Abstract: AcknowledgmentsIntroduction1. Neo-Baroque2. Gay and Baroque Literatures3. Satiric Poetry4. Agustin Lazo (1896-1971): Xavier Villaurrutia's Shadow5. Guadalupe Marin: The Madwoman in the Murals6. Gossip, Power, and the Culture of CelebrityNotesBibliographyIndex

Abstract: The Drama of the Portrait: Theater and Visual Culture in Early Modern Spain by Laura R. Bass. University Park: Pennsylvania State U. Press, 2009. Pp. vii + 180. $75. In The Drama of the Portrait Laura R. Bass offers insightful and well-researched arguments on the multi-faceted nature of representation in portraiture as well as in specific theatrical pieces that incorporate both portraits and reflections on the issue of identity. Bass convincingly argues that visual artists and authors of dramatic texts participated in a culture of connoisseurship and the construction of Spain's image of itself. This clearly written and theoretically informed book explores the connections among seventeenth-century theater, portraiture, and the process of self-fashioning in urban Spanish society, focusing specifically on the "powers, pleasures, and perils of the human simulacrum" (1). Designed to resemble an art exhibition catalogue rather than a book of literary criticism, this truly interdisciplinary monograph offers illuminating readings of visual representations and theatrical texts alongside the reproduction of over sixty images. By focusing on the issues of power and identity inextricably linked with the complex political and social implications of representation, Bass makes an engaging contribution to the ever-growing corpus of work on the cultural materials of early modern Spain. The decision to examine the connections between portraiture and theater is a welcome one, as the vast majority of scholarship dealing with the ties between painting and literature until more recently has tended to explore the theory of ut pictura poesis in Spanish Renaissance and Baroque ekphrastic poetry. The study of a variety of authors (including Pedro Calderon de la Barca, Alonso de Castillo Solorzano, and Felix Lope de Vega) and dramatic works, among them two wife-murder plays and some entremeses (interludes), demonstrates the scope of Bass's project and the significant presence of portraits on the theatrical stage. These analyses, accompanied by the wide array of images, including portraits of kings, the royal family, nobles, dwarfs, court jesters, wealthy artisans along with book frontispieces, etc., provide a fertile and productive context for Bass to undertake her detailed discussion of the fashioning of baroque Spanish identity. In chapter 1, Bass posits that seventeenth-century Madrid was "a society in which plays, portraits and people were objects of exchange" (40). The chapter traces the rise of portraiture as a status symbol used by the royal family, nobles and the newly rich to project their status and to fashion their image. Hand in hand with this popularity went an artist's ability to make a living by painting portraits. At the same time, authors like Lope de Vega were producing plays to attain both economic and social status. In close readings of scenes from Lope's La dama boba and Castillo Solorzano's El mayorazgo figura that feature portraits scenes, Bass reveals how the plays reflect on the fluctuations of Madrid's symbolic currency (e.g., the portrait), Spain's crisis of coinage, and the ambitions of urban residents. She concludes by emphasizing that social performance was essential for members of courtly society. In part of her nuanced discussion, Bass highlights the power of portraits in a variety of contexts, illustrating how Diego Velazquez used portraiture as a way of fashioning himself into a courtier. She also emphasizes that a portrait had the potential to go beyond the mere reproduction of an accurate likeness to capture and project the sitter's essence. Starting with an apt anecdote about Alonso de Villegas, an author who used his image on a frontispiece of a book both to confirm his identity and to assert authorial control over the reproduction of his work, the second chapter's analysis is based principally on Tirso de Molina's El vergonzoso en el palacio. Bass argues that this play explores the potential for the misappropriation of signatures and portraits (i. …

Abstract: This book identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and music of the German baroque. It sheds new light on the seemingly erotic overtones in settings of the Song of Songs and dialogues between Christ and the faithful soul in late 17th- and early 18th-century cantatas by Schutz, Buxtehude, and J.S. Bach.

Abstract: Macao's Ruins of St. Paul is the only example of Baroque art and architecture in China. This book explores a new the now vanished but once renowned Church.

Abstract: This paper documents the design and development of a Flashbased Baroque music game, "Tafelkids: The Quest for Arundo Donax", focusing on the tension between constructing an online resource that an audience aged 8--14 would find fun and engaging, and the directive to include historical information and facts, as well as convey some of the sounds, musical structures and conventions of Baroque music, history and culture through play. We begin by contextualizing the game as a collaboration between our team of university-based researchers and the Tafelmusik Baroque Orchestra, two groups with quite different histories -- and understandings - of educational media design. We introduce the problem of how to go about creating a media artifact that would "make public", in a compelling and playable way, key features of Baroque music. We then describe a design process in which we tried to bridge the representation of "expert knowledge" about Baroque music with some of the mechanics used in popular music-based games. A discussion of these particular challenges in designing a bridge from propositions to play, in effect digitally remediating, Baroque music education, concludes by addressing the broader epistemological question of what and how we may best learn, and learn best, from games and play.

Abstract: LA VIDA DE LAZARILLO DE TORMES AND DER ABENTHEUERLICHE SIMPLICISSIMUS TEUTSCH by DEBRA ARANIO FRANTZEN (Under the Direction of Max Reinhart) ABSTRACT Fools’ literature, one of the predominant literary practices of the early modern period, assumed various genre forms. This thesis proposes to follow and demonstrate the evolution of the idea of the fool in two national literatures (Spanish and German) beginning with the humanist tradition and ending with the late baroque. The two works chosen here to exemplify fools literature belong to the so-called picaresque genre in which the fool assumes a socially critical role in exposing moral behavior.

Abstract: The point of departure for this article is Vision y simbolos en la pintura espanola del Siglo de Oro, Julian Gallego's study that has most interested literary historians of the same period The narrow relationship between painting and literature is analyzed through the declarations of theoreticians of painting (Pacheco, Carducho) and literature (Lopez Pinciano, Cascales), as well as renowned writers: Lope de Vega, Jauregui, Quevedo, Calderon Coincidences between both arts are examined in terms of their use for commemorative and didactic functions, and in relation to the three main pictorial genres: portrait, landscape (or interior scenes), and still life (descriptions of food, frequently in taverns), or in symbolic accumulations of objects, so characteristic of baroque hyperbole The examples have been chosen from: Lope and Quevedo; the Avisos de Jose Pellicer; the picaresque novel; Maria de Zayas; novels of manners (Remiro de Navarra and Zabaleta); and finally Cervantes

Abstract: List of Illustrations Introduction Gary B. Cohen and Franz A. J. Szabo Chapter 1. Embodiments of Power? Baroque architecture in the former Habsburg Residences of Graz and Innsbruck Mark Hengerer Chapter 2. Baroque Comes for the Archbishops: Wolf Dietrich von Raitenau, Johann Ernst Count Thun and Their Ideals of Modern ArtA" and Architecture Roswitha Juffinger Chapter 3. Religious Art and the Formation of a Catholic Identity in Baroque Prague Howard Louthan Chapter 4. Prague, Wroclaw and Vienna: Center and Periphery in Transformations of Baroque Culture? Jiři PeA'ek Chapter 5. Representation of the Court and Burghers in the Baroque Cities of the High Road: Krakow, Wroclaw and Dresden in a Historical Comparison Jan Harasimowicz Chapter 6. From Protestant Fortress to Baroque Apotheosis: Dresden from the Sixteenth to the Eighteenth Century Barbara Marx Chapter 7. A Tale of Two Cities: Nuremberg and Munich Jeffrey Chipps Smith Chapter 8. Searching for the New Constantine: Early Modern Rome as a Spanish Imperial City Thomas Dandelet Chapter 9. The Zodiac in the Streets: Inscribing Buon Governo in Baroque Naples John A. Marino Chapter 10. A Setting for Royal Authority: The Reshaping of Madrid, Sixteenth-Eighteenth Centuries David Ringrose Notes on Contributors Bibliography Index

Abstract: Este art?culo estudia diferentes modelos de ejemplaridad en la literatura fant?s tica del barroco espa?ol, fos? Antonio Maravall ha destacado los aspectos mani puladores y propagandistas de la cultura del barroco, especialmente el manejo de "resortes irracionales"para promover la aceptaci?n acr?tica de los valores morales y sociales que sustentan el sistema mon?rquico-se?orial. Sin duda, gran parte de los textos barrocos que podemos asociar con el mundo de lo fant?stico, incluyendo un buen n?mero de relaciones de sucesos, leyendas, cuentos y novelas, participan del impulso sensacionalista a que hacen referencia tanto Maravall como Henry Ettinghausen. Pero este no es el ?nico modo de empleo de lo fant?stico en el ba rroco. Las Novelas ejemplares de Cervantes, especialmente "El casamiento en ga?oso" y "El coloquio de los perros" representan un modelo alternativo de ejem plaridad en que lo fant?stico sirve para abrir perspectivas inauditas que revelan la problematicidad de valores y creencias dominantes en la Espa?a del siglo diecisiete.

Abstract: Itay Sapir's dissertation proposes an epistemological reading of Tenebrism in Roman painting around 1600, and puts that distant pictorial revolution in the context of theoretical questions about seeing, knowing and representing. In particular, he interprets the paintings of Adam Elsheimer and of Caravaggio as manifestations of a crisis of knowledge, and analyse them in the context of cultural objects and phenomena from other fields such as texts by Bruno, Montaigne, Shakespeare and Cervantes, and the first creations of the musical Baroque. The concrete limitation of visibility that Tenebrism entails is thus interpreted not as the simple emergence of a new realism or as originating exclusively in the Counter-Reformation, as has been often suggested. Instead, the role of darkness, and of other pictorial devices complicating the mimetic regime, is considered in the context of generalised scepticism, a reaction to the epistemological saturation in the aftermath of Renaissance Humanism

Abstract: Gianlorenzo Bernini was the greatest sculptor of the Baroque period, and yet - surprisingly - there have been only a handful of shows related to his work in modern times.Bernini's portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. His ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, including Alessandro Algardi, Giuliano Finelli, and Francesco Mochi.Published to coincide with a major new exhibition at the J. Paul Getty Museum in 2008, "Bernini and the Birth of Baroque Portrait Sculpture" is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries that demonstrates their unrivalled range, skill, and acuity.

Abstract: El dolor de Colombia en los ojos de Botero is a departure thematically and philosophically for Fernando Botero in many ways because the artist frankly depicts the multi-faceted violence that rages in his country. The fifty works, oil paintings and drawings completed by the Medellin native between 1999 and 2004, were on display in the summer of 2006 at the Museo Nacional de Bellas Artes in Buenos Aires, Argentina. Currently several of the same pieces are among those touring North America through 2010 as part of the retrospective, The Baroque World of Fernando Botero. For a complete listing of exhibition dates and locations see Arts Services International's site: http://www.artservicesintl.org. This paper will explore the complications inherent in representing the suffering found in these pieces as well as the uniquely Latin-American style the artist has developed to address the difficult aesthetic issues associated with violence. Starting from the theories of Elaine Scarry (1985), the essay will l...

Abstract: The Cathedral of Cadiz is the last Baroque Cathedral in Spain and its history and fame has suffered the savage attack of academical criticism from the end of the Eighteenth Century. In this paper, this building is studied through the edition of its architect's (Vicente de Acero y Acebo) texts supporting its project, and his critics's pamphlets.

Abstract: At the beginning of the late 1500s, painters in Bologna began to revolutionize the art world by rejecting Mannerism - a style characterized by the depiction of the human form in intricate, often exaggerated poses - and moving toward the Baroque, with its elaborate grandeur, sensuality, and portrayal of emotion."Captured Emotions" is a richly illustrated volume that presents readers with an authoritative and accessible survey of this hugely important period in Italian art. It begins by giving an overview of the history of Bolognese painting, before moving on to look at specific topics, such as portraiture, cabinet pictures, naturalism and classicism. Concluding with an examination of the developments made in the eighteenth-century under Giuseppe Maria Crespi, this is an invaluable resource for anyone interested in this innovative period in the history of art.

Abstract: Desde los pasados anos ochenta, con la critica a la representacion etnografica de Writing Culture, la escritura de textos etnograficos en antropologia se ha distinguido por la aparicion perenne de neofitos de nuevos trabajos compuestos de tropos y estrategias estilisticas que reflejan las diversas influencias de un periodo de critica. Estos textos “desordenados” eran, y son, valorados como experimentos. Este ensayo argumenta como critica, que estas etnografias actuales no son tanto experimentales como barrocas, indicando quiza un limite a la forma etnografica historica y la necesidad de empujar de nuevo el espiritu de lo experimental hacia las condiciones de producir etnografia en el trabajo de campo. Esta “refuncionalizacion” de la etnografia en su espiritu experimental reconoceria y abordaria el limite presente de lo barroco, al que este periodo de critica nos ha conducido de los ultimos anos ochenta en adelante.

Abstract: In the eighteenth century, numerous architects, including Spaniards, travelled to Rome to study the ancient monuments, at a time when a view of the Greco-Roman past prevailed in European art as an aesthetic solution and theoretical answer to outdated Baroque art. These works constitute an important graphic document of the condition of the classic monuments at that time, and they reflect the archaeological interest of the Enlightenment. As a perfectly developed science, architecture approached the analysis of Antiquity with a precision that did not exist in antiquarian mentality, as demonstrated in the two examples we offer here: the elaboration of the archaeological plans of the Theatre of Marcellus and the Sanctuary of Hercules Victor.

Abstract: El presente art?culo explora la forma en como la sensibilidad barroca influy? en la doctrina de la iglesia, el proyecto de evangelizaci?n y las identidades sociocultu rales que emergieron en las comunidades mayoritarlamente ind?genas del sudeste de M?xico, y m?s espec?ficamente en el ?rea del obispado de Oaxaca, a trav?s del estudio de las pr?cticas religiosas y las ceremonias colectivas de dichas comunida des. Se muestra aqu? c?mo algunas de estas pr?cticas coincidieron con la nueva espiritualidad barroca, lo que les permiti? adaptarse y sobrevivir a los sucesivos intentos de extirpar las idolatr?as ind?genas llevados a cabo por las autoridades coloniales.

Abstract: Baroque Music-the very name brings forth strains of a dark music while the late medieval entity strolls down Venetian corridors of some Gothic battlement, in deep contemplation, perhaps in accord with some command received from some jealous Doge to meet in the Keep for a duel.

Abstract: A Journey Through Sicilian Baroque * The Places: Pre-existing and New Plans * The Protagonists: Master Architects * The Works: Tradition and Revolution * Theory and Practice * The Thousand Faces of Baroque * Bibliography

Abstract: This latest volume in the acclaimed "Art through the Centuries Series" explores the most important and influential artists and artistic concepts of the eighteenth century.While the Baroque style had dominated the previous century, a new sensibility - the Rococo - emerged during the early 1700s. The Rococo style, characterized by delicately curving forms, pastel colour, and a lighthearted mood began in French architectural and interior design and was popularized by artists such as Antoine Watteau and Francois Boucher.The second half of the century, spurred on by excavations and discoveries at Pompeii and Herculaneum, saw a return to Classical Greek and Roman models which matured into the Neoclassical style exhibited by Antonio Canova and Jacques-Louis David.