Abstract: 1. Cattivo Gusto and some aspects of Baroque rhetoric 2. Buon Gusto 3. Arcadia, Pastoralism, and good taste 4. What is Arcadian architecture? 5. A short history of the Academy of the Arcadians 6. Parrhasian Grove.

Abstract: Introduction, 1 Renaissance (1500-1650), 2 Baroque, French Classicism and Rococo (1650-1750), 3 Neo-Classical, Neo-Gothic, Beaux-Arts (1750-1870), 4 American Neo-Classicism and the Emergence of the Skyscraper (1870-1920), 5 The Turn of the Century Europe and its Influences, Prelude to Modernism (1870-1910), 6 Early Modern (1910-1940), 7 Modern and Post-Modern (1940-1980), 8 Contemporary (1980-)

Abstract: This essay traces the recuperation of baroque styles and themes in Chilean novelist Jos? Do noso's Casa de campo (1978),1 an allegorical novel about Latin American history and culture in general and Chile's national trauma of the 1973 overthrow of Salvador Allende's popular socialist government by Pinochet's dictatorship in particular. Donoso's novel is neobaroque, a category that refers to the resuscitation of baroque forms of representation by modem and post modem Latin American and European intellectuals, a group that includes figures such as Cuban writers Alejo Carpentier, Jos? Lezama Lima, and Severo Sarduy as well as Mexican intellectuals Octavio Paz and Carlos Fuentes. Specifically, my discussion will focus on allegory, a central mode of baroque and modem representation that Walter Benjamin analyses in his work (begin? ning with The Origin of German Tragic Drama [1928] through his studies of Baudelaire and the material culture of nineteenth-century Paris in the unfinished Arcades Project [1927-40]), and allegory's characteristic mode of return to the past in a situation of crisis, catastrophe, and loss.2 Symptomatic of postdictatorship Latin American fiction, Donoso's recourse to allegory in his contemporary historical novel marks a crisis in representation in his work. A House in the Country hinges on an allegorical image of the contemporary Chilean nation and state as the eponymous country house, a hermetically sealed microcosm whose idyllic artifi? ciality and orchestrated rimelessness represent the escapism, neo-feudalism and baroque aesthetics of illusionism of the Chilean oligarchy. The Ventura's country house known by the imaginary name of Marulanda, a contradictory emblem of arcadian idyll on the inside and ruthless exploita? tion on the outside, allegorizes Chile's social contradictions and residual internal colonialism under the liberal democratic regime of the 60s, on the eve of Allende's election. In A House in the Country, as in the seventeenth-century German baroque plays analyzed by Benjamin, "[h]istory merges into the setting" (Origin 92): rather than being narrated sequentially, time is represented spatially and visually, in a series of static panoramas of the allegorical country

Abstract: Section 1 introduces the hypothesis that competition among neighboring states may favor cultural innovation, and it surveys the available quantitative evidence. Section 2 starts from the assumption that European instrumental music had its breakthrough during the Baroque era and that the most famous composers came from the two countries characterized by the highest degree of political fragmentation: Italy and Germany. It suggests that political fragmentation has promoted musical composition and performance in several ways. The average duration of employment is proposed as a proxy for competition on the demand side. Section 3 shows that the most famous Italian and German composers of the Baroque period changed their employers significantly more often than then- French and British counterparts did. Moreover, the Reformation led to musical competition between the Catholic and Protestant churches. Section 4 argues that competition for composers has also been important in other periods of European history - including competition between the Church and the courts. It shows that composers moved no less in the Renaissance than in the Baroque. Section 5 raises the question whether European music may also be said to express a competitive spirit.

Abstract: Abstract By the end of the 15th century, the remains of the ancient gods littered the landscape of Western Europe. Christianity had erased the religions of ancient Greece and Rome and most Europeans believed the destruction of classical art was God's judgment on the pagan deities. How, then, did European artists during the next three centuries create such monumental works as Botticelli’s The Birth of Venus and Raphael’s Parnassus? In The Mirror of the Gods, Malcolm Bull tells the revolutionary story of how the great artists of Western Europe—from Botticelli and Leonardo to Titian and Rubens—revived the gods of ancient Greece and Rome. Each chapter focuses on a different deity and sheds dazzling new light on such familiar figures as Venus, Hercules, and Bacchus. Bull draws on hundreds of illustrations to illuminate the ancient myths through the eyes of Renaissance and Baroque artists, not as they appear in classical literature. When the wealthy and powerful princes of Christian Europe began to identify with the pagan gods, myth became the artist’s medium for telling the story of his own time. The Mirror of the Gods is the fascinating and extraordinary story of how Renaissance artists combined mythological imagery and artistic virtuosity to change the course of western art. The Mirror of the Gods profoundly deepens our understanding of some of the greatest and most subversive artwork in European history. This delightfully told, lavishly illustrated, and extraordinary book amply rewards our ongoing fascination with classical myth and Renaissance art.

Abstract: Acknowledgments Foreword R.C. & V.A. LA CHARITE: Par ce que c'est luy ... Rupert Tarpley Pickens III Publications by Rupert T. Pickens F.R.P. AKEHURST: Adultery in Gascony G.J. BRAULT: The Prose Lancelot and the 'Galehot Roll of Arms' P. BRETEL: Moines et religieux dans les contes de la Vie de Peres G.S. BURGESS: 'I kan rymes of Robyn Hood, and Randolf Erl of Chestre' K. BUSBY: Filling in the Blanks W. CALIN: The Occitan Baroque in Provence C.W. CARROLL: One Text, Two Scribes C.J. CHASE: Christ, the Hermit and the Book R.F. COOK: Notes sur le texte du Batard de Bouillon A. CORBELLARI: Les jeux de l'anneau P. DEMBOWSKI: What is Critical in Critical Editions? J. DUFOURNET: Gaston Paris et Villon C. FERLAMPIN-ACHER: Perceforest et Chretien de Troyes J. TASKER GRIMBERT: The Reception of the Tristan Legend in Renaut's Galeran de Bretagne B. GUIDOT: La famille de Narbonne dans Elie de Saint-Gilles E.A. HEINEMANN: More on Speech Presentation in the Charroi de Nimes D.F. HULT: From Perceval to Galahad: A Missing Link? T. HUNT: Wordplay before the 'Rhetoriqueurs' C.M. JONES: Polyglots in the chansons de geste D. KELLY: How Did Guiolete Come to Court? Or, the Sometimes Inscrutable Paths of Tradition W.W. KIBLER: Huon de Bordeaux in its Manuscripts C. KLEINHENZ: Rome and Florence in Dante's Divine Comedy A. KOSTKA: La ville, un Autre Monde? N.J. LACY: On Armor and Identity O. LINDER: 'Par soulas et par envoiseure' D. MADDOX: Intratextual Rewriting in the Roman de Tristan of Beroul L. MATHEY-MAILLE: L'etymologie dans le Roman de Rou de Wace J. HALL McCASH: Philomena's Window P. MENARD: Les Propheties de Merlin et l'Italie au XIIIe siecle J.E. MERCERON: Le miracle et les gues de l'aubepine E.J. MICKEL: Marie's Use of Monologue and Dialogue in the Lais M. OTT: Le siege de Narbonne dans le Siege de Barbastre et Buevon de Conmarchis W.D. PADEN: Before the Troubadours W. PFEFFER: Lifting a Glass in Medieval Occitania E.W. POE: Lord Hermit and the Joglar from Velay D. ROBERTSON: Seasons of Solitude S.N. ROSENBERG: French Songs in Occitan Chansonniers B.N. SARGENT-BAUR: Rewriting Cliges M.J. SCHENCK: Spectacles of Violence S. STURM-MADDOX: 'Signeur, vous qui l'oevre saves' F. SUARD: Alexandre le Grand et Malraux J.H.M. TAYLOR: 'A rude heap together hurl'd'? K.D. UITTI+: The Codex Calixtinus and the European St. James the Major J.-R. VALETTE: Le heros et le saint dans la Queste del Saint Graal E. BIRGE VITZ: A Showcase for Talent L.J. WALTERS: The King's Example L.E. WHALEN: Marie de France and the Ancients L.D. WOLFGANG: The Manuscripts of the Chevalier de la Charrette (Lancelot) of Chretien de Troyes

Abstract: *Introduction MASSIMO CIAVOLELLA AND PATRICK COLEMAN * Believing and Not Believing': Shakespeare and the Archaeology of Wonder PETER G. PLATT * Philosophical Tours of the Universe in British Poetry, 1700-1729, Or, The Soaring Muse LORNA CLYMER * Marino and the Meraviglia PAOLO CHERCHI * I Would Rather Drown, Than Not Find New Worlds PAOLO FASOLI * Truth and Wonder in Naples circa 1640 JON R. SNYDER *'Particolar gusto e diletto alle orecchie': Listening in the Early Seicento ANDREW DELL'ANTONIO * From Liturgy to Literature: Prayer and Play in the Early Russian Baroque RONALD VROON * Reconciling Divine and Political Authority in Racine's Esther ANN DELEHANTY * Apostles and Apostates: The Court of Peter the Great as a Chivalrous Religious Order ERNESTA ZITSER * Self-Knowledge and the Advantages of Concealment: Pierre Nicole's 'On Self-Knowledge' JOHN D. LYONS * The Baroque Social Bond in the Memoirs of the Cardinal de Retz MALINA STEFANOVSKA * A Different Kind of Wonder? Women's Writing in Early Modern Spain LISA VOLLENDORF *Contributors * Index

Abstract: IT IS A CRITICAL COMMONPLACE that Lazarillo de Tormes's appearance in 1554 engendered a literary tradition, usually referred to as the "picaresque" (be that the picaresque novel, genre, mode, frame, style, or strain), that played a dominant role in Hispanic letters during Spain's Renaissance (here, chiefly designating the sixteenth century) and the "historical baroque period" (mainly the late sixteenth and entire seventeenth centuries).' However, the picaresque has not remained restricted to the Peninsula during the peak of its empire. Rather, we shall find that the picaresque novel-specifically one written in a decidedly baroque fashion-has resurfaced as recently as 1969 in the Cuban author Reinaldo Arenas's El mundo alucinante (Hallucinations).2 In this transtemporal, trans-Atlantic investigation, I first demonstrate that the baroque picaresque is a Hispanic literary constant or, at a minimum, that it cyclically reappears. I examine how El mundo alucinante engages in dialogues with two canonical baroque picaresque novels of sixteenthand seventeenth-century Spain: Mateo AlemBnn's Guzman de Alfarache (1599/1604) and Francisco de Quevedo's El busc6n (The Scavenger, 1626). I also briefly examine how Arenas employed his primary historical source, Fray Servando's Memorias (The Memoirs of Fray Servando Teresa de Mier). Ultimately, I attempt to explain why Arenas, a Cuban who reached maturity un-

Abstract: The association between linguistic and musical principles was acknowledged by Baroque musicians throughout the seventeenth and eighteenth centuries, a facet that attracted the attention of many musicologists - mostly German (A. Schering, H. Brandes, and H. H. Unger) - from the beginning of the twentieth century. This study presents an historical background to the whole concept of musical rhetoric, beginning with Luther's theology of music, and focuses on the most significant theoretical compilations of the Baroque era that led to the crystallization and final decline of musica poetica. Aspects of classical rhetoric are dealt with extensively, commencing with the rhetorical dispositio, as described by Greek and Roman authorities, followed by Mattheson's first musical illustration of the (six-part) rhetorical structure in vocal composition. The work focuses on the musical adaptation of two important elements of Baroque musica poetica. Musical-rhetorical figures are presented in chorale compositions by D. Buxtehude and J. S. Bach, conforming to the Baroque notion according to which composers were inclined to depict the allegory and symbolism of the theological text. The study proceeds to the demonstration of the rhetorical dispositio in free organ music, adopting a theory that explains the seemingly disjointed parts of the Klangrede ('sound-speech') notsimply as whimsical elements of the stylus phantasticus, but rather as a scenario modelled on rhetorical thought. The alternation of passion and reason between the affective (exordium and peroratio) and objective (narratio and confirmatio) sections of the classical dispositio is demonstrated in specific pedaliter praeludia by D. Buxtehude, whose free organ works point to an advanced rhetorical plan hidden behind each composition.Buxtehude's musical-rhetorical dispositio is further applied to organ toccatas by N. Bruhns (E minor) and J. S. Bach (BWV 551 and 566), whose rhetorical style, although different from that of Buxtehude, displays a sequence of contrasting sections also motivated by the functions identified in classical rhetoric.

Abstract: For interpreters of Walter Benjamin, the tlieory of allegory presented in Tlie Origin ofGcrnuiii Tragic Dranni (1925) presages ideas appearing in his later writings on such modern subjects as the poetry of Charles Baudelaire, the Paris arcades and Brechtian theater.' For instance, a prominent cultural historian like Susan Buck-Morss draws a direct analogy between the role the ruin plays in German Baroque Traiierspiel and the decay it comes to represent in the visual culture of the late nineteenth century:

Abstract: Disapproval of Baroque flourishes was inscribed into modern Spanish literary historiography by Marcelino Menendez y Pelayo at the end of the nineteenth century, so indelibly that vigorous campaigns from later readers were required to elevate major Baroque poets to the canonical status they enjoy in our time. Meeting on the tercentenary of his death, a brilliant roster of young Spanish writers adopted Luis de Gongora y Argote (1561–1627) as patron saint of their attempts to renovate poetic discourse. Because many of these twentieth-century poets – Federico Garcia Lorca, Pedro Salinas, Jorge Guillen, Damaso Alonso, Gerardo Diego – contributed significantly to criticism, historiography, and text diffusion, their admiration not only canonized Gongora, but also defined the standards by which seventeenth-century poets would be judged. It is one of the ironies of literary history that the very poets who revered the Baroque master’s devotion to language freed from the strictures of conventional logic should also have contributed, over the longer term, to limiting appreciation of his work. In subsequent assessments, Gongora’s verse is frequently cited as proof of the definitive exhaustion of classical and Petrarchan imitation. In this view, his brilliant images and dazzling verbal pyrotechnics not only say nothing new: tied to the sensory and the superficial, they seem to spin over an abyss of nothingness. If Baroque verse was “saved” by the creed of linguistic freedom, it was by the same means doomed to irrelevance. The present chapter explores the phenomenon of Baroque poetry, considering the work of major poets in the multiple contexts of literary history, poetics, and the cultural setting of poetic practice, from the last decades of the sixteenth century through the seventeenth.

Abstract: The famous ‘Gongora controversy’ plays an important part in Jorge Luis Borges’ short story El Aleph (1944), where the rivalry of the two protagonists is projected onto that of the Spanish Golden Age writers Luis de Gongora and Francisco de Quevedo. Thus, El Aleph is transformed into a discussion about the nature of poetry. The link between these seemingly incongruous elements is the theme of the temporal limitations of human consciousness and language, which impede not only our ability to fix the image of the dead in memory, but also the ability of literature to fix the changing universe in a finite poem. The story is not only projected onto the Soledades controversy, but also onto the philosophical discrepancy between mysticism and scepticism, turning it into a highly complex palimpsest. The Gongora controversy – seen in the critical attacks launched at Gongora's encyclopaedic and formally extravagant poem by the ambitious Quevedo, the quintessential genius of Baroque disillusionment – adds depth to the story about the writer-narrator Borges and his rival Carlos Daneri Argentino. But, more importantly, it points to a Borgesian reception of the Baroque, not only of interest to Baroque scholarship, but also to the field of Borgesian studies.

Abstract: This article studies the relationships between the baroque, the city, andthe parodic imagery in Gregorio de Matos's satirical works. Using Saint Augustine's model of the Heavenly and the Worldly City, Bakhtin's ideasof carnivalization, and Maravall's study regarding the baroque as a set ofsocio-historical transformations, I demonstrate how some characteristics of state power and authority in the Brazilian colonial period are associatedwith the portrayal of the city as a body—human, poetical, and erotic.

Abstract: The Great British-printed back-cover description that accompanies the serious work of interdisciplinary scholarship, The Return of the Baroque in Modern Culture, by the Syracuse University Associate Professor of English and Textual Studies, Gregg Lambert, spotlights that the tome “explores the re-invention of the early European Baroque within the philosophical, cultural and literary thought of postmodernism in Europe, the United States, the Caribbean and Latin America” In so doing it adduces

Abstract: This paper is a critica! documented study of the last royal funerals to take place in Granada at the end of the 18th and beginning of the 19th centuries with the pomp and circumstance typical of the Ephimeral Baroque. The funeral ceremonies and tombs erected in honour of King Charles 111, Charles IV and Ferdinand VII and Queen Maria Luisa of Parma, Maria Isabel of Braganza and Maria Josefa Amalia of Saxony are described. By means of this study light is thrown 011 an emblematic genre falling into disuse and characteristic of the 'Estates' of the Ancien Regime.

Abstract: espanolLa transformacion de los monasterios benedictinos de fundacion medieval en Asturias durante el periodo barroco constituye un capitulo importante en la historia. Este articulo tiene objetivo de precisar el proceso de transformacion y ampliacion del monasterio de San Vicente de Oviedo, y destacar la figura de Melchor de Velasco como tracista de la misma. La traza fue realizada probablemente en 1658, y la obra se ejecuto en dos fases; la primera iniciandose en 1659 a cargo de Francisco de Cubas y la segunda en 1669 a cargo de Juan de Estrada. Asimismo se hace una reflexion sobre las causas de la permanencia del clasicismo en la arquitectura asturiana durante el siglo XVII. EnglishThe transformation, during the Baroque period, of Benedictine monasteries founded in the Middle Ages in Asturias constitutes an important chapter of history. This paper aims to make a more precise description of the process of the transformation and enlargement of the monastery of San Vicente in Oviedo, and to point out the figure of Melchor de Velasco as responsible of its design. The project was probably designed in 1658, and the construction work took place in two phases: the first started in 1659 by constructor Francisco de Cubas, and the second in 1669 by Juan de Estrada. At the same time, we make some considerations about the reasons for classicism to remain present in the architecture of Asturias during the 17th Century.

Abstract: Abstract the traditional narrative of the history of education, the rise of the Society of Jesus as a teaching and missionary order has often been linked with a set of aesthetic values collectively identified as the ‘baroque’. Yet the defining characteristics of the baroque, as an expression of an aesthetic and as a worldview, remain somewhat elusive; the related question concerning the existence of a distinctly ‘Jesuit’ style in the visual arts during the sixteenth through eighteenth centuries remains a matter of debate. Whether the Society of Jesus can be credited with developing its own distinctive visual style, there is no doubt that the Jesuits spread elements of a culture that came to be known as baroque around the globe. One of the most distinctive and significant manifestations of the baroque was the Jesuit school play, an integral part of the academic experience of students enrolled in Jesuit schools, and for untold thousands of viewers, an encounter with an ideology that encompassed religion, literature, and the sciences. In their integration of art, rhetoric, and moral pedagogy, Jesuit school plays were also the most representative contribution of the Society, as it existed before its suppression in 1773. A discussion of the features of Jesuit school plays, therefore, may help us come to a better understanding of the baroque.

Abstract: When a vacancy occurred in the chapelmastership of Mexican cathedrals during the colonial period, it was customary to open a competition, an examen de oposicidn, inviting composers from near and far to submit their works. The candidates would "oppose" each other for a chance to obtain what was usually the most prestigious musical appointment in the region. By the seventeenth century, the competitive contest usually required participants to show their skill at composition, counterpoint, and organ performance. A number of exdmenes de oposici6n' have recently emerged from the archives of the Oaxaca Cathedral. They include compositions by Mateo Vallados, Francisco de Herrera y Mota,Juan Perez de Guzman, Luis Gutierrez, and two byJuan de Tobar Carrasco. These works shed light on the process of selection at the cathedral, and on the level of musical skill and sophistication of style expected by the cabildo and offered by the candidates. Table 1 provides a time line of events in the Oaxaca Cathedral, and shows the years in which vacancies in the chapelmastership occurred. The custom of evaluating candidates for high musical posts by the composition of contrapuntal settings over given tenors can be traced back to Spain and Italy, where the practice had been prevalent since the sixteenth century and continued during the Baroque period. The examen de oposicion in Spain has been well documented by musicologists and historians, including Sim6n de la Rosa y L6pez,2 Antonio Lozano Gonzales,3Jose Artero,4 and Robert Stevenson, who observed that "the heart of Baroque Spanish church music pulsed in its maestro de capilla system."5 In 1904 Rosa y L6pez described the procedure of the examen in the cathedral of Seville, on which most of the cathedrals in the New World based their own traditions. The candidates were expected to: