Статті в журналах: "New World Baroque"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Zamora, Lois Parkinson. "Exuberance by Design: New World Baroque and the Politics of Postcoloniality." Symposium 18, no. 1 (2014): 22–41. http://dx.doi.org/10.5840/symposium20141812.

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12

Morales, Mónica. "The Inordinate Eye. New World Baroque and Latin American Fiction (review)." Arizona Journal of Hispanic Cultural Studies 10, no. 1 (2006): 312–14. http://dx.doi.org/10.1353/hcs.2007.0033.

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13

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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14

Linebaugh, Peter. "The Making of New World Slavery: From the Baroque to the Modern." Historical Materialism 1, no. 1 (1997): 185–95. http://dx.doi.org/10.1163/156920697794751246.

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15

Naumenko, Nataliia. "The Culture of Wine in Ukrainian Baroque Poetry." Culturology Ideas, no. 14 (2'2018) (2018): 123–30. http://dx.doi.org/10.37627/2311-9489-14-2018-2.123-130.

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The article represents the results of the culturological analysis of Ukrainian baroque poetry with ‘wine’ for the prominent image. Just as the conceit of wine was never researched profoundly by culturologists and linguists, this article is an attempt to conceptualize the imagery of wine and culture of its consumption in Ukrainian literary criticism and cultural studies. Upon researching Ukrainian baroque poetry, the author of this article revealed some new connotations of the image of wine. First of them is a symbol of reproach declared to the authorities of either sacral or secular power (the conceptual pattern of it are the writings by Ukrainian polemist Ivan Vyshensky). However, even the strongest judgements sounded hopefully thanks to stylization in the mood of Christian liturgy. Secondly, wine was a reflection of joy of life, love, or friendship in Epicurean style. Thirdly, it was set up as a philosophical image of the human self as the most precious thing in the world. This idea was also supported staunchly by H. Skovoroda. Henceforth, wine in baroque poetry is not only an image of something material within the framework of the everyday life and rituals; it is a factor of reconciliation of Christian and Pantheistic worldview in the Ukrainians. Further researches of ‘wine’ conceit in Ukrainian poetry (and Ukrainian culture as a whole) would allow confirming anew the vision of a human-within-the-world as the world-within-a-human.

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16

Perrot, Jean. "The essential "Star Wars"Philip Pullman's baroque aesthetics." Ondina - Ondine, no. 3 (May 3, 2020): 184–208. http://dx.doi.org/10.26754/ojs_ondina/ond.201934415.

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This essay has a twofold purpose: to consider the issues of contemporary Young Adult literature addressed to “the children of the videosphere” within the context of globalized culture and to assess the importance of postmodern Baroque aesthetics in the “Star Wars” system of modern Letters and mass-media. Writers often resort to such aesthetics with the prospect of commercial hegemony, but some of them find their “distinction” (in Pierre Bourdieu’s delineation) through intertextuality – be it avowed or hidden – with the great masters of the past (William Blake and John Milton). We will investigate the secret workshop of Phillip Pullman’s His Dark Materials Trilogy and some of his other works, as well as Jostein Gaarder’s Sophie’s World and diverse literary productions. With their arresting butterflies as significant baroque emblems, these works provide a new and spellbounding vision of the Western hero and offer a new “reterritorialization” of Letters. More particularly, Philip Pullman’s literary gesture has been to extract the baroque message from the vulgarised versions of popular mass media and to give it a new distinction.Key words: Postmodern baroque, William Blake, picaresque, humour, parody, Philip Pullman, Jostein Gaarder.

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17

Cummins, J. S., and Kathleen Ross. "The Baroque Narrative of Carlos de Siguenza y Gongora: A New World Paradise." Modern Language Review 91, no. 3 (July 1996): 768. http://dx.doi.org/10.2307/3734164.

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18

Mena, Magdalena Chocano, Carlos de Siguenza y Gongora, and Kathleen Ross. "The Baroque Narrative of Carlos de Siguenza y Gongora: A New World Paradise." Hispanic American Historical Review 76, no. 4 (November 1996): 792. http://dx.doi.org/10.2307/2517984.

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19

Verdesio, Gustavo, and Kathleen Ross. "The Baroque Narrative of Carlos de Siguenza y Gongora. A New World Paradise." Hispanic Review 64, no. 4 (1996): 554. http://dx.doi.org/10.2307/474902.

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20

Johnson, Christopher. "The Inordinate Eye: New World Baroque and Latin American Fiction (review)." Comparatist 32, no. 1 (2008): 216–18. http://dx.doi.org/10.1353/com.0.0022.

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21

Naomi Lindstrom. "The Inordinate Eye: New World Baroque and Latin American Fiction (review)." Hispanic Review 76, no. 4 (2008): 459–61. http://dx.doi.org/10.1353/hir.0.0021.

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22

Mena, Magdalena Chocano. "The Baroque Narrative of Carlos de Sigüenza y Góngora: A New World Paradise." Hispanic American Historical Review 76, no. 4 (November 1, 1996): 792–93. http://dx.doi.org/10.1215/00182168-76.4.792.

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23

John Ochoa. "The Inordinate Eye: New World Baroque and Latin American Fiction (review)." Comparative Literature Studies 45, no. 3 (2008): 373–75. http://dx.doi.org/10.1353/cls.0.0035.

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24

Cabeza-Lainez, Joseph M., and Jose M. Almodovar-Melendo. "Daylight, Shape, and Cross-Cultural Influences Through the Routes of Discoveries: The Case of Baroque Temples." Space and Culture 21, no. 4 (January 8, 2018): 375–94. http://dx.doi.org/10.1177/1206331217749764.

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Baroque temples were developed in the context of cross-cultural influences through new territories where the climatic conditions were often opposed to those prevailing in Europe. The nature of weather differences could not be predicted with the knowledge of the era and consequently, a set of gradual and successive transformations in the typologies “imported” from Europe was produced. These adaptations were lengthy, intuitive, and not always recognizable by the Metropolitan culture. Although daylight requirements played an important role in this process and its quality in baroque temples is celebrated by architectural historians, very few daylighting simulations and on-site measurements have been developed. Therefore, a twofold result is produced: Daylighting’s beneficial effects can neither be transmitted nor reproduced in other new buildings. Consequently, we discuss in this article the results of a daylighting simulation program capable of analyzing complex baroque temples around the world and to show the implications of its environmental attitude.

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25

Prikladova, Mariia A. "NEW SPAIN’S BAROQUE PAINTING: THE WORK OF CRISTÓBAL DE VILLALPANDO." Articult, no. 3 (2020): 73–80. http://dx.doi.org/10.28995/2227-6165-2020-3-73-80.

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The author of the paper investigates the work of Cristóbal de Villalpando (c.1649-1714). His paintings are analyzed in historical, cultural and social context. The author pays attention to the links and relationships between the art world of Europe and the Viceroyalty of New Spain. A significant part of his paintings belongs to the religious genre. Villalpando had been strongly influenced by works of Spanish and Flemish artists. Villalpando’s paintings demonstrate his penchant for narrative, monumentality and incorporation of many figures and details in his compositions. At the same time Villalpando acts as a distinctive painter, originally interpreting biblical scenes and signing himself as “inventor”. The relevance of the article is due to the lack of knowledge of the Baroque colonial artists’ heritage.

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26

Araico, Susana Hernandez. "Of Banquets, Borders, and Baroque Mexico: Sor Juana and the First "New World" Opera." Pacific Coast Philology 28, no. 2 (October 1993): 121. http://dx.doi.org/10.2307/1316628.

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27

Miller, Joseph C., and Robin Blackburn. "The Making of New World Slavery: From the Baroque to the Modern 1492-1800." American Historical Review 104, no. 5 (December 1999): 1635. http://dx.doi.org/10.2307/2649362.

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28

Schwartz, Stuart B., and Robin Blackburn. "The Making of New World Slavery: From the Baroque to the Modern, 1492-1800." William and Mary Quarterly 55, no. 3 (July 1998): 439. http://dx.doi.org/10.2307/2674533.

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29

Mintz, Sidney W., and Robin Blackburn. "The Making of New World Slavery: From the Baroque to the Modern, 1492-1800." Journal of Southern History 64, no. 3 (August 1998): 517. http://dx.doi.org/10.2307/2587796.

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30

Carpenter, Victoria. "The Inordinate Eye: New World Baroque and Latin American Fiction - by Lois Parkinson Zamora." Bulletin of Latin American Research 27, no. 4 (October 2008): 603–5. http://dx.doi.org/10.1111/j.1470-9856.2008.00286_19.x.

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31

Ditchfield, Simon. "BAROQUE AROUND THE CLOCK: DANIELLO BARTOLI SJ (1608–1685) AND THE USES OF GLOBAL HISTORY." Transactions of the Royal Historical Society 31 (November 8, 2021): 49–73. http://dx.doi.org/10.1017/s0080440121000037.

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ABSTRACTRight from its foundation in 1540, the Society of Jesus recognised the value and role of visual description (ekphrasis) in the persuasive rhetoric of Jesuit missionary accounts. Over a century later, when Jesuit missions were to be found on all the inhabited continents of the world then known to Europeans, descriptions of the new-found lands were being read for the entertainment as well as the edification of their Old World audiences. The first official history of the Society's missions in the vernacular, the volumes authored by Daniello Bartoli (1608–1685), played an important role in communicating a sense of the distinctiveness of the order's global mission. Referred to by Giacomo Leopardi (1798–1837) as the ‘Dante of baroque prose’, Bartoli developed a particularly variegated and intensely visual idiom to meet the challenge of describing parts of the world which the majority of his readers, including himself, would never visit.

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32

Altashina, Veronika D. "Singer of Graces: the Gallant Montesquieu (“The Temple Of Gnidos” and “Journey To Paphos”)." Studia Litterarum 7, no. 1 (2022): 126–45. http://dx.doi.org/10.22455/2500-4247-2022-7-1-126-145.

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The article represents the first academic study of two early Montesquieu’s works — “The Temple of Gnidos” (1725) and “Journey to Paphos” (1727). Under the guise of ancient heroes and gods these “novels with a key” portray real people easily recognizable by contemporaries — the author himself and his entourage. Mixing reality and fiction, Greek and Roman gods, using allegories, Montesquieu creates a “possible impossible world,” characteristic for the Baroque literature of the 17th century. The term was proposed by L. Dolezel, the founder of the theory of “possible worlds,” which allows a deeper understanding of how Montesquieu portrays an ideal world, opposed to the French reality, which he criticizes, as in his first novel “Persian Letters.” However, such features as fragmentation, frivolity, double meaning, hedonism are characteristic of the Rococo aesthetics that took shape in France at the beginning of the 18th century. These features are also inherent to such recognized author’s masterpieces as “Persian Letters” and “The Spirit of Laws” which prove out the unity of his artistic manner. Montesquieu’s early works clearly demonstrate the connection between the Baroque and the Rococo and represent the future author of the “Spirit of Laws” with a completely different side as a “singer of Graces” who contributed to the formation of a new aesthetics.

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33

Reed, Emilie. "The aesthetics of speedrunning: Performances in neo-baroque space." Replay. The Polish Journal of Game Studies 8, no. 1 (October 25, 2022): 89–105. http://dx.doi.org/10.18778/2391-8551.08.05.

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Speedrunning describes activities related to the development and performance of strategies to complete games quickly, and is a valuable source of historical and technical information, while producing specialized aesthetic explorations of a videogame’s environment. Most research on speedrunning emphasizes its metagaming or documentary function. However, speedrunning also changes the aesthetic experience of gameplay, both for players and in spectated performance. Aesthetic investigation informed by art historical perspectives, such as Angela Ndalianis’ theory of the Neo-Baroque and H.S. Becker’s study of Art World formations, offers new insights into the experience of speedrunning and how discontinuous and disjointed simulated space is experienced and appreciated as aesthetic phenomena by players and spectators. While Nidalianis has applied her theory to videogames, among other types of contemporary entertainment, further investigating speedrunning performances through this lens extends her analysis and problematizes the idea of a videogame as a singular aesthetic work, instead drawing attention to alternative aesthetic experiences videogames can offer.

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Bagno, Vsevolod Evgenyevich. "FORERUNNER CALDERON AS INTERPRETED BY BALMONT." Russkaya literatura 4 (2022): 72–77. http://dx.doi.org/10.31860/0131-6095-2022-4-72-77.

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World literature abounds with great names whose identities, shaped at home, are irrevocably distorted by the crooked mirror of their foreign, including Russian, fate. The genuine interest of the most outstanding representatives of the Russian Modernism in Pedro Calderón, the Spanish playwright of the Baroque era, deserves special attention. Balmont treated Calderón as his forerunner, the harbinger of a new era, the creator of dramas marked by the beauty of symbolic poetry.

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35

VERA, ALEJANDRO. "THE CIRCULATION OF INSTRUMENTAL MUSIC BETWEEN OLD AND NEW WORLDS: NEW EVIDENCE FROM SOURCES PRESERVED IN MEXICO CITY AND LIMA." Eighteenth Century Music 12, no. 2 (August 24, 2015): 183–96. http://dx.doi.org/10.1017/s1478570615000299.

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ABSTRACTThis article deals with the circulation of instrumental music between Spain and the New World at the end of the eighteenth century, focusing on Madrid, Mexico City and Lima as main urban centres. By analysing archival documents preserved in these cities, I intend to show that the baroque guitar music composed and copied in Madrid was also intended to be a commercial concern in Latin America (particularly in Mexico City and Lima), and that its cultivation in the New World lasted for a long time, even through to the beginning of the nineteenth century, thus coexisting with music by Johann Christian Bach, Boccherini, Cannabich, Haydn and other ‘modern’ composers. These assertions are reinforced through an examination of two musical manuscripts copied in Lima around 1800, which also shows some of the changes undergone by the repertory during its complex process of reception. I conclude by suggesting that, in the light of all this, a linear and evolutionary view of music history, according to which new repertories replace older ones, should be reconsidered.

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36

Seferović, Relja. "Preachers, Sermons, and State Authorities in late Baroque Dubrovnik." Slovene 6, no. 2 (2017): 648–77. http://dx.doi.org/10.31168/2305-6754.2017.6.2.28.

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In order to keep its traditional neutrality in foreign policy and to preserve inner stability after the disastrous earthquake of 1667, the state authorities of the Republic of Dubrovnik controlled the entire public life in this city-state, which was clamped between Ottoman and Venetian possessions on the coast of the south Adriatic. They managed to impose their will on archbishops of the local Church in various aspects of religious life, including the election of public preachers in the city cathedral. Treated as simple officials in service of the government, these clerics (mostly members of various religious orders who came from Italy) played their role according to their employers’ desires, with only formal concern for their flock. However, sermons by their local counterparts, who preached mostly in smaller city churches, left a deeper mark in this highly conservative Catholic milieu. An analysis of their experiences and preserved texts of their sermons offers a new perception of the political, social, linguistic, and even theological culture of late Baroque Dubrovnik, a city whose importance remained incomparable within the Slavonic world in the Mediterranean.

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37

Rakityanska, Liudmyla. "THE HISTORY OF WORLD MUSIC ART WITHIN THE CONTEXT OF RELATIONSHIP BETWEEN THE EMOTIONAL AND THE RATIONAL." Osvitolohiya, no. 9 (2020): 21–28. http://dx.doi.org/10.28925/2226-3012.2020.9.3.

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The article presents the results of the analysis of musical art history in the context of the relationship between its emotional and rational constituents. The author traces the overall evolution of the world music, which in itself is a process of a complex dialectical relationship of the emotional and the rational, and which has been conditioned by the dominant philosophical worldview of a specific historical epoch, that determined the variability of artistic priorities, their emotional and intellectual balance or otherwise demarcating them by the dominating rational-mediated or emotional-sensory constituent. The research has established that the primitive culture is characterized by a syncretism of mythological and ideological ideas of the primitive human, which was reflected in the folk tradition; in the era of Ancient art, the Greek philosophers gave preference to reason while comprehending art, which went in line with the rational, philosophical and ideological orientation of the society at that time; in the Middle Ages era, this tendency fixed itself in the theological-rationalist search of the «fathers of the church», which was reflected in various genres of church music, that was religious, ascetically oriented, strictly regulated, as well as emotionally limited; the musical art of the Renaissance with its faith in the unlimited possibilities of harmonious human development is characterized by the unity and balance of the emotional and the intellectual; the New Age art was marked by new artistic trends, including Baroque and Classicism. The Baroque concept of musical art was consonant with the Renaissance tradition in terms of defining the main purpose of art as the need to reflect the sensuality of the real world; the art of the Classicism is subject to strict regulations, appealing to the human mind, instead of the senses, it is based on «rationalism», the prevailing philosophical worldview at the time; a harmonious combination of both emotional and personal experiences together with a deep intellectual comprehension of life is the leading feature of the art of the Romantic era; the modern music culture demonstrates the tendency to strengthen the rational constituent.

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38

Bagina, Elena. "The binary star." проект байкал 18, no. 68 (August 8, 2021): 50–55. http://dx.doi.org/10.51461/projectbaikal.68.1802.

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Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.

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Moreira Soares, Maria João, and Clara Germana Gonçalves. "Gilles Deleuze and Bernini’s Bel Composto: From Theatricality to a Living-montage." Athens Journal of Architecture 8, no. 4 (October 5, 2022): 315–36. http://dx.doi.org/10.30958/aja.8-4-1.

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In The Fold (1988), Gilles Deleuze argues that if the Baroque period establishes the concept of total art or the unity of the arts, then it does so in extension. Each art form extends to another art form. To this “extensive unity” – this “universal theatre” – he adds the Elements; we can say the epigene. The philosopher writes: “[t]his extensive unity of the arts forms a universal theatre that includes air and earth, and even fire and water.” According to Giovanni Careri, writing in Bernini: Flights of Love, the Art of Devotion (1995), the interiors of Gian Lorenzo Bernini's are the most complete realisation of the bel composto. In these chapels, the interiors function as complete autonomous organisms in and of themselves. A theatrical dimension is associated with this autonomous operation. Careri adds another insight. He argues that the proliferations of composition components inherent in Bernini's chapels result in a cinematographic montage. Proceeding from Bernini’s bel composto and Deleuze’s thought, this paper proposes a new reading of the Baroque that is relevant to the present-day for architecture, taking the idea of theatrical scene as an organism supported by architecture and advancing to an idea of montage (beyond Careri’s) in which the spectator, the one who observes the small world, and the small world itself turning into an autonomous organism, makes the assemblage of the whole. A living-montage – an idea of architecture that is constantly interpreted, reinterpreted and recreated by the beholder.

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Ester, H. "Het labyrint in de letterkunde: Van de Barok tot het Postmodernisme." Literator 22, no. 1 (August 7, 2001): 9–26. http://dx.doi.org/10.4102/lit.v22i1.358.

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The labyrinth in literature: From Baroque to Postmodernism The labyrinth has proved to be an essential symbol of postmodernist literature and the philosophy of our time. This symbol has apparently had the power to bridge the centuries between Ancient Greece and the year 2000. In reality the labyrinth as a geometrical figure has acquired various meanings in the course of time. The history of the labyrinth as symbol shows that the constant elements are as essential as the changes in meaning from the Middle Ages until the present day. Two of the new symbolic elements that accompany the labyrinth on its way through various cultural periods are the garden and the path of life. During the Baroque the labyrinth, for example, represented the synthesis of garden, path and maze. At the end of the twentieth century the labyrinth once more becomes a dominant and significant structure. The labyrinth reflects the inability and perhaps impossibility to find the key to the centre of the world and to discover the truth behind the words we use. On the other hand, the labyrinth suggests that the search for meaning and truth is an aim in itself or even that this search can lead to new forms of wisdom. The labyrinth therefore is an ambivalent and fascinating symbol of our time. Dedalus and Ariadne, however, have not yet brought the salvation we are waiting for.

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Davenport, Randi Lise. "The Changing Shapes of Knowledge in Spain 1627–1726: From Dreams and Discourses to Universal Critical Theater." Sjuttonhundratal 7 (October 1, 2010): 16. http://dx.doi.org/10.7557/4.2419.

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This article illustrates the changing shapes of knowledge in Spain in the period spanning from the Baroque (ca. 1600–1680) to the pre-Enlightenment (ca. 1730). Scepticism and the dichotomies engaño – desengaño (illusion – disillusion) and ser – parecer (reality – appearances) were at the heart of the Baroque obsession with the foundations of knowledge, which culminated in an epistemological crisis. In the pre-Enlightenment, epistemological preoccupations were directed towards error instead of desengaño, notably in the writings of the Benedictine monk Benito Jerónimo Feijoo (1676–1764), who was a key figure in the divulgation of the ‘new science’ and ‘new philosophy’ in Spain. The epistemic value of the concept desengaño is examined here by contrasting Feijoo’s essay on philosophical scepticism in his Teatro Crítico Universal. Discursos varios en todo género de materias, para desengaño de errores comunes (Universal Critical Theater. Varied discourses on all kinds of matters to the disillusion of common errors, 1726–1739) with the use of scepticism in the Baroque author Francisco de Quevedo’s Sueños y discursos de verdades descubridoras de abusos, vicios y engaños, en todos los oficios y estados del mundo (Dreams and discourses on truths revealing abuses, vices and deceptions in all the professions and estates of the world) published a hundred years earlier (1627).

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Solow, Barbara L. "The Making of New World Slavery: From the Baroque to the Modern, 1492-1800. By Robin Blackburn (New York, Verso, 1997) 602 pp. $35.00." Journal of Interdisciplinary History 29, no. 1 (July 1998): 128–30. http://dx.doi.org/10.1162/jinh.1998.29.1.128.

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Valerio-Holguín, Fernando. "The Vulture of History in The Kingdom of This World by Alejo Carpentier." Theory in Action 14, no. 4 (October 31, 2021): 113–26. http://dx.doi.org/10.3798/tia.1937-0237.2135.

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In thesis IX of the Theses on the Philosophy of History, Walter Benjamin indicates, from the painting “Angelus Novus” by Paul Klee, that the Angel of History has his face turned back, contemplating a catastrophe. He wants to stay, but the great wind of progress is pushing him forward into the future, leaving rubble on its pass. The new historical novel The Kingdom of this World by Alejo Carpentier narrates the long and tortuous process of the Haitian Revolution and beyond. At the end of the novel, there is a great green wind that sweeps across the Northern Plain and the ruins of the old sugar mill. In Carpentier's novel, there is a “wet vulture”, which I will call the Vulture of History, which is thrown over Bois Caïman, the sacred space where the revolution originated. My purpose in this essay is to explore the Vulture of History as a baroque allegory of the Haitian Revolution. Unlike the angel from Benjamin's thesis, who wants to go back to the past to reconstruct history, Carpentier's vulture is an angel of death who feeds on the detritus of history.

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Panok, T. "H. Skovoroda in the Works of Ukrainian Artists." New Collegium 4, no. 109 (November 14, 2022): 14–22. http://dx.doi.org/10.30837/nc.2022.4.14.

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This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others. This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images. Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained. The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.

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Blásquez, Elsa Barberena. "Sor Juana and her library world." Transinformação 12, no. 1 (June 2000): 83–92. http://dx.doi.org/10.1590/s0103-37862000000100008.

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There has been numerous documents about Sor Juana since Juan Camacho published his first volume in Madrid in 1689, and more so during 1995, her anniversary. There is no certainty about the date of her birth, it is placed between 1651 and 1653, she died in 1695. The magazines A BSIDE. REVISTA DE CULTURA MEXICANA during the period 1941-1973 published 25 articles, and CONTEMPORÂNEOS eight articles from 1929 to 1931; the BOLETIN DE LA BIBLIOTECA NACIONAL published five articles in 1951 and I960, but none of these deal with her library. The following authors have discussed her library: the writer, Ermilo Abreu Gómezf1934); Alfonso Méndez Plancarte (1944); the art historian and critic, Francisco de la Maza (1952); the poet Octavio Paz (1982); the ex-director of the Mexican National Library, Ignacio Osorio (1986). I think that the 4000 volumes of this library played an important part in her writings, and much more than companions: objects of her world. This library unfortunately, disintegrated by her at the end of her life, is an example of library collections and libraries of the New World, together with the first academic library built in Mexico City: "La Biblioteca del Colegio de Santa Cruz de Tlatelolco " (1536). To know about the titles of some of these books, whose existence can only be seen in two of the paintings of Sor Juana, one by the Mexican artist Juan de Miranda, active from 1697 to 1711, owned by the "Universidad Nacional Autônoma de México", and the other by the Mexican painter, Miguel Cabrera at the "Museo Nacional de Historia del Castillo de Chapultepec" in Mexico City, gives us an idea not only of her library, but of her world. The XVIIc in Mexico City is a baroque century with its four social entities: the Court, the Church, the City and the Convent in which Sor Juana lived. If we take into consideration her writings, there was a fifth entity, the Hispanic literary world. Sor Juana with her beauty, charm, intelligence and ability to deal with the most important personalities of her time was considered a string between the New and the Old Worlds because of her literary contributions as a woman, more so as an American woman of the XVIIc. She is pondered by Alatorref1995) as the spiritual gold similar to the gold extracted from the New World mines. In a metaphorical way her writings are the result of her intellect and of the contents extracted from the books which represented the world of knowledge contained in her library.

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Carreño-Rodríguez, Antonio. "The Inordinate Eye: New World Baroque and Latin American Fiction. Lois Parkinson Zamora. Chicago: University of Chicago Press, 2006. Pp. xxvi+420." Modern Philology 107, no. 2 (November 2009): 333–36. http://dx.doi.org/10.1086/648047.

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Bronza, Boro. "Impact of Gerard Van Swieten on the development of Austrian medicine throughout the 18th century." Scripta Medica 52, no. 1 (2021): 59–68. http://dx.doi.org/10.5937/scriptamed52-29724.

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Arrival of Doctor Gerard van Swieten in Vienna, in 1745, as new personal physician of the Holy Roman Empress Maria Theresa, was starting point of a huge wave of transformation in the scope of Austrian medicine. Scientific and methodological experience which doctor from Leiden brought in Habsburg capital was so overwhelming that whole structure of medical science was shattered and reconstructed in a much more efficient way. Impact of Van Swieten was a splendid example of dominance of scientific method in the Netherlands, where modern European science gained more ground than anywhere else during the classical era of baroque, throughout the 17th and first half of the 18th century. On the other hand, internal reforms and transformation of Austria, from the mid-18th century, helped a lot in the process of successful reception of new structural ideas. Through this kind of merging, inside of only several decades, Vienna managed to grow into one of leading centres of medical science in Europe and the world.

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Hanckock-Parmer, Teresa. "Vocation and Enclosure in Colonial Nuns’ Spiritual Autobiographies." Renascence 71, no. 3 (2019): 155–72. http://dx.doi.org/10.5840/renascence201971311.

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This article examines the discourse of enclosure utilized by Maria de San Jose (1656-1719, Puebla), Jeronima Nava y Saavedra (1669-1727, Bogota), and Francisca Josefa de Castillo (1671-1742, Tunja, Colombia) in their spiritual autobiographies. Despite dissimilar personal vocation narratives, these Hispanic nuns embraced enclosure as a tool of continuing spiritual advancement, both before and after actual profession of monastic vows. They portrayed the cloister simultaneously as connubial bedchamber and isolated hermitage, thus ascribing Baroque religious meaning to ancient anchoritic models through intersecting discourses of desert solitude, redemptive suffering, Eucharistic devotion, and nuptial mysticism. To attain ideal enclosure for self and others, these nuns advocated for reform in New World convents, which often reproduced worldly hierarchies, conflicts, and values. Enclosure, more than a symbolic vow or ecclesiastical mandate, constituted a formative practice that fostered correct action and attitude in nuns’ lives; these women conscientiously sought a cloistered life through which they cultivated holiness and created new spiritual meaning.

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Zerlang, Martin. "POTSDAMER PLATZ - MYTEN OM MIDTEN." K&K - Kultur og Klasse 38, no. 109 (July 1, 2010): 45–54. http://dx.doi.org/10.7146/kok.v38i109.15790.

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POTSDAMER PLATZThe city square has been the organising centre for urban development in the western world, but the history of Berlin can be told as a quest narrative, the search for such an organising centre. This article tells the story of Potsdamer Platz, which can be viewed as the centre of the Prussian (and later German) capital. In the age of the Baroque Potsdamer Platz was connected to one of the new geometrical squares (an Octogon), which emphasised the aristocratic order. In the age of Romanticism the architect Karl Friedrich Schinkel used it in his efforts to reshape the city as a panoramic cityscape. In the Weimar Republic Potsdamer Platz gained a mythical status. It became the symbol of Berlin as a “world city”; and writers, painters and filmmakers excelled in artistic comments on this symbol. The Wall put an end to the glorious history of this “heart of Berlin”, but shortly after 1989 planners and politicians embarked on a project to make the city’s heart beat once again. In the age of Postmodernism, however, the city square has become a history of making exteriors into interiors, of replacing the physical space by mediated space, of “Disneyfication”; and as this article shows, this tendency also characterises the new and renewed Potsdamer Platz.

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ROWELL, S. C. "HISTORIOGRAPHICAL REVIEW." Historical Journal 44, no. 2 (June 2001): 541–58. http://dx.doi.org/10.1017/s0018246x0100173x.

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Since the breakdown of the Soviet Union and Swedish socialism the Baltic region has attracted more attention, although not perhaps as much as it might deserve, than since the 1930s. English-speaking readers have been presented with a magisterial survey of the northern world over a five hundred years' period. However, many of the old stereotypes of war, pestilence, and the rise of Sweden under Gustav Adolphus, the lion of the north, and of Russia under the delusively attractive despots, Peter I and Catherine II (both of whom were essentially Baltic animals), remain unchallenged. Over the past decade much new work has appeared in northern Europe to open a more intriguing and understandable vista – of Baroque vibrancy in art, literature, and architecture; remarkably resilient small towns and efficient manor economies; and powerful interacting religious and political mythologies that combine in a vision of ‘Gotho-Sarmatian’ unity.

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