Abstract: Contents Foreword Abbreviations List of Illustrations Introduction: The social context of the Baroque period: the beginnings of modernity Part I: The survival of the classical paradigm of the cross in Roman Catholicism Chapter 1: The theoretical mediation: the cross in Baroque Tridentine orthodoxy Chapter 2: The aesthetic mediation: the cross in Baroque Catholic art Chapter 3: The aesthetic mediation: the Passion in Catholic music Part II: The cross in Protestant orthodoxy Chapter 4: The theological mediation: Baroque Lutheran and reformed theology of the cross Chapter 5: The aesthetic mediation: the cross in Protestant art Chapter 6: The aesthetic mediation: Protestant Passion music Part III: The challenge to the orthodox doctrine of redemption: the Enlightenment paradigm Chapter 7: Challenges to the classical paradigm of the cross, and the emergence of a new paradigm of salvation Envoi Appendix 1: Virtual museum Appendix 2: Discography of Passion music of the Baroque period Bibliography Index Notes

Abstract: The Rococo period in the arts, flourishing mainly from about 1710 to about 1750, was stylistically unified, but nevertheless its tremendous productivity and appeal throughout Occidental culture has proven difficult to explain. Having no contemporary theoretical literature, the Rococo is commonly taken to have been a final and degenerate form of the Baroque era or an extravagance arising from the supposed careless frivolity of the elites, including the intellectuals of the Enlightenment. Neither approach adequately accounts for Rococo style. Naming the Rococo raises profound issues for understanding the relations between conception and production in historical terms. Against the many difficulties that the term has involved in accounting for an immense but elusive cultural movement, this thesis argues that some of the chief philosophical conceptions of the period clarify the particular character and significance of Rococo production. Rococo production is here studied chiefly in decor, architecture, and the plastic arts. This thesis also makes an extended general argument for the value of intellectual history. Rococo style is a group of visual effects of which the central character is atectonicity. This is established by a synthesizing overview of Rococo ornamental motifs. Principal theorists of post-Cartesian thought have failed to see how these -iidistinguish Rococo style from both Baroque and Enlightenment culture. The analysis addresses the historical narratives of Benjamin, Adorno, Foucault, Deleuze, and others about Baroque and Enlightenment culture. The core historical claim of this thesis is that Rococo atectonic effects are visual forms of the anti-materialist, idealist ontology of George Berkeley and of the metaphysics and ontology in the early work of Giambattista Vico. Close readings of important passages from works of both philosophers published in 1710 develop the relationship between atectonics and idealist ontology. Both men rejected the Baroque hierarchical cosmology in favor of finitude as the key to human understanding. The readings center on the issue of causality, including Berkeley’s views of the perfect contingency of the world and on Vico’s theories of truth and ingenium. A reading of Diderot’s critique of the Rococo, which led the reaction to it, shows that he recognized the power of idealist ontology in the Rococo cultural production. The larger force in the rejection of Rococo is the emergence of the sublime as a morally fearful feature of physical nature. Montesquieu’s aesthetic work also shows the transition to a more rigidly determined view of existence, which was expressed but constrained in the little-recognized lattice motif in Rococo arts. The result of these readings is the influence during and after the Rococo period of the concept of continuous creation, in which the memory and imagination of the human subject relays God-given powers of creation into the production of -iiiculture. Continuous creation also suggested a human capability to animate material nature. Rococo style displays this as pre-cinematic effects that represent the nonmaterial, non-causal deep structure of reality.

Abstract: In this paper, the author discusses the power of vodun leaders in present-day Benin, and more specifically anti-witchcraft cults born from the encounter with world religions. Offering an analysis inspired by Louis Marin’s theory on power in its representation, the author illustrates her analysis through the portrait of a vodun leader with a view to escape from a functionalist analysis of occult power or syncretism. With the baroque mirror metaphor conceived as a device, which underscores what it is that connects heterogeneous practices, Tall describes what is shown in the rituals and practices of a vodun leader and emphasizes the centrality of the transubstantiation phenomenon in the production of a community of believers. RESUME: Dans cet article, l’auteur s’interesse au pouvoir des chefs de cultes vodun dans le Benin contemporain. S’attachant plus particulierement aux leaders de cultes anti-sorcellerie nes de la rencontre avec les religions universalistes, elle propose une analyse inspiree des travaux de Louis Marin sur le pouvoir dans sa representation et construit son propos a travers le portrait d’un chef de culte pour echapper aux analyses fonctionnalistes en termes de pouvoir occulte ou de syncretisme. A travers la metaphore du miroir baroque concu comme un dispositif qui met en lumiere ce qui articule des pratiques heterogenes, Tall s’attache a ce que montrent les rituels et les pratiques d’un officiant tout en illustrant la centralite du phenomene de transsubstantiation dans la production d’une communaute de croyants.

Abstract: The Life of Maria de’ Medici, the biographical series of twenty-four large-size paintings executed for the Queen Mother of France by Peter Paul Rubens in 1622–25, is traditionally regarded by historians as both a masterpiece of Baroque art and a monument of political naivete. According to this view, the series was a disrespectful visual bravado that exposed both patron and painter to scandal by publicly advertising the queen’s political ideas and ambitions, which were not only audacious, but often in opposition to those of her son King Louis XIII. This article challenges this assessment by reading the Life within the context of seventeenth-century uses of dissimulation and spatial control as strategies to limit both intellectual and physical access to information. It argues that the series was imbued with multiple layers of meaning, intended for different audiences, and that access to these was strictly controlled by the queen and her circle.

Abstract: Until now, the Hindu origins of Catarina de San Juan, the historical china poblana, had remained in the realm of myth. This article offers new information on the matter, and explores the relatio´nships between the baroque painting of New Spain and the visions of this daugliter of the Company of Jesus, within the context of the culture of mysticism,of the viceroyalty. As a double contextualization, the article secks to understand the life history of the china poblana and her character as a mystic.

Abstract: Abstract ABSTRACT This study clarifies historical evidence as applied to Italian baroque performance practices and repertoire for trumpet and pipe organ, circa 1630. It focuses upon a specific concert; the first historical record of a trumpet and pipe organ duo performing whereby the trumpeter takes a soloistic role. The details surrounding the performance, one involving trumpeter Girolamo Fantini and organist Girolamo Frescobaldi, make wonderful fodder for a more detailed musical look into 17th century Italy. Perhaps most importantly, the process outlined here can be modified and used in the study of music from virtually any genre from any musical period. Ultimately, it is my hope that the details surrounding this historic concert can be leveraged in the service of forming a more consistent intention as applied to the study and live performance of ancient music. In the larger trumpet community, Baroque music of nearly any nationality has often been performed with a loose set of guidelines regarding the various facets of performance: articulation, phrasing, dynamics, and so forth. My process takes into account organology, acoustics, historical information gleaned from the Vatican Library, and architectural factors based upon site visits in Rome. This document is composed of five (5) major sections: 1) the roles and typologies of trumpets in Italy in the early 17th century; 2) the typologies of pipe organs in Italy in the early 17th century with special emphasis given to the unique approach to tonal design in the Baroque Italian organ; 3) historical details uncovered through research in the USA and Rome which paint a clearer picture of where the famed concert might have taken place, and at whose behest; 4) acoustical and architectural details of the historic spaces potentially utilized in Fantini’s and Frescobaldi’s fabled concert; and 5) insights into further directions for research including the integration of sampling, sequencing, recording technologies, and digital acoustic simulation into the study of ancient – and potentially all – music.

Abstract: This is a rich exploration of the role the Baroque master played in the Counter-Reformation. The art of Rubens is rooted in an era darkened by the long shadow of devastating wars between Protestants and Catholics. In the wake of this profound schism, the Catholic Church decided to cease using force to propagate the faith. Like Gian Lorenzo Bernini, Peter Paul Rubens (1577-1640) sought to persuade his spectators to return to the true faith through the beauty of his art. While Rubens is praised for the "baroque passion" in his depictions of cruelty and sensuous abandon, nowhere did he kindle such emotional fire as in his religious subjects. Their colour, warmth, and majesty - but also their turmoil and lamentation - were calculated to arouse devout and ethical emotions. This fresh consideration of the images of saints and martyrs Rubens created for the churches of Flanders and the Holy Roman Empire offers a masterly demonstration of Rubens' achievements, liberating their message from the secular misunderstandings of the post-religious age and showing them in their intended light.

Abstract: List of Illustrations Preface Acknowledgments 1 * A Matter of Boxes, 1883--1884: Bel Canto 2 * Cultural Capital, 1884--1903: The German Seasons and French Opera 3 * Opera Wars, 1903--1908: Parsifal, Salome, and the Manhattan Opera Company 4 * Modernity, 1908--1929: Puccini 5 * Hard Times, 1929--1940: Wagner 6 * Strains of War, 1940--1950: The Conductor's Opera 7 * Stage Business, 1950--1966: Verdi 8 * In Transit, 1966--1975: American Opera 9 * Maestro Assoluto, 1975--1990: Twentieth-Century European Opera and the Baroque 10 * Patronage and Perestroika, 1990--2006: American Opera (Redux) and Slavic Opera 11 * In the Age of New Media, 2006--2013 Notes Index

Abstract: MUSIC IN ST. NICHOLAS CHURCH IN THE LESSER TOWN OF PRAGUE DURING THE FIRST HALF OF THE 18TH CENTURY The present study intends to suggest various directions which the research might take in relation to the music at the Jesuit church of St. Nicholas in the Lesser Town of Prague in the first half of the 18th century. Based on the music-related sources, several specific issues are elaborated: the oratorios played there during the 1710s, the compositions written for the Confraternity of Death by Jan Josef Ignac Brentner, the music ensemble of the church and the sources of music by Jan Dismas Zelenka originating in the former St. Nicholas music collection. At the same time the article draws a parallel between the monumental and radical Baroque architecture of the new church, which changed the face of the city, and the no less important position, which the music of the Lesser Town Jesuits occupied in the Prague musical landscape of the time.

Abstract: Going by the titles of his books, Deleuze has proposed two philosophical concepts for styles from art history: expressionism and baroque. It is true that he discusses many other notions from the history of style, but these are the only ones that are truly made to ‘exist in themselves’. Or might there be a third, buried like a wedge between its two neighboring concepts? Although the notion of mannerism recurs in several of Deleuze’s writings, it is never developed in any systematic way. Even in The Fold. Leibniz and the Baroque mannerism stays entirely subordinate to ‘its working relation with the baroque’. It is only in his last course at Vincennes, in which he draws a parallel between Michelangelo and Leibniz, that Deleuze wonders whether we possess ‘the means to give a certain philosophical consistency to the concept of mannerism’, which in addition he labels ‘the most evident, the most certain theme of our investigations this year’. My aim is to render mannerism separable again from the baroque. This will be done by putting attempts in art history and art criticism to give a definition of mannerism in interference with a close-reading of key passages in Deleuze’s work, especially from The Fold and Francis Bacon. The Logic of Sensation. From the concept of the ‘Figure’ developed in the latter, I will distillate an initial concept of mannerism as an art that proceeds by way of diagrammatic deformation. Subsequently, I will compare this concept to Deleuze’s concept of the Baroque (the ‘fold taken to infinity’) and argue that, while the baroque pushes the anti-classical and revolutionary ‘catastrophe’ of mannerism to the extreme, it simultaneously and paradoxically forms a conservative and restorative reaction to it. It is by exploring mannerism’s ‘very particular relations’ with the baroque, finally, that we can also discover in mannerism a precursor to 20 th century modernism and in Deleuze’s modernist allegiance several neo-mannerist tendencies. Mannerism, Baroque, and Modernism: Deleuze and the Essence of Art Sjoerd van Tuinen, 2012, Erasmus University Rotterdam

Abstract: After the Spanish Civil War, the Baroque served an ideological purpose as a legitimizing construct for the reshaping of Spain's national culture. An emphasis was placed within the Baroque on the cultural production of the Spanish Golden Age, the Habsburg Empire and its particular Christian character. It was further enriched by the notion of hispanidad expressing the global character of the former Spanish empire and the imperial ambitions of Franco. Both the regime and oppositional forces regarded the Baroque as an intellectually convincing concept, and the re-interpretation of Spain's past was continuous throughout the dictatorship. Consequently, Baroque imagery touched the whole of society and would help to shape cultural, intellectual, political and social life during Francoism. This article will study some of the major components of Francoist Baroque culture, exemplifying them through the most publicly visible adoption of the Baroque aesthetic: architecture. In addition, it will contextualize the diffe...

Abstract: After the Civil War, the ‘new’ state set out to rebuild the nation according to its philosophies. The regime based its conception of culture to a great extent on the recuperation of Baroque values. The Baroque, understood as metaphor for the Spanish soul according to Eugenio d'Ors, permitted the regime to link several important ideas: spirituality, realism, expressionism, tradition and hispanidad, becoming a codifier of an effective cultural model for the new state. This article offers a critical analysis of how the Baroque was consciously used during the dictatorship as a device within cultural discourses and how it was instrumentalized. On the one hand, it discusses the nature of the Baroque conceptualized by the cultural intelligentsia of the regime, considering it a contemporary construction that did not refer to a consistent historical body. On the other hand, it studies the practical implementation of Baroque values in cultural representations and artistic artifacts during the 1940s and 1950s. Even ...

Abstract: espanolEn la escasa produccion editorial de autobiografias espanolas impresas en el siglo XVIII destaca un temprano y aislado grupo de tres obras de 1743 a 1745, obras de los astrologos Diego Torres Villarroel y Gomez Arias, y el filomatematico Joaquin de la Ripa. En este articulo se estudia en detalle la Vida de Arias en ese contexto, en su relacion con la autobiografia de Torres y en las lineas de evolucion de los generos autobiograficos espanoles desde los modelos narrativos barrocos hasta las concepciones modernas de la identidad. EnglishAmong the bare Spanish autobiographies printed in the Eighteenth-Century, an early and isolated group of works stands out between 1743 and 1745, written by the astrologers Diego Torres Villarroel and Gomez Arias, and the philomath Joaquin de la Ripa. In this paper, Arias’ Lifeis studied in full detail with respect to that context, its connection with Torres’ autobiography and with the evolution of Spanish autobiographical genres from the Baroque narrative patterns to the modern notions of personal identity

Abstract: MERCEDES BLANCO, Gongora o la invencion de una lengua. Leon: Universidad de Leon. 2012. 518 pp. ISBN 978-84-9773-613-8.Gongora o la invencion de una lengua is probably one of the most ambitious books on Gongora published since Damaso Alonso's La lengua poetica de Gongora (1935) and Robert Jammes's Etudes sur l'oeuvre poetique de don Luis de Gongora y Argote (1967). Blanco has recently authored another work on the Soledades -Gongora heroico (2012) -, but in this case she takes a wider approach focusing on a larger corpus of texts of the Spanish poet, establishing the nature of his originality in terms both of poetics and style. This monograph follows in the steps of Blanco's Les Rhetoriques de la pointe (1992) where she analysed the theory of European conceptism. The present monograph uses this as a stepping stone, applying its approach to Gongora, who is regarded as 'el compendio de la poetica del concepto' (85).The theoretical framework is clearly established in the introductory chapter (11-63) where, alongside Gracian and other contemporary sources, Blanco highlights the importance of the idea of the sublim e - as presented by Pseudo-Longinus - in the development of the seventeenth-century art of wit. This introduces a new element into the discussion concerning Baroque poetics, especially since previous scholarship usually took it for granted that On the Sublime did not have a major impact in Europe until Boileau's French translation (1674). According to Blanco, instead, Gongora's works have to be located between two poles of reference: the art of wit and the art of the sublime. His poetry seeks not only to engage readers intellectually but also to elicit their admiration, leading them to experience new emotions thanks to the proliferation of sublime images. This approach opens up new avenues to the understanding of Gongora and the Baroque.Blanco's book is organized into two sections. The first one (65-292) applies her new theory of seventeenth-century poetics to several works of Gongora, including his play Las firmezas de Isabela. In these pages the sophistication of the theoretical framework is matched by a series of elaborated and in-depth close readings that offer an interdisciplinary approach, establishing links with works of art, architecture, philosophical debates, political questions and Gongora's biography. The Spanish poet is read against the backdrop of a vast mosaic of literary models such as Homer, Ovid, Martial, Politian, Ariosto and Marino. The erudition and insight of these analyses is impressive. …

Abstract: This article discusses some instances of violence at the University of Salamanca during the Baroque period. The analysis of these Events allow us to suggest new conclusions which run counter to the traditional historiography, as well as to revise the concept of violence in the Early Modern Age.

Abstract: With regard to the two books on the History of Music in Portugal published in 1991 (by Rui Vieira Nery and Paulo Ferreira de Castro) and in 1992 (by Manuel Carlos de Brito and Luisa Cymbron), the author proposes corrections, presents new data and offers different interpretative perspectives, discussing the problems of historical methodology and periodization that face the contemporary researcher. Worthy of note are the references to the influence of Cluny, the Cistercian codices, the oldest extant Portuguese polyphony, the regulations of King Duarte's Royal Chapel, the dating of the repertoires of the Portuguese secular cancioneiros, the question of mannerism in music, the idea of baroque in music, the establishment of the gallant style in the time of King Joao v, the emergence of musical modernism at the beginning of the 20th century, the nationalism of Lopes-Graca and his relations with the Estado Novo, and, finally, the penetration of post­ modernist concepts into the awareness of contemporary composers.

Abstract: Building upon discourses on trauma, art, and architecture, this work examines how the design and construction of buildings mediate the cultural, social, and political changes that occur after a catastrophe. It takes as its case study the reconstruction of Sicily's Val di Noto following an earthquake in 1693 and the role that the Baroque architectural style played in it. In this study, Sicilian Baroque building decoration emerges as a medium that facilitated the reconciliation of tensions that inhered among survivors of the earthquake and their social and material milieus.

Abstract: Richard Crashaw is a religious poet of the 17th century English literature. His poems are full of strong religious emotions. In demonstrating his emotions, Crashaw follows his heart’s calling instead of following the restrictions of Classicism. Such religious emotions are deeply influenced by the Baroque culture of the 17th century. Deeply related with the religious movement, Baroque culture is both reserved and open, which contributes to the religious emotions of Crashaw’s poems and his unique Baroque poems.

Abstract: For Maureen Mary Murphy (alias Sister Jude Marie)1Jornada I.House of Desires or The Trials of a Noble House: Encloistered Tour de Farce and the Interrogation of an Endinghe inspiration for the first jornada of this essay comes from the "Shakespeare Found in Translation" diaspora project at London's Globe Theatre in the spring of 2012, which mapped the journey of Shakespeare in translation, but not without representing things Hispanic in the "Read Not Dead" section. The project kicked off with a reading of Life's a Dream (5 February 2012), and it included a Mexican staging of Henry IV, Part 1 as part of the Globe to Globe festival (14 May 2012).Sor Juana's El festejo de los empenos de una casa (1683) was in some sense a prequel to the 2012 Globe to Globe festival, for it had been staged- albeit without the accompanying loa, letras, sainetes, and sarao that arguably "elevate it to the level of musical court spectacle" (Hernandez Araico 328)-in Catherine Boyle's eminently playable translation (House of Desires or The Trials of a Noble House) under the direction of Nancy Meckler (30 June-1 October 2004).2 As part of the Royal Shakespeare Company's (RSC) 2004 Spanish Golden Age Season, this baroque literary figure of Mexico found herself on the boards of the bard with a play originally penned, not for the public stage, but for the viceregal court and aristocratic palaces. Even more importantly, perhaps, she found herself in the illustrious company of Lope de Vega, Tirso de Molina, and Cervantes, whose works were part of that season's Spanish repertoire.3As the lights went down in Stratford-upon-Avon's Swan Theatre with its meter high thrust stage surrounded on three sides by spectators, the public was immediately confronted with a set covered in shimmering polished brass. A wall of brass rising at the rear of the stage held up a pseudoaltar with glimmering candles and a clutter of iconic and ornamental objects-a sacred space that may have evoked an inner world of memory. As two novices polished the brass floor to the sound of Church music, a figure in a nun's habit sat at a desk in front of the altar, quill in hand, undoubtedly penning the play we were about to see: a baroque festival about "the trials of being in love" (HD 2.5,60), with its intrigue, deceit, mistaken identities, jealousy, dishonor, unrequited desire, loss of mutual love, search for correspondence. Or, perhaps, as the production's translator posited-evoking another of the meanings of empenos-Sor Juana was moving her characters into place as "pawns in her imagination, [...] foregrounding the sense of the lack of real agency of the characters, who are puppets to abstracted codes that will guide them to an inevitable end: reconciliation with the codes that dictate their destiny" (Boyle, "Loss" 179). In effect, the passing from creative process to stage reality, from convent to palatial home of Don Pedro (William Buckhurst), occurred as two icons were taken from the sacred altar space and set center stage, at the same time that their comedia alter egos, Dona Ana (Claire Cox) and her maid Celia (Katherine Kelly), were animated by Ben Ormerod's distinctive lighting. The resurrection of Sor Juana (Rebecca Johnson) as a stage presence had been bom of the director's decision to use the play's myriad references to the dramatist as nun-images of convents, sanctuary, and being locked away-in order to create a "complicity" with a modem audience similar to that which an original audience might have experienced (Daley).The nun stopped writing and, as if hearing voices in her head, listened intently to Dona Ana as she told Celia (who sat polishing a candlestick) of her brother Pedro's plan to abduct his beloved Dona Leonor de Castro (Rebecca Johnson) as she eloped with her lover Don Carlos de Olmedo Qoseph Millson) and to have her "cloistered in [the] safe haven" of his house in the care of his sister (HD 1.1, 23). Sor Juana continued to observe the "pawns" of her imagination as Celia revealed, in an aside, the hidden presence of Dona Ana's lover Donjuan (Oscar Pearce). …

Abstract: The «Varones Ilustres de la Compania de Jesus» (1643-1667) study, a work of the Spanish Jesuits Juan Eusebio Nieremberg and Alonso de Andrade, let us to know the keys of the baroque hagiographic discourse in the construction of a community identity inside the order and, what is more, let us discover a politic reading in the life of some members, with a special attention to the Jesuits generals, in a politic and religious crisis context lived by the Jesus Company in Spain in Felipe IV times.

Abstract: Seventeenth-century Spanish poets Clara de Barrionuevo y Carrion, Antonia de Nevares and Beatriz Jimenez Cerdan highlight in their sonnets addressed to the most outstanding women of the Habsburg courts the remarkable political role carried out by these exceptional ladies. In their poems, the authors seek to laud the figures of Margarita of Austria, Philip III′s wife, on the occasion of the birth of her son; Isabella of Bourbon, Philip IV′s spouse, after her death, and Isabel de Velasco, wife of the powerful Count-Duke of Olivares. These poets do not limit themselves to praising these ladies for their ability to provide their husbands with heirs. On the contrary, through the use of an imagery richer than that commonly used in the Baroque artistic works, the poets underline not just the moral qualities that adorn the ladies, and that coincide with the ideal of the good wife developed by Vives or Fray Luis de Leon, but also their diplomatic contributions to the country and to the Crown. In contrast to the limited iconography in the court portraits of these women painted by artists such as Pantoja de la Cruz and Velazquez, whose main objective was to register the royal dignity and high status of their models, the poets utilize images such as the olive branch, the diamond, the sun and the mirror in order to convey the sense of moral exemplarity and political savvy of these women whom they praise and with whom they aim to be associated.