII i XVIII. El punt central és la projecció pública de les composicions poètiques, tot apropant-nos a la literatura des d’un punt de vista cultural per presentar certs aspectes d’un tema clau en l’art barroc: el final de la vida. La primera part del text introdueix dos dels escriptors del barroc català, Francesc Fontanella i Agustí Eura. La segona secció recerca l’ús de la poesia catalana en les exèquies reials al voltant de la figura del monarca hispànic Carles II. Un cop presentades públicament les poesies en 1701, les edicions impreses són les que ens permeten una lectura contemporània. Publicacions d’altres gèneres poètics són la darrera part de l’article. Els Desenganys de l’Apocalipsi és una coneguda obra barrejant poesia i imatges amb una vessant didàctica per explicar el purgatori, l’infern, la glòria i el paradís als fidels lectors. Paraules clau: mort, poesia, barroc, exèquies Abstract: The aim of this study is a global vision about the topic of death in Catalan poetry throughout the 17th and 18th centuries. Focusing on the public use of poetical compositions, we want to approach literature from a cultural point of view in order to present some aspects about a typical subject in baroque art: the end of life. The first part of the text introduces two main Catalan baroque writers, Francesc Fontanella and Agustí Eura. Moving to the second section, the paper researches the use of poetry in royal obsequies around the figure of the Spanish monarch Charles the Second. After the public presentation of the texts in 1701, the printed publication of them is how we can still read them. The printed copies for other kind of poetry creations is the last part of this article. Desenganys de l’Apocalipsi is a well-known text mixing poetry and images with a didactical purpose: to explain the Purgatory, the Hell, the Glory and the Heaven to faithful readers. Keywords: death, poetry, baroque, obsequies
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Galletti, Sara. "Rubens’sLife of Maria de’ Medici:Dissimulation and the Politics of Art in Early Seventeenth-Century France*." Renaissance Quarterly 67, no. 3 (2014): 878–916. http://dx.doi.org/10.1086/678777.
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AbstractTheLife of Maria de’ Medici,the biographical series of twenty-four large-size paintings executed for the Queen Mother of France by Peter Paul Rubens in 1622–25, is traditionally regarded by historians as both a masterpiece of Baroque art and a monument of political naïveté. According to this view, the series was a disrespectful visual bravado that exposed both patron and painter to scandal by publicly advertising the queen’s political ideas and ambitions, which were not only audacious, but often in opposition to those of her son King Louis XIII. This article challenges this assessment by reading theLifewithin the context of seventeenth-century uses of dissimulation and spatial control as strategies to limit both intellectual and physical access to information. It argues that the series was imbued with multiple layers of meaning, intended for different audiences, and that access to these was strictly controlled by the queen and her circle.
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Egginton, William. "The Baroque as a Problem of Thought." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 143–49. http://dx.doi.org/10.1632/pmla.2009.124.1.143.
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We're an empire now, and when we act, we create our own reality. And while you're studying that reality—judiciously, if you will—we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors… and you, all of you, will be left to just study what we do.—Aide to George W. Bush, quoted by Ronald SuskindWhy the Baroque? Why now? As many have argued, the general aesthetic trend of the late twentieth to early twenty-first centuries, often called postmodern, can perhaps more usefully be labeled neobaroque. Is the neobaroque turn of the twentieth century something akin to the neoclassicism of the sixteenth century, or the neo-Gothicism of the nineteenth? Or, on an even more condensed scale, is it similar to the rapid returns of previously dismissed fashion decades, as evidenced by the proliferation in the early years of this century of those beads and bellbottoms associated with flower children and the age of Aquarius?
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Freitas, Roger Freitas. "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato." Journal of Musicology 20, no. 2 (2003): 196–249. http://dx.doi.org/10.1525/jm.2003.20.2.196.
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This study suggests that, against the background of early modern views of sexuality, the castrato appears not as the asexual creature sometimes implied today, but as a super-natural manifestation of a widely-held erotic ideal. Recent work in the history of sexuality has shown the prevalence in the early modern period of the "one-sex" model, in which the distinction between male and female is quantitative (with respect to "vital heat") rather than qualitative. This model provides for a large middle ground, encompassing prepubescent children, castrati, and other unusual figures. And that middle ground, in fact, seems to have been a prime locus of sexual desire: the art, literature, and historical accounts of the period argue that boys especially were often viewed -perhaps by both sexes-as erotic objects. Further evidence suggests that this sexual charge also applied to castrati. The plausibility of such an erotic image is strengthened by investigation into the actual sexual function of these singers, which seems to have fallen somewhere between historical legend and modern skepticism. Finally, a survey of castrato roles in opera, from Monteverdi to Handel, shows how these singers were deployed and suggests that their popularity could not have depended entirely on vocal skills. Instead, I argue that castrati were prized at least in part for their unique physicality, their spectacularly exaggerated embodiment of the ideal lover.
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Ilika, Aaron. "Sobre Michael Schreffler, The Art of Allegiance: Visual Culture and Imperial Power in Baroque New Spain." Revista Iberoamericana 75, no. 226 (May 6, 2009): 294–97. http://dx.doi.org/10.5195/reviberoamer.2009.6571.
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Zaуtseva, Nataliya Vladimirovna. "“Natural” in the philosophical and moralistic literature of the XVII century." Философия и культура, no. 11 (November 2021): 33–45. http://dx.doi.org/10.7256/2454-0757.2021.11.36779.
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In philosophy, “natural” is viewed as an ontological characteristic of the objects of internal and external reality along with the concept of “artificial”. However, in the XVII century, the philosophical and moralistic literature undergoes aestheticization. Numerous appeals of the writers, moralists and philosopher, as well as dialogues and arguments on the topic of “natural” indicate that this was of crucial importance for the aesthetic thought of the XVII century. The answer to the question ‘what natural is’ has become the cornerstone of the new gallant aesthetics, and in behavior was associated with fluency and aristocratic inattention, which are opposed to pomposity and affectation. In art, “natural” was perceived as a desire to purge from the Baroque ostentation. In literature, it is the result of hard work on the language that allows achieving lightness and fluency. Ultimately, in the philosophical thought, “natural” is perceived as the correspondence with truth. Until the present, the question of aestheticization of the “natural” did not draw the attention of Russian researchers. This is partly explained by the historical tradition. Russia enters the European philosophical thought only in the Era of Enlightenment in the XVIII century; thus, the XVII century seems somewhat archaic on the background of the topical issues. However, the XVII century is the advent of the history of modern philosophical and aesthetic thought, and creates the foundation of modern European mentality. This period marks the formation of the new aesthetic ideal, new aesthetic norms, and the system for assessing the work of art, which assign an important role to the “natural”.
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Hernández Sautto, Circe. "Manuel Quiroz y Campo Sagrado: el juego del ingenio y la agudeza." Acta poética 43, no. 2 (July 17, 2022): 33–55. http://dx.doi.org/10.19130/iifl.ap.2022.2.178x270s3.
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Silent poems was a visual poetic genre practiced in Italy, Spain and their colonies during the 17th and 18th centuries. Being occasional texts, presented at contests and poetry fairs, they were not printed, but handwritten. In the case of New Spain, one of the few representatives of the genre that have been reached so far is Manuel Quiroz Campo Sagrado (ca. 1751-1821). This communication makes a reading of three silent poems contained in the manuscript Afectos tiernos al santísimo sacramento de el Altar. The document is in the Biblioteca Franciscana (Cholula) has recently been included in the author’s bibliography and has not yet been studied by any specialist. The poems are described and analyzed under the precepts of art and ingenuity, present in conceptual baroque poetry, although the case of Campo Sagrado is special, since it is a late representative.
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Kashlyavik, K. Y. "A. V. Golubkov. Préciosité and the gallant tradition in French salon literature of the 17th c. A monograph." Voprosy literatury, no. 4 (August 22, 2019): 274–79. http://dx.doi.org/10.31425/0042-8795-2019-4-274-279.
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The monograph deals with a subject that is rarely covered by Russian philologists: préciosité and the gallant tradition of 17th c. French culture. The author singles out the French and Russian approaches to interpreting preciousness, noting their differences and the fact that Russian scholars are lagging behind the French on the subject of salon literature. A. V. Golubkov rejects the principle of ‘neutrality’ towards the subject of the study, which is evident from his context-based use of psychoanalytical tools, including the term ‘frigidity’ to describe the social genesis of the gallant tradition and the habitus of préciosité. In his examination of the sources of these French cultural phenomena (‘academy’, ‘préciosité’, ‘gallantry’, and ‘salon’) the author shows their association with types of creative activity, Baroque and Classicism, and oral and written practices of salon culture, and portrays linguistic and genre-specific experiments of the précieuses. He stresses their preference of the salon literary genres over rhetorical skills, identifies elements of dialogue-based poetics, and reveals the principal indicators of a new language art.