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Books on the topic 'New World Baroque'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

The inordinate eye: New World Baroque and Latin American fiction. Chicago: The University of Chicago Press, 2006.

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2

The baroque narrative of Carlos de Sigüenza y Góngora: A new world paradise. Cambridge [England]: Cambridge University Press, 1994.

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3

Korsten, Frans-Willem. A Dutch Republican Baroque. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982123.

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In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised by a fascination with this world regarded as one possibility out of a plurality of potential worlds. It is this fascination that explains the coincidence in the Dutch Republic, strange at first sight, of Baroque exuberance, irregularity, paradox, and vertigo with scientific rigor, regularity, mathematical logic, and rational distance. In giving a new historical perspective on the Baroque as a specifically Dutch republican one, this study also offers a new and systematic approach towards the interactions among the notions of theatricality, dramatisation, moment, and event: concepts that are currently at the centre of philosophical and political debates but the modern articulation of which can best be considered in the explorations of history and world in the Dutch Republic.

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4

Blackburn, Robin. The making of New World slavery: From the Baroque to the Modern, 1492-1800. London: Verso, 1997.

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5

Innocence abroad: The Dutch imagination and the New World, 1570-1670. Cambrdige, UK: Cambridge University Press, 2001.

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6

Parkinson, Zamora Lois, and Kaup Monika, eds. Baroque new worlds: Representation, transculturation, counterconquest. Durham, NC: Duke University Press, 2010.

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7

Cavana, Giovanni Nicolò. Lettere ad Angelico Aprosio (1665-1675). Edited by Luca Tosin. Florence: Firenze University Press, 2013. http://dx.doi.org/10.36253/978-88-6655-236-9.

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The critical edition of the correspondence (1665-1675), today housed at the University of Genoa library, between the Genoan patrician Nicolò Cavana and the bibliophile Fra' Angelico Aprosio di Ventimiglia includes an introduction and transcription of the letters, with both bibliographical and (where possible) explanatory notes on some now outdated terms. In consideration of the private nature of the 286 letters, reading them gives an interesting and informal view of seventeenth-century life, as well as much information on the variegated world of the Baroque book culture providing a constant backdrop to the relationship of collaboration and friendship between the two figures.

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8

The World of Baroque Music: New Perspectives. Indiana University Press, 2006.

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9

Koonce, Frank. Mel Bay Baroque Guitar in Spain and The New World. Mel Bay Publications, Inc., 2006.

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10

The Making Of New World Slavery From The Baroque To The Modern 14921800. Verso, 2010.

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11

Making of New World Slavery: From the Baroque to the Modern, 1492-1800. Verso Books, 2010.

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12

Blackburn, Robin. The Making of New World Slavery: From the Baroque to the Modern 1492-1800. Verso, 1998.

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13

Nava, Alex. Wonder and Exile in the New World. Penn State University Press, 2013.

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14

Nava, Alex. Wonder and Exile in the New World. Pennsylvania State University Press, 2013.

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15

Wonder And Exile In The New World. Pennsylvania State University Press, 2013.

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16

Reason and its others: Italy, Spain, and the New World. Nashville, TN: Vanderbilt University Press, 2006.

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17

Schmidt, Benjamin. Innocence Abroad: The Dutch Imagination and the New World, 15701670. Cambridge University Press, 2006.

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18

Reason and Its Others: Italy, Spain, and the New World (Hispanic Issues (Vanderbilt Paperback)). Vanderbilt University Press, 2006.

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19

Zamora, Lois Parkinson, and Monika Kaup, eds. Baroque New Worlds. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822392521.

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20

Nietzsche, Friedrich, Heinrich Wolfflin, Walter Benjamin, and Eugenio d'Ors. Baroque New Worlds. Edited by Lois Parkinson Zamora and Monika Kaup. Duke University Press, 2010. http://dx.doi.org/10.1515/9780822392521.

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21

Nietzsche, Friedrich, and Walter Benjamin. Baroque New Worlds: Representation, Transculturation, Counterconquest. Duke University Press, 2010.

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22

Zamora, Lois Parkinson, and Monika Kaup. Baroque New Worlds: Representation, Transculturation, Counterconquest. Duke University Press, 2009.

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23

Horning, Audrey, ed. A Cultural History of Objects in the Age of Enlightenment. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781474206877.

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A Cultural History of Objects in the Age of Enlightenment covers the period 1600 to 1760, a time marked by the movement of people, ideas and goods. The objects explored in this volume from scientific instrumentation and Baroque paintings to slave ships and shackles encapsulate the contradictory impulses of the age. The entwined forces of capitalism and colonialism created new patterns of consumption, facilitated by innovations in maritime transport, new forms of exchange relations, and the exploitation of non-Western peoples and lands. The world of objects in the Enlightenment reveal a Western material culture profoundly shaped by global encounters. The 6 volume set of the Cultural History of Objects examines how objects have been created, used, interpreted and set loose in the world over the last 2500 years. Over this time, the West has developed particular attitudes to the material world, at the centre of which is the idea of the object. The themes covered in each volume are objecthood; technology; economic objects; everyday objects; art; architecture; bodily objects; object worlds.

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24

Biggam, Carole P., and Kirsten Wolf, eds. A Cultural History Of Color in the Age of Enlightenment. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781474206204.

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A Cultural History of Color in the Age of Enlightenment covers the period 1650 to 1800. From the Baroque to the Neoclassical, color transformed art, architecture, ceramics, jewelry, and glass. Newton, using a prism, demonstrated the seven separate hues, which encouraged the development of color wheels and tables, and the increased standardization of color names. Technological advances in color printing resulted in superb maps and anatomical and botanical images. Identity and wealth were signaled with color, in uniforms, flags, and fashion. And the growth of empires, trade, and slavery encouraged new ideas about color. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6-volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5,000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artifacts.

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25

Heal, Bridget. A Magnificent Faith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.001.0001.

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This book explains how and why Lutheranism—a confession that insisted upon the pre-eminence of God’s Word—became a visually magnificent faith, a faith whose adherents sought to captivate Christians’ hearts and minds through seeing as well as through hearing. Although Protestantism is no longer understood as an exclusively word-based religion, the paradigm of evangelical ambivalence towards images retains its power. This is the first study to offer an account of the Reformation origins and subsequent flourishing of the Lutheran baroque, of the rich visual culture that developed in parts of the Holy Roman Empire during the later seventeenth and early eighteenth centuries. The book opens with a discussion of the legacy of the Wittenberg Reformation. Three sections then focus on the confessional, devotional and magnificent image, exploring turning points in Lutherans’ attitudes towards religious art. Drawing on a wide variety of archival, printed and visual sources from two of the Empire’s most important Protestant territories—Saxony, the heartland of the Reformation, and Brandenburg—the book shows the extent to which Lutheran culture was shaped by territorial divisions. It traces the development of a theologically grounded aesthetic, and argues that images became become prominent vehicles for the articulation of Lutheran identity not only amongst theologians but also amongst laymen and women. By examining the role of images in the Lutheran tradition as it developed over the course of two centuries, A Magnificent Faith offers a new understanding of the relationship between Protestantism and the visual arts.

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