Готові списки джерел за темами / New World Baroque

Добірка наукової літератури з теми "New World Baroque"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "New World Baroque"

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Salgado, Cesar Augusto. "Hybridity in New World Baroque Theory." Journal of American Folklore 112, no. 445 (1999): 316. http://dx.doi.org/10.2307/541365.

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Zamora, Lois Parkinson. "New World Baroque, Neobaroque, Brut Barroco: Latin American Postcolonialisms." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 127–42. http://dx.doi.org/10.1632/pmla.2009.124.1.127.

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During the seventeenth century, the Baroque was exported wholesale to the areas of the world being colonized by Catholic Europe. It is one of the few satisfying ironies of European imperial domination worldwide that the baroque worked poorly as a colonizing instrument. Its visual and verbal forms are ample, dynamic, porous, and permeable, and in all areas colonized by Europe during the seventeenth and eighteenth centuries, the baroque was itself eventually colonized. In the New World, its transplants immediately began to incorporate the cultural perspectives and iconographies of the indigenous and African laborers and artisans who built and decorated Catholic structures. Cultural heresies (and heretics) often entered unnoticed or were ignored for reasons of expediency. Asian influences arrived on the Nao de China (the Manila Galleon) with artifacts from Japan, China, the Moluccas, and the Philippines, destined for Europe but portaged across New Spain, thus joining the diverse cultural streams that over time came to constitute the New World baroque. And, in time, the baroque was also transformed in Europe by New World influences: its materials (silver from Mexico and Peru, ivory from the Philippines), its motifs (fauna and flora from the Caribbean, the Orinoco, the Amazon), and its methods (artistic, doctrinal, indoctrinating).
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Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popularizing the notion of an insurgent, mestizo New World baroque unique to the Americas. Carpentier and Lezama Lima are the key authors of the notion of a decolonizing American baroque, a baroque that expressed contraconquista (counterconquest), as Lezama punned, countering the familiar identification of the baroque with the repressive ideology of the Counter-Reformation and its allies, the imperial Catholic Iberian states (80). Lezama and Carpentier argue that the imported Iberian state baroque was transformed into the transculturated, syncretic New World baroque at the hands of the (often anonymous) native artisans who continued to work under the Europeans, grafting their own indigenous traditions onto the iconography of the Catholic baroque style. The New World baroque is a product of the confluence (however unequal) of Iberian, pre-Columbian, and African cultures during the peaceful seventeenth century and into the eighteenth in Spain's and Portugal's territories in the New World. The examples studied by Lezama and Carpentier are all from the monumental baroque sculpture and architecture of Mexico, the Andes, and Brazil's Minas Gerais province: the work of the Brazilian mulatto artist O Aleijadinho (Antônio Francisco Lisboa [1738–1814]; see fig. 2 in Zamora in this issue) and the indigenous Andean artist José Kondori (dates unknown; see fig. 1 in Zamora), central Mexico's Church of San Francisco Xavier Tepotzotlán (fig. 1), and the folk baroque Church of Santa María Tonantzintla (see fig. 3 in Zamora), to mention a few landmarks and names.
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Kaup, Monika. "Becoming-Baroque: Folding European Forms into the New World Baroque with Alejo Carpentier." CR: The New Centennial Review 5, no. 2 (2005): 107–49. http://dx.doi.org/10.1353/ncr.2005.0043.

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Egginton, W. "The Corporeal Image and the New World Baroque." South Atlantic Quarterly 106, no. 1 (January 1, 2007): 107–27. http://dx.doi.org/10.1215/00382876-2006-017.

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Reddaway, Richard. "The Unexpected Baroque: Complexities in the Other New World." Journal of Iberian and Latin American Research 21, no. 2 (May 4, 2015): 213–22. http://dx.doi.org/10.1080/13260219.2015.1093028.

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Ochoa, John. "The Inordinate Eye: New World Baroque and Latin American Fiction." Comparative Literature Studies 45, no. 3 (January 1, 2008): 373–76. http://dx.doi.org/10.2307/complitstudies.45.3.0373.

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Egginton, W. "The Inordinate Eye: New World Baroque and Latin American Fiction." Modern Language Quarterly 69, no. 2 (January 1, 2008): 310–13. http://dx.doi.org/10.1215/00267929-2007-041.

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Cowan, Bainard. "The Inordinate Eye: New World Baroque and Latin American Fiction." Comparative Literature 61, no. 1 (January 1, 2009): 87–90. http://dx.doi.org/10.1215/00104124-2008-005.

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Dowling, Lee H. "The Baroque Narrative of Sigüenza y Góngora. A New World Paradise." Calíope 2, no. 1 (January 1, 1996): 115–17. http://dx.doi.org/10.2307/44799269.

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Дисертації з теми "New World Baroque"

1

Flores, Pedro. "Transculturation and Hybridization in New World Baroque Art: A Study of a New World Identity as Defined by History and Art." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/54.

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The purpose of this thesis is to analyze New World Baroque art as a medium of syncretism allowing the reconciliation and fusion of discrepant cultures. This study will explore the region of New Spain as defined by the Baroque period by analyzing Mexico as a place whose identity was defined by the transcultural and hybrid components of the Baroque and as a place where a New World Baroque aesthetic first started to appear. Transculturation and hybridization will be analyzed historically and aesthetically as factors for the creation of a New World Identity. The term New World Baroque will be used to define art in the Spanish colonies during the Baroque period, the term New Spain will be used to refer to colonial Mexico, transculturation will refer to the exchange of ideas and intermingling of cultures and hybridization will refer to the outcomes of such. This analysis will begin by providing a definition of Baroque with the purpose of establishing an understanding of the main characteristics of the movement aesthetically and chronologically. Spain will be analyzed to provide evidence of the effects of coming into contact with a multicultural society on the Baroque aesthetic; followed by a historical analysis of the events that would result in the creation of the new world. Then transculturation will be analyzed as an answer to the conquest and as guided by the Catholic Church. Then a timeline will list important events leading up to the Baroque period, and finally an exploration of hybrid art will serve to exemplify a well-established hybrid identity culminating with a brief analysis of some of Frida Kahlo’s work as an embodiment of the New World Baroque aesthetic.
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Pineda, Kim. "The New World Order: Ursulines, Music from the Court of Louis XIV, and Educational Outreach in Eighteenth-Century New Orleans." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18426.

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When a group of Ursuline nuns arrived in New Orleans from Rouen in 1727 it significantly changed the sacred musical landscape in the Louisiana Territory of New France. The women brought with them their commitment to education, a tradition of using music in their worship, and music similar to that performed in the Chapelle Royale of Louis XIV. Before 1727 the practice of sacred music in New Orleans was practical and simple, established by Capuchin priests in 1725 with the construction of a school and a makeshift church. The construction of the Ursulines' own permanent building in 1734 allowed the nuns to further emphasize their commitment to education through music. After the Ursulines arrived in New Orleans, the first French settlers were from wealthy and noble families that had a need and yearning for homeland familiarity and culture. In 1730 the Ursulines solidified their educational mission in New Orleans by establishing a lay confraternity with a group of French women colonists that secured a bridge of continuity between the nuns, the religious culture of France, and the members of the colony. In 1754 the sisters were given a manuscript entitled Nouvelles Poésies spirituelles et morales, copied in Paris in 1736. Now known as the Ursuline Manuscript, the collection contains music by composers active in the reign of Louis XIV. It is not known if the manuscript was prepared specifically for the nuns, but by examining the music in this manuscript--which contains well-known instrumental works turned into sacred vocal parodies--I will demonstrate that regardless of the copyist's intention, the music in the manuscript filled a need for such a document given the physical and cultural landscape in which the collection found itself. I will also discuss the importance of the manuscript and its place in the study of music history in North America, including a comparison between French and other European musical practices that were maintained in the New World in the eighteenth and early nineteenth centuries.
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Binder, Leila. "Cloud village: a novel." Thesis, 2014. http://hdl.handle.net/2440/98269.

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Анотація:
v. 1 Cloud village, a novel: Major work -- v. 2 Ethnographic surrealism and the New World baroque: Exegesis
This thesis examines the moments in which the differences between cultures create new systems of meaning, the moments in which people reinvent themselves and their values, and in which a new language or expression is created. James Clifford calls these moments “Ethnographic Surrealism”, particularly when ethnography provides a critical distance from one’s own culture in order to subvert its assumptions. The creative part of this thesis may be seen as a work of ethnographic surrealism, because it places its main characters, a North American family, on a commune in an isolated mountain in Colombia where their cultural assumptions are denaturalised. Their endeavour is what Mary Louise Pratt called an “anti-conquest”. Instead of wishing to convert others, they wish to be converted by the local tribe. The family is unaware that they survey others with “imperial eyes”. This exegesis focuses specifically on the New World Baroque, an exuberant and inclusive style appropriate to a mestizo culture. It first discusses the Latin American neo-baroque, later expanding the category to certain North American works. Then it looks at the genre of magical realism as a subcategory of the neo-baroque. It uses Clifford’s conception of Ethnographic Surrealism’s juncture between cultures and the notion of a magical realist clash of paradigms to examine fiction about the Other, in particular The Lost Steps by Alejo Carpentier (the story of an anti-conquest) and One Hundred Years of Solitude by Garcia Marquez. It examines moments of ethnographically surrealist collage in which images of the culturally familiar and the strange are juxtaposed. Then it discusses North American works which contain an inclusive baroque spirit: the work of Henry Miller and the invented worlds of Ursula K. Le Guin. Ethnographic surrealism shares with the neo-baroque a sense of inclusiveness, proliferation, expansiveness and syncretism.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2014.
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Книги з теми "New World Baroque"

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

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

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

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

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

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

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Частини книг з теми "New World Baroque"

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Gascoigne, John. "Crossing the Pillars of Hercules: Francis Bacon, the Scientific Revolution and the New World." In Science in the Age of Baroque, 217–37. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-4807-1_9.

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Baler, Pablo. "Hyperbaton: The World as Syntax." In Latin American Neo-Baroque, 67–101. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-59183-8_3.

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Scholz, Thomas. "Where Discourse Meets Discworld: Labyrinths, Humour and the Neo-Baroque in Terry Pratchett’s Discworld Stories." In Terry Pratchett's Narrative Worlds, 227–45. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-67298-4_13.

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"Baroque, New World Baroque, Neobaroque." In Baroque New Worlds, 1–38. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392521-003.

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Glissant, Édouard. "“Concerning a Baroque Abroad in the World” (1990)." In Baroque New Worlds, 624–26. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822392521-030.

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"Three The Hidden God of the Baroque: Baroque Wonders, Baroque Tragedies." In Wonder and Exile in the New World, 72–113. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271063287-006.

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"Chapter Twenty-nine. Concerning a Baroque Abroad in the World." In Baroque New Worlds, 624–26. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392521-032.

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Childers, William. "“Baroque Quixote: New World Writing and the Collapse of the Heroic Ideal”." In Baroque New Worlds, 415–49. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822392521-021.

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"Chapter Twenty. Baroque Quixote: New World Writing and the Collapse of the Heroic Ideal." In Baroque New Worlds, 415–49. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822392521-023.

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"IV. Baroque Hedgehogs." In The New World of the Gothic Fox, 66–89. University of California Press, 1994. http://dx.doi.org/10.1525/9780520914032-005.

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Тези доповідей конференцій з теми "New World Baroque"

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Dolinšek, Eva. "Monteverdi and Seconda Pratica: Music Should be at the Ser-vice of the Word." In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d21.

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This article provides insight into the music of the late Renaissance and early Baroque in Italy. Com-poser Claudio Monteverdi was one of the most important figures in the music of the early Italian Baroque. We consider the events that led to the creation of the new early Baroque style – Seconda pratica - (second practice) and describe the significant changes in vocal music that took place with the aim to depart from strict counterpoint at the turn of the 16th century. Keywords: Claudio Monteverdi; Seconda pratica; Venetian school; Madrigalisms; Ornamentation
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Franchini, Ado, and Carlo Alberto Maggiore. "The fragile heart of the city: the case of Ragusa, Sicily." In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8162.

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The conference introduces one of the international workshops we organized in 2014-15 about urban regeneration. The selected theme for the Ragusa Workshop concerned the regeneration of the historic centre of Ragusa Superiore, the “new town” built on a higher plateau after the earthquake which destroyed the old city in 1693. The historic centre, shaped with a compact gridiron plan, embeds several late-baroque monuments for which was declared an UNESCO World Heritage Site in 2002. The denser part of this fabric, made of an extensive grid of small blocks, each composed by tiny lots, has gradually proved inadequate to accommodate the new housing needs, forcing residents to look elsewhere for more sustainable conditions. The strict regulation imposed on the whole historic centre has strongly contributed to freeze this condition, by preventing the necessary renewal process. The consequence has been a gradual depopulation of the old town that led to a large urban and social decay. Using a multidisciplinary approach, the Workshop aimed to test “on-site” strategies for urban renewal that could suggest integrated solutions, to these several issues: preservation of architectural and urban character of the site, building and public space renovation, upgrading to current housing and circulation needs, creation of safety areas for both seismic and hydrogeological risks. In the conference we shall also introduce 3 Diploma Projects presented by our students in 2015 and 2016 in our school of Architecture in Milan Polytechnic University.
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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.

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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.
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Coll-Pla, Sergio, Tatiana Medina-Sánchez, Denis Mayta-Ponce, Daniel Málaga-Montoya, Fernando Cuzziramos-Gutiérrez, and Agustí Costa-Jover. "Qualitative, historical, spatial, stylistic, and social assessment of heritage buildings in Arequipa for Cultural Heritage teaching in Schools of Architecture." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15255.

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The old town of Arequipa - Peru was declared a World Heritage Site by UNESCO in 2000. The architectural style of the buildings in the city of Arequipa has evolved, adapting to the prevailing architectural trends over time, and to the constant earthquakes that have marked the pattern of its transformation through history. Some of the main identified styles are Andean baroque, neo-colonial, historicist, modernist, and postmodernist. This project proposes a qualitative, historical, spatial, and stylistic analysis of the buildings built in the city according to academic criteria and the collective memory of the inhabitants of Arequipa. The applied method consists of a stage-by-stage evaluation of the main representative buildings in the city using mapping and matrix tabulations from graphic documentation, in situ surveys, academic criteria according to the categories of antiquity, historicity, instrumentality and artistic value. In addition, the study aims to reflect the point of view of the buildings’ inhabitants, whilst becoming a useful tool for them. It will result in the development of a catalog of relevant buildings that will help to understand their representativeness in society.
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