Abstract: This study analyzes the ways in which a variety of cultural manifestations were the necessary preconditions for (religious) policy and power in the Rome of Urban VIII (1623-1644). Precisely their interaction created what we now call ‘Baroque Culture’.

Abstract: Preface 1. Songs of Shakespeare's England / Craig Monson 2. Love's New Voice: Italian Monodic Song / Barbara Russano Hanning 3. The Rise of Italian Chamber Music / Mary Oleskiewicz 4. Music for Church and Community: Buxtehude in Lubeck / Kerala J. Snyder 5. The Arts and Royal Extravagance: Music at the French Court / George B. Stauffer 6. The Songs of Solomon (Rossi) as the Search for History / Michael Beckerman 7. Usurping the Place of the Muses: Barbara Strozzi and the Female Composer in Seventeenth-Century Italy / Wendy Heller 8. The Baroque Guitar: Players, Paintings, Patrons, and the Public / Victor Coelho 9. Seventeenth-Century Keyboard Music in Northern Europe: Germany, Austria, and the Netherlands / David Schulenberg 10. Bach and the Bounds of Originality / George B. Stauffer 11. Bach's St. John Passion: Can We Really Still Hear the Work--and Which One? / Daniel R. Melamed 12. Music in the "New World": The Baroque in Mexico and Brazil / Gerard Behague Sampler CDs Track List PGM Recordings: Catalog List of Contributors Index

Abstract: The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schutz among others. The thirty chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of 'Renaissance' and 'Baroque'). It thus provides a complete overview of the music and its context. The contributors include: Gary Tomlinson, James Haar, Tim Carter, Giulio Ongaro, Noel O'regan, Allan Atlas, Anthony Cummings, Richard Freedman, Jeanice Brooks, David Tunley, Kate Van Orden, Kristine Forney, Iain Fenlon, Karol Berger, Peter Bergquist, David Crook, Robin Leaver, Craig Monson, Todd Borgerding, Louise K. Stein, Giuseppe Gerbino, Roger Bray, Jonathan Wainwright, Victor Coelho, and Keith Polk.

Abstract: Poems by women who lovingly address other women in erotic terms constituted a fashion in the court-oriented lyric of early modem Europe.1 Such poems are found in the literatures of Britain, Spain, New Spain, France, the Netherlands, the Spanish Netherlands, and Italy.2 Remarkably similar in import despite distinct features of language and cultural expression, these poems constitute a shared idiom, a literary fashion in the sense found in one dictionary as \"a prevailing style or custom, as in dress or behavior\"; something in \"the current mode\" or \"the style characteristic ofthe social elite.\"3 When early modem women wrote poetry to and about other women, they typically cast it in a sapphic reworking ofthe petrarchan tradition, an inheritance that offered poets entwined topoi ready to be reimagined, from the charm ofthe enraptured gaze to the cold thud of deception.4 Just as formulaic vestimentary codes enabled some women to act transgressively as men, both in life and in literature, so the framework of petrarchan address allowed women poets to articulate a sapphic eroticism that functioned in a paradoxical combination of conservative and liberatory ways.5 Women poets linked the conventionalized petrarchan stance, in which the poet contemplates a beloved, to the context of aristocratic court culture in texts that foreground female homoerotic passion and sexuality, satirize the silencing of women, and often advocate for their equality with men.6

Abstract: J. DOUGLAS CANFIELD. The Baroque in English Neoclassical Literature. Newark: University of Delaware Press, 2003. 252 pp. ISBN 0-87413-834-5.The late Douglas Canfield contributed extensively to the theoretical canon for Restoration and eighteenth-century literature, mentored students and new teachers entering the field, and served important roles in the Group for Early Modern Cultural Studies, the American Society for Eighteenth-Century Studies, and other professional societies. His research extended from Restoration drama to literature of the Southwest Borderlands, and his enthusiasm for teaching never waned. Professor Canfield's last publication, The Baroque in English Neoclassical Literature, leaves our profession a final instance of his art of critical inquiry.In this comprehensive study, Canfield argues that remnants of the baroque persist in literature even as literature becomes more neoclassical and that this baroque "extravagance" often disrupts the new impulse toward restraint and the rational. His thorough attention to genres and genders of the period makes this study of baroque "textual surprises" a revealing work for students and teachers alike. Before Canfield delves into "reading out" specific texts by Milton, Cavendish, Etherege, Behn, Dryden, Finch, Rowe, Pope, Swift, and others, his introduction defines the contrary labels for baroque and neoclassical and emphasizes that exuberant baroque "characteristics persisted, not in some weak residue but in some of the later, neoclassical literature's most arresting moments" for drama and poetry (15).Canfield's persistent theme, the "baroque disruption of the neoclassical means" (19), is reflected in each chapter title, three of which I discuss briefly. Beginning with "Milton: Mysteriously Meant," Canfield "reads out" Paradise Lost, neoclassical in form but baroque in its mysterious passages. Discussing numerous examples in the text, he concludes with a discussion of the Promise, "baroquely cryptic" to Adam and to readers as well. For Adam and Eve, the key to salvation from despair, and for a relationship with God, is "absolute trust" (32). But, argues Canfield, the Promise is judged "best" to be given in baroquely "mysterious terms" so that Adam and Eve can "do what Satan can never do: to be merciful to one another so that they can then comprehend God's mercy" (32-33). This opportunity is a new trial but allows them to come to a full understanding of the Promise, "obscurely then foretold," so that they may regain paradise "within" (33). Milton's meaning is not immediately apparent, writes Canfield, but when discovered illuminates his text.After discussing texts by Cavendish, Philips, Waller, Etherege, Dorset, and others, Canfield addresses the complexity of Aphra Behn in "Paradoxically Meant." While Behn has made her mark as dramatist and novelist, her poetry remains largely unnoticed. Canfield examines two neoclassical poems that include baroque paradoxes: The Golden Age: A Paraphrase on a Translation out of French and A Congratulatory Poem to Her Sacred Majesty Queen Mary. I will focus on The Golden Age, which Canfield attributes to L'Aminte du Tasse, Tasso's declaration that the world of trade destroys the pastoral world, and lovers must make the most of a time that is golden. Behn's is a poem about seduction, "an elaborate rhetorical strategy to convince the virgin Sylvia to make much of time," hinting of Marvell's To His Coy Mistress (79). Behn's language of possession and conquest, argues Canfield, "complicates the problem: one usually conquers in order to possess" (82). …

Abstract: The aim of The Architecture of the New Baroque is to investigate the proposed claims regarding similarities between historical Baroque architecture of the 1600s (and its revival in the 1800s) to works of contemporary architecture which has been named “the new Baroque” (also known as the architecture of complexity or the architecture of the Fold). As author Michael Ostwald says early on, “Because the historic Baroque has been subjected to extensive historical scholarship it is used to provide a stable foundation for the remainder of the research” (p. 22). Comparing the new to the old is helpful because by revealing what the new is not, we are a step closer to understanding what it is. This kind of comparison works like a translation, allowing the reader (and the spectator) to grasp the meaning while appreciating the particular flavor or color of the original. What Ostwald does is examine the fidelity of the translations to discover if the touted similarities are superficial or profound (and thus if written theory is outstripping built projects). Along the way he examines not only architecture but the theoretical underpinnings, so that this small essay is unexpectedly rich. It allows those who have not followed the step-by-step unfolding of the movement to see it as a whole cloth (freezing it, of course, somewhat artificially at the point when the book was written, although the architecture itself continues to evolve). These days the rapidity and spread of theory means that its effect on design practice is almost immediate, much more so than when Guarino Guarini had a career of building experience behind him before writing his treatise on architecture.

Abstract: Bernardo Simon de Pineda was the most important architect – joiner of the Sevillian Baroque. He had been born in the of Antequera village (Malaga). In this study we comment on the question of his surnames, contribute documents on the family of the artist and, especially, his contract of learning in Cadiz with the architect - joiner Alejandro de Saavedra. We place in his context these contributions with the artistic panorama of the decade of 1650 in Cadiz and Seville.

Abstract: The affinity between the baroque and the postmodern which emerges in much contemporary theoretical writing, is premissed on a view of the baroque and the postmodern as tropes that open up a dialogue with the founding categories of modernity; the baroque is seen as resisting the coming of age of rationalism, while the postmodern revisits the emergence of modern subjectivity as source of knowledge of both self and world, and seeks to redefine subjectivity beyond transcendental, metaphysical cat...

Abstract: The author links Shakespeare and political theology. He invites to think the Catholic question in a Counter-Reformation and Baroque rather than medieval/archaic frame, and to do so through a substantial and facinating body of texts that penetrates into Reformation England via the problem of recusancy. Francisco Suarez's Metaphysical Disputations were published in 1597, the same year that Richard II was entered into the Stationer's Register. The two texts share sacred tropes of sovereignty, yet exist on two sides of the Reformation divide. Through the case of Suarez, the author looks for deep structures of analogy, metaphor, and resistance that link the English ans Spanish Baroque, while also attending to the coercive character of religious conflict and affiliation in this period.

Abstract: This papers aims to examine the evidence about the reception of Nonnus in Spain, in the light of his fortune in the 16th and 17th centuries (through several editions and translations) Such analysis starts with the manuscripts of the Dionysiaca in the Library of San Lorenzo de El Escorial Plus, the presence in Spain of translations of this mythological epos into Latin and French, which circulated in the literary and scholarly milieu as a manual of mythology, suggests some possible echoes in Spanish Literature (Baroque age, especially), through diverse ways Thus, the following pages intend to show a panorama of the reception and survival of Nonnus’ Dionysiaca in Spain, coinciding with the publication of the last volume of the first Spanish translation, and to open new ways of research

Abstract: Compagnia della Grazie, for instance, includes a careful study of the position of the prostitute in medieval and early modern society. It is unfortunate that the sources for this confraternity do not allow Lazar to comment at any length on the actual experiences of women within S. Marta, since extant sources for the organization of the association provide vivid descriptions about encounters between the Jesuit organizers and the subjects of their assistance. For instance, one contemporary commentator describes Ignatius “running before a young and pretty street girl, in order to save her from the clutches of the most cruel tyrant and to lead her into safety in the hands of Christ” (51). It would be interesting to know whether Ignatius’s intense preoccupation with the reform of these women’s lives was matched by the women’s own desire to escape their circumstances. Sources for the other two institutions, that of S. Caterina and the Casa dei Catecumeni, provide more detail about the experiences of those who were assisted by these confraternities. The archives of S. Caterina, for instance, yield information about the origins, age, and status of girls entering the conservatory, as well as their activities within it. Lazar also analyzes the conversion stories of two Jews who became attached to the Casa dei Catecumeni to illustrate the complicated position of such institutions in early modern society. Lazar has drawn upon an impressive variety of primary and secondary sources for this study. The primary material includes confraternal statutes, the letters and “autobiography” of Ignatius Loyola, and archival material from Rome and many other sites on the peninsula. The secondary works that anchor the study span the medieval and early modern periods, allowing Lazar to comment with confidence on both continuities and changes in the religious culture of the sixteenth century. The book should be of great interest to scholars of confraternities, the Jesuit order, and attitudes toward the Other in the premodern world. ROISIN COSSAR The University of Manitoba

Abstract: The Rector s Palace in Dubrovnik has hitherto been evaluated mainly in terms of its predominant Gothic and Renaissance phases of construction. However, comprehensive research on Dubrovnik s Baroque architecture has demonstrated that a revalorisation of the Baroque phase of the Rector s Palace is due. This re-evaluation has been stimulated by research on archival documents in the State Archives of Dubrovnik, which has brought to the light hitherto unpublished information on the reconstruction of this building following the earthquake of 1667. The rebuilding of the Palace took place in several phases, an examination of which reveals changes in relations between the Senate and the state architects, as well as how these changes were reflected in the nature of the work itself. During the initial period, members of the Senate produced models of reconstruction incorporating the restoration of the Palace s Gothic-Renaissance appearance. However, the arrival in Dubrovnik in 1689 of an Architect of international renown - the Sicilian Tommaso Napoli - opened a new phase of reconstruction, whereby the Palace acquired a Baroque stamp.

Abstract: women are adapting their activism to changing circumstances (often moving into new arenas), the authors devote two chapters to an exploration of the potential for broader alliances across religion (Catholic and Protestant) and across class (middleclass feminists and popular feminists). These two chapters are valuable for the way they bring to light the complexity of these women's identities. As noted in the authors' discussion of their methodology, all of the interviewees are \"poor, female, and Catholic\" (p. 16). The complex and fluid relationship among these identities is illustrated through a discussion of the relationships (or potential for relationships) between base community activists and Protestant organizations, and popular sector women and middle-class feminist organizations.

Abstract: This article analyzes the representation of “sertao” (Brazilian colonial frontier), built by the baroque imaginary of sugar cities in the 16th and 17th centuries. Our sources are Gabriel Soares de Souza and Ambrosio Fernandes Brandao,s writings.

Abstract: Résumé By examining abstract instrumental works, I wish to propose that an essential aspect of the new style known today as “Baroque” is the adoption of a different tonal language that can be found in English music of the early years of the century. This is, in itself, not a new idea, and that there is a move to a two-mode (major/ minor) system during the course of the seventeenth century is not an issue of great debate, but how early it begins and the impetus for the change is less sure. Moreover, it is rarely considered as a harbinger of a new style, that of beginning the Baroque. I will demonstrate that Orlando Gibbons’s abstract keyboard music resonated with contemporary English musicians, was described by amateurs as well as professionals, and flourished during the tumultuous years of the first half of the century, becoming the dominant musical language of Baroque instrumental music. This is not to say that Gibbons is the only composer who experimented with new ways of organizing music or that England is the only place where such innovation can be located. The lack of centering the discussion on any place except Italy, however, has misguided our current understanding of the period and has subsequently yielded a view of “Baroque” that does not acknowledge concurrent developments in other places. By disengaging from the text, we are able to comprehend better the methods by which seventeenth-century composers dealt with how to structure a non-texted composition, how to lengthen the work, what aspects to develop, and along what lines. The demands instrumental composition made on an existing musical language fundamentally conceived as a vehicle for text ultimately led to the disintegration of older processes and the crystallization of new ones. The keyboard fantasias of Gibbons serve as a viable test case since they were unquestionably influential, being copied and performed continually from the time they were created to the Restoration.

Abstract: espanolEl escultor Juan Pascual de Mena, activo en la transicion del barroco al academicismo, intervino en el ornato del Palacio Real y de varias iglesias madrilenas, ademas de desarrollar una intensa actividad en la Real Academia de Bellas Artes. EnglishJuan Pascual de Mena, one the best sculptor in the transition of the Baroque to the Academicism, work in the Royal Palace and the many churchs of Madrid, also the singular activity in the Royal Academy of Fine Arts.

Abstract: 931 Walker’s use of the theory of the anthropologist Victor Turner to bolster her arguments about the changing form of the intelligentsia is in some ways apt, but the theory is hammered home with a bit too much vigor. With a mere tap, the proper amount of relevant theory would stick to the argument and serve it well, rather than distracting the reader from its substance. Another small flaw arises from the discipline of history itself, which understandably emphasizes change rather than continuity of culture. Thus, while the book’s larger argument has to do with change to a more hierarchical, less personal bureaucratic system, bits of this argument are undercut in the detailed descriptions of Voloshin’s adroitness in the continuing forms of patronage and personal favors, albeit in a new context. Likewise, the Soviet tendency to hagiography, rightly identified by Walker early on as a determining factor in Voloshin’s legacy, stems in fact from the much longer, very much pre-Soviet, Byzantine tradition. These, however, are small flaws. This is an excellent book and a real contribution to scholarship. The author, her mentors, and Indiana University Press have done us a great service for which we should be grateful.

Abstract: I. A Frontispiece II. Introduction Marguerite Yourcenar and the Writing of Fiction: An Aesthetic Imperative III. Chapter 1 Anna,Soror...: Neobaroque Sacralizes the Abject IV. Chapter 2 Denier du reve : Baroque Discourses,Fascist Practices V. Chapter 3 Neobaroque Humanism: "Sounding the Abyss " in L 'xuvre au Noir VI. Chapter 4 Neobaroque Confessions: Un homme obscur and the Oppressive Superficiality of Words VII. Conclusion An Author for the New Millennium VIII. Selected Works Cited and Consulted IX. Index of Proper Names

Abstract: Celebrating the Spanish Renaissance's greatest poems and offering a new appreciation of Spain's "Golden Age, " Edith Grossman turns her passionate fervor and stylistic brilliance to the works of Jorge Manrique; Garcilaso de la Vega, a soldier and courtier who wrote love poetry; Fray Luis de Leon, a converso Jew; San Juan de la Cruz, whose poems are the finest exemplars of Christian mysticism; Luis de Gongora, a great sensualist; Lope de Vega, Cervantes' rival; Francisco de Quevedo, the ultimate Baroque poet; and Sor Juana Ines de la Cruz, the nun whose haunting poetry embodied the voice of Mexico. Through these glorious voices, presented in facing-page Spanish and English, The Golden Age offers a new way to connect with the literary heritage of the Spanish-speaking world.