Abstract: Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated. If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did the musical Baroque not last beyond 1720 in most areas, but the years c1720–c1780 constituted a period in their own right, dominated by the international ‘system’ of Italian opera, Enlightenment ideals, neoclassicism, the galant and (after c1760) the cult of sensibility. We may call this the ‘central’ eighteenth century. Furthermore, this period can be clearly distinguished from preceding and following ones. The late Baroque (c1670–c1720) was marked by the rationalization of Italian opera, tragedie lyrique , the standardization of instrumental genres and the rise of ‘strong’ tonality. The period c1780–c1830 witnessed the rise of the ‘regulative work-concept’ (Goehr) and ‘pre-Romanticism’ (Dahlhaus), and the Europe-wide triumph of ‘Viennese modernism’, including the first autonomous instrumental music and a central role in the rise of the modern (post-revolutionary) world, symbolized by Haydn’s sublime in The Creation . A tripartite reading of a ‘long’ eighteenth-century in music history along these lines seems more nearly adequate than either baroque/classical or 1700–1800 as a single, undifferentiated period.

Abstract: Contents: Introduction: Baroque self-invention and historical truth in art The vindication of Susanna: femininity and truth in Baroque science and art The fountain of Narcissus: the ontology of St Paul in Caravaggio and Rembrandt Hercules at the crossroads: image and soliloquy in Annibale Carracci Imaginary selves: the trial of identity in Descartes, Pascal and Cyrano Bibliography Index.

Abstract: Preface Acknowledgements Introduction: "Baroque" as an historical concept Part I: The Baroque in the Seventeenth Century Chapter 1: The Renaissance in Transition-Origins of New Musical concepts Chapter 2: Baroque Innovations in Italy to circa 1640 Chapter 3: Claudio Monteverdi (1567=1643) Chapter 4: The Baroque in Italy from c1640 to c1700 Chapter 5: Arcangelo Corelli (1653-1713 and Alessandro Scarlatti (1660-1725) George J. Buelow Chapter 6: The Baroque in France Chapter 7: Sacred Music in Northern and Southern Europe and Austria in the Seventeenth Century Chapter 8: Secular Music in Northern and Southern Europe and Austria in the Seventeenth Century Chapter 9: Heinrich Schutz (1585-1672) Chapter 10: English Music during the Stuart Reign, the Commonwealth and the Restoration Chapter 11: Henry Purcell (1659-1695) Chapter 12: Music in Spain, Portugal, and Latin America By Rui Vieira Nery Chapter 13: Music in Eastern Europe by Ennio Stipcevic, Metoda Kokole, and Claudia Jensen Part II: The Baroque in Transition Chapter 14: Music in Italy Chapter 15: Opera at Hamburg, Dresden, and Vienna Chapter 16: George Frideric Handel (1685-1759) Chapter 17: Johann Sebastian Bach (1685-1750) Chapter 18: Georg Philipp Telemann (1681-1767) Bibliography Index List of Contributors

Abstract: Introduction 1. The "Jesuit Style" 2. Rhetoric versus Propaganda 3. The Propagandist 4. Message 5. Diffusion Postscript from Berlin Acknowledgments Notes Bibliography List of Illustrations Index

Abstract: This study focuses on one of the first novelists to introduce a version of magical realism and the neo-baroque into Latin American fiction. Original research colours eyewitness accounts of Alejo Carpentier's travels through Spain before and during the Spanish Civil War and the inspiration that he drew from the Baroque architecture he encountered there. The origins of Carpentier's uniquely 'baroque' style are found in his endeavour to create a period ambience in his historical fictions through descriptions of visual arts and architectural settings, and parodies of the literary style of Spanish Golden Age writers. "Medusa's gaze" is used as a metaphor for the petrifying power of the Baroque as a weapon of European dominance. By wielding the same weapon in an act of postcolonial defiance, Carpentier enabled a reassertion of Latin American culture, and laid the foundations for the 1960s 'Boom' in the Latin American novel. Este estudio versa sobre Alejo Carpentier, uno de los primeros novelistas en introducir el realismo magico y el neobarroco a la narrativa latinoamericana. Arroja nueva luz sobre las cronicas que el novelista cubano escribio sobre la arquitectura barroca - tanto le impresiono esta a Carpentier durante su estancia en Espana en la Guerra Civil que se convirtio en fuente de inspiracion constante de su obra posterior. Se investigan cuidadosamente los origenes del estilo barroco carpenteriano, visibles ademas en el ambiente de epoca creado en las ficciones historicas de Carpentier mediante descripciones de artes visuales y escenarios arquitectonicos, y por medio de una parodia del estilo del Siglo de Oro espanol. La 'mirada de Medusa' se emplea en este estudio como metafora del 'poder petrificante' del barroco, el cual funciona como simbolo de la dominacion europea. En su obra Carpentier usa este simbolo como si fuera un arma de doble filo en un acto de desafio postcolonial, asi permitiendo una reafirmacion de la cultura de America Latina, al mismo tiempo que poniendo los cimientos del Boom de la novela latinoamericana de los anos 60. Steve Wakefield is Visiting Research Fellow at the University of New South Wales, Australia.

Abstract: "Mexican Karismata" chronicles the life of Francisca de los Angeles (1674-1744), the daughter of a poor Creole mother and mestizo father who became a renowned holy woman in her native city of Queretaro, Mexico, during the high Baroque period. As a precocious young visionary and later as the headmistress of an important religious institution for women, Francisca actively partook in the project to revitalize the Catholic cult in New Spain's northern regions led by her mentors, the Spanish missionaries of the Congregation for the Propagation of Faith. Her copious correspondence, containing hundreds of unedited letters, documents the personal experience of popular Catholicism during the high Baroque period in New Spain.Francisca's journey to God did not follow prescribed hagiographical guidelines, drawing its inspiration instead from an eclectic mix of the doctrines of the Counter-Reformation, medieval spirituality, and local traditions. Her ecstatic apostolate to the dead and living often bordered on heresy but found acceptance and came to fruition under the protection of Queretaro's ecclesiastical and secular elite. Her life shows how mystic rapture and sociability joined in this colonial variation of Early Modern Catholicism and demonstrates the remarkable vitality and openness of urban spirituality in the New World. Ellen Gunnarsdottir teaches Spanish at the University of Iceland.

Abstract: Abstract More than any other European city, Baroque Naples was dominated by convents. Behind their imposing facades and highly decorated churches, the convents of Naples housed the daughters of the city’s most exclusive families, women who, despite their cloistered existence, were formidable players in the city’s power structure. Invisible City vividly portrays the religious world of seventeenth-century Naples, a city of familial and internecine rivalries, of religious devotion and intense urban politics, of towering structures built to house the virgin daughters of the aristocracy. Helen Hills demonstrates how the architecture of the convents and the nuns’ bodies they housed existed both in parallel and in opposition to one another. She discusses these women as subjects of enclosure, as religious women, and as art patrons, but also as powerful agents whose influence extended beyond the convent walls. Though often ensconced in convents owing to their families’ economic circumstances, many of these young women were able to extend their influence as a result of the role convents played both in urban life and in art patronage. The convents were rich and powerful organizations, riven with feuds and prey to the ambitions of viceregal and elite groups, which their thick walls could not exclude. Even today, Neapolitan convents figure prominently in the city’s fabric. In analyzing the architecture of these august institutions, Helen Hills skillfully reads conventual architecture as a metaphor for the body of the aristocratic virgin nun, mapping out the dialectic between flesh and stone.

Abstract: Inspired largely by Leonardo's brilliant naturalistic work for the Sforza court in Milan, Lombard artists of the late fifteenth century began to use direct observation to investigate the natural world. This heritage was of considerable importance in northern Italian art for two centuries, finding its greatest expression in the works of Caravaggio and influencing the course of Baroque painting in Rome and eventually elsewhere in Europe. Painters of Reality identifies the salient characteristics of this naturalistic strand in Lombard art. Building on the scholarship of renowned art historian Roberto Longhi, the authors reexamine the subject in light of subsequent literature. Essays range from broad discussions of naturalism in Lombard paintings and drawings (including a fresh consideration of works by Caravaggio) to more specialized treatments of Leonardo's influence, the schools of painting centered in Brescia, Bergamo, Cremona, and Milan, and Caravaggio's most notable successors in northern Italy. In addition to Leonardo and Caravaggio, masters such as Lotto, Savoldo, Moroni, and Ceruti and other significant but less widely known figures are represented. With its devotion to recording the unvarnished truth of daily life, its meticulously observed still lifes and landscapes, and its dramatic use of highly focused light to define form, Lombard art was hugely influential in its time and still holds much appeal today. This book is the catalogue of an exhibition jointly organized by the Associazione Promozione Iniziative Culturali di Cremona and The Metropolitan Museum of Art and held in Cremona (February 14 to May 2, 2004) and at The Metropolitan Museum of Art (May 23 to August 14, 2004).

Abstract: A whole imagery and a series of theoretical tendencies, that have become surprisingly current in recent decades, have been shaped by reflection on Baroque aesthetics through the twentieth century. This article traces the trajectory of the recuperation of the Baroque from the second half of the nineteenth century, beginning with Buckhardt and Nietzsche and ending with the debate about Posmodernity. Inside the frame of this clustered panorama, that includes several twentieth-century writers, Fernando R. de la Flor's last two studies on strategies of representation in Counter-Reformation Spain will be discussed. As a conclusion, a way of understanding Baroque in relation to twentieth-century theories of Posmodernity is proposed.

Abstract: John Evelyn's (1 620-1 706) unfinished and partly mislaid "Elysium Britannicum" was begun in England in the 1650s amidst horticultural, scientific, and religious reform. This thesis examines Evelyn's interpretation of classical texts, natural philosophy, and divine contemplation as experienced within the physical structure of an Italian Baroque garden transplanted to an English environment. Chapter one provides both a review of the current literature on the Elysium Britannicum and a brief account of Evelyn's other works concerning garden architecture, including a defense of his Diary. Chapter two examines the inception of the Elysium Britannicum as a result of Evelyn's interactions with intellectual circles, particularly that of Samuel Hartlib. It then reconstructs the missing chapters of Books I1 and 111 and analyzes Evelyn's attempt to raise the status of the gardener in England. Chapter three evaluates Evelyn's contentious relationship with five underlying concepts of Italian Baroque garden architecture as defined by John Dixon Hunt, highlighting Evelyn's intentional deviations fiom the conventions of the continent. Chapter four demonstrates that the Elysium Britannicum can be viewed not just as instructions for constructing a garden, but as a didactic manual designed to teach the practice of divine contemplation in the garden through scientifically studying and piously meditating upon Nature.

Abstract: Des son premier roman, Les soleils des independances (1970), Ahmadou Kourouma introduisait le theme du « monde renverse », metaphore baroque de l'etat de l'Afrique apres les independances. Dans Monne (1990), l'historique de ce « renversement » insistait sur ses racines linguistiques. En attendant le vote des betes sauvages (1998) montre comment ce bouleversement - et le contexte de « la guerre froide » - ont favorise la genese et l'amplification de pouvoirs dictatoriaux debouchant sur une veritable apocalypse. Le recit de cette victoire du chaos adopte la forme traditionnelle du donsomana, geste expiatoire des chasseurs malinkes. Les formes de ce chant et ses vertus magiques inspirent l'espoir que les pouvoirs de la litterature puissent contrarier les forces du chaos.

Abstract: Entries include: Aegean Sculpture Africa: 20th Century Altarpiece Amber Andre, Carl Baroque and Rococo Bartholdi, F.-A.: Statue of Liberty Bernhardt, Sarah Bernini, Gianlorenzo Beuys, Joseph Brancusi, Constantin Capital Carolingian Sculpture Clay and Terracotta Cloisters Cross Colossal Sculpture Dali, Salvador Degas, Edgar Display of Sculpture Diptych and Triptych Duchamp, Marcel Early Christian and Byzantine Egypt, Ancient Equestrian Statue Ernst, Max Etruscan Sculpture Falconet, Etienne-Maurice Flaxman, John Flotner, Peter Forgeries and Deceptive Restorations Fountain Sculpture Fritsch, Katharina Gauguin, Paul Gerz, Jochen Ghiberti, Lorenzo Giacometti, Alberto Gothic Greece, Ancient Hepworth, Dame Barbara Hirst, Damien Honorific Column Horn, Rebecca Horses of San Marco India Instellation Ireland Italy: Romanesque-Gothic Ivory Sculpture Jacopo della Quercia Jagger, Charles Sergeant Japan Judd, Donald Juni, Juan de Kaikel Kapoor, Anish Koons, Jeff Kore and Kouros Korea Kaocoon and his Sons Latin America Lewis, Mary Edmonia LeWitt, Sol Lin, Maya Memorial: War Mesoamerica Metalworking and Decoration Michelangelo Buonarrotti: David Modernism Native North America Near East, Ancient Neoclassicism and Romanticism Nevelson, Louise Noguchi, Isamu Obelisk Oldenburg, Claes Olympia, Temple of Zeus Orestes and Electra Ottonian Sculpture Papier Mache Parthenon Pheidias Pieta Pisano, Andrea Poupelet, Jane Relief Sculpture Reliquary Sculpture Renaissance and Mannerism Rodin, Auguste Russia and Soviet Union Sarcophagus Sculpture Academies Serra, Richard Statuette Surrealist Sculpture Thailand Theater Sculpture Tomb Sculpture Tools Vaccaro Family Venus de Milo Verrocchio, Andrea del Virgin and Child Statuette Vischer, Peter, the Elder Wax Whitney, Anne Women Sculptors Wood Yosegi-zukuri Zadkine, Ossip Zu Family

Abstract: espanolDesde finales de los 80, primero con la publicacion de un estudio de la poesia satirica atribuida al poeta bahiano Gregorio de Matos (A satira e o engenho: Gregorio de Matos e a Bahia do seculo XVII, Sao Paulo, Companhia das Letras, 1989) y despues con sucesivos articulos sobre la oratoria sagrada del predicador portugues Antonio Vieira y las practicas de representacion del siglo XVII en general, el Prof. Joao Adolfo Hansen viene proponiendo el estudio de la retorica como clave exegetica de la llamada «literatura barroca», en un esfuerzo por superar los anacronismos de las diversas apropiaciones del Barroco que dominan en la historiografia y la critica literarias. En «Notas sobre el ‘barroco’», publicado en Revista do Instituto de Filosofia, Artes e Cultura, num. 4 (Universidad Federal de Ouro Preto, Minas Gerais, diciembre de 1997, pp. 11-20) y cuya traduccion presentamos aqui, parte de la revision del termino para demostrar que, desde su invencion y clasificacion peyorativa en el siglo XIX hasta las lecturas transhistoricas en la linea de Eugenio D’Ors, pasando por la revalorizacion del concepto en la propuesta wolffliniana y la apropiacion vanguardista, la nocion esta comprometida con categorias iluministas y romanticas exteriores a los discursos del Seiscientos, y su uso implica, por tanto, anacronismo. Ante los anacronismos criticos por una parte y la generalizada deshistorizacion del Barroco por otra, Hansen propone el tratamiento de las letras seiscentistas segun su especificidad historica, mediante la reconstitucion de las categorias de la retorica aristotelica que las regula, en un proceso hermeneutico que restablece la contextuacion como medio principal para su comprension mas cabal. EnglishSince the end of the eighties, first with the publication of a study on the satirical poetry attributed to the Bahian poet Gregorio de Matos (A satira e o engenho: Gregorio de Matos e a Bahia do seculo XVII, Sao Paulo, Companhia das Letras, 1989) and later with successive articles on the sacred oratory of the Portuguese preacher Antonio Vieira and the general practices of representation of the 17th century, Prof. Joao Adolfo Hansen has been proposing the study of the rhetoric as exegetic key of the so-called «baroque literature», in an effort to surpass the anachronisms of the diverse appropriations of the Baroque, which dominate in the literary historiography and critics. In «Notes on the «baroque»», published in Revista do Instituto de Filosofia, Artes e Cultura, num. 4 (Federal University of Ouro Preto, Minas Gerais, December 1997, pp. 11-20) and whose translation we present here, he starts from the review of the term to prove that, from its invention and pejorative classification in the 19th century to the trans-historical readings in the line of Eugenio D’Ors, passing by the re-valorisation of the concept in Wolfflin’s proposal and the avant-garde appropriation, the notion is compromised with illuminist and romantic categories alien to the speeches of the 17th century, and therefore, their use implies anachronism. Facing these anachronisms, on one hand, and the general de-historisation of the Baroque, on the other, Hansen insists on examining seventeenth-century literature within all its historical peculiarity, identifying and demonstrating both the existence and significance of the categories of Aristotelian rhetoric which exercised enormous influence on creative production. When carrying out his hermeneutic analysis, Hansen rehabilitates contextualization as the principal means for achieving fuller comprehension of 17th century literature.

Abstract: Andre Le Notre (1613-1700) was the greatest landscape architect in France, and his work for Louis XIV (the Sun King) laid the groundwork for the baroque style in landscaping He also defined the essence of French landscape design -scientific, rationalist-in counterpoint to the more romantic, naturalistic English tradition and based his work on the then state-of-the-art science of optics and perspective The castle and gardens at Vaux-le-Vicomte (approximately 50 km south of Paris) were begun in 1653 They are the first great landscape designed by Andre Le Notre and mark the beginning of the baroque tradition in gardening Many of the principles Le Notre tried and tested at Vaux were later employed to great acclaim at Versailles, which he designed at the height of his career Vaux-le-Vicomte is among the most popular French public gardens visited by tourists, roughly 50 percent of whom are from English-speaking countries

Abstract: In baroque literature, el desengano is a commonplace that gets a large development. El desengano means that man realizes that everything he can see is «vanas sombras». In this article, the question of blindness in Lope de Vega's religious poetry is studied through three different aspects: first, blindness of the self in religious poetry is considered as a transformation «a lo divino» of petrarchist lover blindness. Secondly, the divine call is studied in some literary and religious texts, like Saint August Confessions , or Lope de Vega's Soliloquios . Finally, the different methods used by the Society of Jesus to finish with man's blindness ( compositio loci , emblems) are analysed.

Abstract: Como obra inedita dentro del catalogo de realizaciones del arquitecto y ensamblador de retablos Pedro de la Torre (1596-1677), uno de los principales artistas conformadores del arte barroco en el Madrid del siglo XVII, se ha de datar en 1672 el desaparecido retablo mayor de la iglesia parroquial de S. Pedro de Vallecas (Madrid), conocido hoy por fotografia, en el que intervienen otros artistas relevantes que aqui se documentan. As an unknown work belonging to the catalogue of performances of the architect and joiner of «retablos» Pedro de la Torre (1596-1677), one of the main creators of the baroque art at the Madrid of the XVIIth century, it’s possible to date in 1672 the missing main altarpiece of the S. Pedro’s church of Vallecas (Madrid), just known by photograph nowadays, where other important artists worked and are documented here.

Abstract: This essay describes a specific case of the presence of music during the popular festivities that were held in Tortosa at the beginning of 1701 celebrating and exalting the coronation of the then new and recently crowned Monarch, the Bourbon Prince Felipe de Anjou. The source for analyzing the varied and abundant musical participation in the said festivities is a document printed in Barcelona in 1701 entitled "Festive merrymaking, courteous and loyal demonstrations with which the most faithful and exemplary city of Tortosa celebrated the joyous arrival in his Royal Court of our great Monarch, Felipe de Anjou (Bourbon), King of Spain (may God save him)". The importance of this anonymous document lies, on the one hand, in the detailed description it offers us of the essential role played by music - along with other artistic manifestations - in the majority of the activities, and, on the other hand, as a paradigmatic testimony of the relationship between music and "fiesta" during the epoch of the Hispanic Baroque.

Abstract: This is a study of major figures, texts, and periods in Spanish literature prior to 1700. It applies - and interrogates - modern critical theory. Contributing to its cohesiveness are the time span addressed (1330-1630) and the emphasis throughout on literary tradition and critical approaches. It is inspired partly by Ramiro de Maeztu's 1926 monograph, Don Quixote, Don Juan y la Celestina, devoted to the three characters Maeztu felt to be the most important in the Spanish literary canon. The twelve chapters focus largely on the first two of those figures, but also include Celestina. The volume is divided into three parts. The first of these deals with Don Quixote, the second centers around the Don Juan figure created by Tirso de Molina, while the third ventures farther back in time to treat the major texts of the fourteenth, fifteenth, and sixteenth centuries, along with the problematic period concepts "Renaissance" and "Baroque." James A. Parr is Professor of Spanish at the University of California, Riverside.

Abstract: too, the index has ‘skilfully’, but p.77 has ‘skillfully’. And so on. Does it matter? It is symptomatic of the lack of care bestowed on the book; and if the matching of instrument and word depends on anything other than hearsay or romantic tradition, then it does matter. Philology has a vital part to play in shedding light on the problems of recognition and terminology. The discussion of the kinnor inexplicably fails to mention Lake Gennesareth (Kinnereth or Kinnerôt), whose shape is surely relevant. In connection with this and other stringed instruments, the Phoenicians get no mention, nor do Ugaritic or Egyptian sources, and the author seems not to have made himself aware of the writings of Landel or of many other informative authors who have dealt with stringed and other instruments that appear to have biblical connections. So, regrettably, Montagu’s aim ‘to identify those musical instruments that appear in the Bible’ is not fulfilled.

Abstract: The artist’s training and practice in the kingdom of Peru is initially subject to the master’s workshop, to the author’s interests and to the formation of the guilds. With the emergence of 18th century Enlightenment, Neoclassical art was born as a reaction against Baroque, and with it the attempts to create academies with Sevillian Jose Joaquin del Pozo and Francisco Javier Cortes from Quito. The profile drawn in this article selects the main Peruvian academic representatives of 19th century painting, from the provincial neoclassicism of Jose Gil de Castro to the Europeanising academicism of Ignacio Merino and the Italian academicism of Luis Montero. Of ah of them, Francisco Laso’s figure is especially highlighted for the Peruvianist emblematic in his writing and painting.