Abstract: Author(s): Bialostozky, Jacqueline | Advisor(s): Masiello, Francine R | Abstract: In this dissertation, I examine the ways in which four contemporary Latin American authors have rewritten seventeenth-century Baroque aesthetics, histories, and texts by focusing on the queer body. Rather than following the usual trajectory from the Hispanic Baroque to the Cuban Neobaroque, I trace an alternative path in which I analyze the works of a seemingly disparate group of poets and artists: Nestor Perlongher, Alejandra Pizarnik, Luis Felipe Fabre, and Jesusa Rodriguez. Their texts and performances appropriate not only the structures and themes of the Baroque, but also the minutiae of their source texts. Each writer establishes a practice that draws from Baroque aesthetics and Neobaroque intertextuality—namely its parody, artifice, and proliferation of citations—while more extensively and critically reworking a specific text or group of texts. Rooted in a queer sexuality that is mapped onto the page and materialized as textual play, their rewritings, I argue, structure an aesthetics of the sensuous, material surface. Their rewritings thus constitute a critique of heteropatriarchal cultural legacies and present us with alternative modes of understanding our relationship to literature and history. By weaving together close readings of the source texts and their rewritten versions, I explore how these rewritings carve out a space for non-normative histories, interpretations, and literary practices.Chapter One focuses on the work of Nestor Perlongher, particularly on his first two books of poetry, Austria-Hungria (1980) and Alambres (1988). In this chapter, I argue that the queer body serves as the structuring mechanism of Perlongher’s neobarroso poetics. Through the queer body, Perlongher disrupts and perverts the semblance of realism and normativity. This disruption drives the queering of History through the violent corrosion of language and reimagining of historical figures that results in a queer carnival of pleasure and wordplay in place of linearity and communicative language. This chapter also serves to outline and structure what is meant by queer rewriting throughout this dissertation and serves as a starting point for the construction of an aesthetics of the surface.Chapter Two studies Alejandra Pizarnik’s 1965/1971 short prose text, La condesa sangrienta. This chapter explores the connections between Pizarnik’s La condesa sangrienta and the Baroque; the chapter’s aim is to find new affinities in Alejandra Pizarnik’s work and to read La condesa as a precursor to the neobarroso. Chapter Three turns to the work of Mexican poet Luis Felipe Fabre’s La sodomia en la Nueva Espana (2010), a poetic text that rewrites the seventeenth-century history of a group of men who were tried and burnt at the stake for their sodomitic acts in New Spain. My analysis centers on how Fabre’s rewriting of these particular texts counter the poetic model that had been at the center of Mexican poetry since Jose Gorostiza and Octavio Paz. Chapter Four takes up the 1995 performance Sor Juana en Almoloya (Pastorela virtual), written and directed by Jesusa Rodriguez. In Sor Juana en Almoloya, Rodriguez imagines the seventeenth-century nun imprisoned in Almoloya in the twenty-first century. The performance structures a critique of the Catholic church and the Mexican state, as well as a critique of the way we have come to understand and historicize the past. Beyond simply appropriating baroque structures and aesthetics, these four authors return to specific historical moments and figures to reread them from the perspective of the body and queer pleasure. Their textual engagement with the surface, both as an act of rendering the hidden visible and as language play that reveals but never resolves paradoxes, thus opens up countless possibilities for non-normative literary and historical genealogies and practices.

Abstract: Since its publication in 1974, there has been a concerted effort to force Alejo Carpentier's Concierto barroco to conform to the musical genre from which it derives its name. In spite of Carpentier’s advanced knowledge of musical form, these efforts have largely resulted in imprecise or inaccurate representations of the Baroque Concerto, or selective interpretations that avoid inconvenient narrative details. Without the imprecision or textual violence exhibited in its analytical predecessors, the present article seeks to correct these imprecisions and understand the function of musical form not as a formal constraint, but rather as both a superficial and structuring element in the novel. By first analyzing the neo-Baroque aspects of Carpentier’s technical style, I will offer interpretations of three key moments in the novel when European Baroque musical form is subverted, reinvigorated, and transformed by way of contact with distinctly American styles and perspectives. In considering these moments, I will suggest that the Baroque Concerto of Concierto barroco is not a Baroque Concerto at all. Rather, Carpentier narrates an inventive creation story for a musical genre that is more consistent with the novel’s pro-American ideological stance; the modern, syncretic, and transatlantic counterpart of the Baroque: jazz.

Abstract: Despite the significant increase in studies of gender within new diplomatic history, Glenda Sluga and Carolyn James have pointed to a paradox: that the application of gender analysis to diplomatic history, instead of leading to further clarification of the activity of women in this arena, has instead further obscured their role by masculinising even more the study of diplomacy.1 The essays in their edited volume, Women, Diplomacy and International Politics Since 1500, work to counter that tendency. The same compensatory spirit has driven the volume edited by Corina Bastian, Eva Kathrin Dade, Hillard von Thiessen and Christian Windler; essays in the first part of this book make visible the diplomatic activity of women during the medieval and early modern eras, while essays in the second half examine why women were excluded from the diplomatic system after the fall of the Ancien Régime, coming to the conclusion that the professionalisation of the post of ambassador was one of the primary causes of the masculinisation of diplomacy in the nineteenth and twentieth centuries.2 Although the expansion of the concept of diplomacy to include unofficial spheres and individuals has allowed for the inclusion of women within the framework of early modern diplomacy, the focus has been principally on the study of queens, princesses and courtesans. There have been few works specifically on the only women who, from the late sixteenth century, received the significant title of ‘ambassadresses’: the wives of ambassadors.3 Among the exceptions are the publications of Ana Álvarez López, who has analysed the social role of the Marchioness of Harcourt in the court of Madrid, and of Alain Hugon who, in a paragraph of his work on the ambassadors of Felipe IV in France, has highlighted the diplomatic activity of the Marchioness of Mirabel while her husband, the Spanish ambassador in Paris, travelled to Brussels.4 In this article, I highlight the political activity of two ambassadresses of the Germanic Holy Roman Empire in the court of Madrid through a detailed analysis of the joint diplomatic strategies that they carried out with their husbands. Maria Sophia von Dietrichstein, Countess von Pötting, and Johanna Theresia Lamberg, Countess von Harrach – the wives respectively of Franz Eusebius von Pötting and Ferdinand

Abstract: During Baroque Scholasticism, many authors of the 16th and 17th centuries wrote on Black slavery, but only a few were interested in defending the African slaves’ liberty. Among these few authors, we can mention Francisco Jose de Jaca OFMCap (1645-1689) and Epifanio de Moirans OFMCap (1644-1689), authors who elaborated a radical and true antislavery project. The aim of this study is present some theses of this antislavery project from the Moirans’ work – Servi liberi seu naturalis mancipiorum libertatis iusta defensio (“Free Slaves or Just Defense of the Natural Liberty of Slaves”), 1682 –, by means of a reconstitution of argumentative core where the author deals with the slavery titles

Abstract: The close relationship between the harpsichord and lute traditions is commonly claimed but rarely elaborated upon, and many experts disagree on the manner in and extent to which the two are related. Often, texts covering the early harpsichord literature will limit discussion of the lute’s influence to a brief mention of the style brisé, if the important connection between the two traditions is even mentioned all. The lute’s impact on the harpsichordists of the seventeenth century is not a facet that can be ignored; rather, an understanding of the lute tradition is essential to an understanding of the harpsichord tradition. Neither can the relationship be isolated to the style brisé, as the influence extends also to other textures, rhythms, harmonic devices, sonorous effects, and genres found within the solo literatures of both the lute and harpsichord. This connection is especially evident in the solo harpsichord works of Francois Couperin, D’Anglebert, Froberger, and Chambonnieres. Ornamentation and broken textures, elements that were evocative of the lute, were incorporated into the already existing keyboard tradition represented by the organ. However, although composers for the harpsichord imitated the style of lutenists such as Gaultier and Pinel, they also transformed it; they developed these lute-like elements in a manner that became distinctly idiomatic to the harpsichord. In this way, the harpsichord idiom that emerged in the seventeenth century was formed by a unique blend of the organ and lute styles.

Abstract: El presente trabajo estudia la escenografia disenada por Andrea D’Odorico para Fiesta barroca (1992), una obra de la Compania Nacional de Teatro Clasico dirigida por Miguel Narros. Este espectaculo recrea el espiritu festivo del siglo XVII. La escenografia se ha inspirado en el teatro del Siglo de Oro, el carnaval y en la iconografia de distintos periodos artisticos (el Renacimiento, el Barroco y la Antiguedad Clasica). Se trata de uno de los mas bellos y complejos disenos realizados por Andrea D’Odorico. The present article studies the scenography designed by Andrea d’Odorico for Fiesta barroca (1992), a play by the National Classical Theatre Company directed by Miguel Narros. This performance revives the festive spirit of the 17th century. The scenography is inspired by the Spanish Golden Age Drama, the carnival and in the iconography of different periods of art history (Renaissance, Baroque and Classical Antiquity). This is one of the most beautiful and complex designs made by Andrea D’Odorico.

Abstract: The following essay aims to study the different uses and reception in the Eighteenthcentury Spain and influential an extraordinary repertoire of architectural prints, primarily from the Baroque and Renaissance Rome, published in three volumes, by Domenico Rossi, entitled Studio d’Architettura Civile (Rome, 1702, 1711 and 1721) Propaganda instrument of Roman greatness, this work was a real manual for the teaching of architecture at the Accademia di San Luca in the first half of the eighteenth century Representation on orthogonal projection of the most important buildings of Modern Rome, including details and fragments of architecture, its diffusion in Spain was early, both courtiers and academic areas, in addition to being among other local architects, including intellectuals, scholars, kings, princes and noblesThese different ways of using it, in peculiar traveling Roman architectural models, are the focus of the study

Abstract: As contracts are fact-specific statements so are the cartographic representations attached to them. This article addresses such representations dating to early eighteenth century Baroque Malta. It focuses on a specific public deed which includes a sketch plan covering a large territory. This representation, which is countersigned by ‘periti’, has no scale bar but includes orientation and annotations with respect to the extent of the territory subject of the deed. Through these annotations which included landmarks and linear measurements, the boundaries of the property were reinterpreted. Whereas the current interpretation is 35% in excess of the superficial area stated in the deed, a re-interpretation led to a variation of less than 1%. This illustrates that historical figurative cartographic representations are accurate, fact-specific legal documents with minimal variations. Key-words: Cartographic representation, Architecture, Baroque, Perit, Malta.

Abstract: Broadly speaking, we intend to map the presence of the baroque poetry in the school handbooks and anthologies from the second half of the nineteenth-century until nowadays. For this, we focus in the analysis of the critical excerpts and comentaries in an anthology in which the compositions of the baroque period stand out: Textos Literarios – Seculos XVII e XVIII, by Maria Ema Tarracha Ferreira. It has been published for the first time in 1967, and its selection of poems was the source for one of the latest handbooks in the Portuguese Literature school curriculum (Aula Viva, 2010). Aiming at understanding to what extent the school canon reflects the evolution of the literary history and criticism, this study will ultimately lead us to inquire about a definition of the Portuguese literature canon.

Abstract: In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised by a fascination with this world regarded as one possibility out of a plurality of potential worlds. It is this fascination that explains the coincidence in the Dutch Republic, strange at first sight, of Baroque exuberance, irregularity, paradox, and vertigo with scientific rigor, regularity, mathematical logic, and rational distance. In giving a new historical perspective on the Baroque as a specifically Dutch republican one, this study also offers a new and systematic approach towards the interactions among the notions of theatricality, dramatisation, moment, and event: concepts that are currently at the centre of philosophical and political debates but the modern articulation of which can best be considered in the explorations of history and world in the Dutch Republic.

Abstract: espanolEl analisis de la relacion directa de los terminos “estilo jesuitico” y “noster modus” con las teorias arquitectonicas del Humanismo como aglutinante de la llamada arquitectura de los jesuitas es una parte fundamental del trabajo. A partir de esta hipotesis, hemos utilizado la tipologia de San Luis de los Franceses, (Sevilla), como ejemplo caracteristico de la funcionalidad, ornato y lenguaje decorativo de la arquitectura jesuitica. Considerada como de las arquitecturas mas notables de la Compania de Jesus, es destacable su planta centrada en forma de cruz griega inscrita en un rectangulo, poco conocida en Sevilla. El diseno de la arquitectura basado en sus propias reglas constructivas ha sido un hito de la historia de arquitectura occidental. Esta forma de proceder respetaba el pensamiento humanista en el que la casa de Dios debia simbolizar la perfeccion, armonia, belleza e integridad del Creador. EnglishThe analysis of the direct relationship of the terms “jesuit style” and “noster modus” (our way of proceeding), with the architectural theories of Humanism as a binder of what it is called Jesuit Architecture, it is also a fundamental part of this work. From this hypothesis, we used the typology of St. Louis of the French in Seville, as an example of ornamental and decorative language of Jesuit architecture. This church is considered one of the most remarkable architectures of the Society of Jesus. It is noteworthy its centered floor plan in the shape of a Greek cross inscribed in a rectangle. This is plan is little known in Sevillian Architecture. The design of the architecture based on Jesuitical construction rules has been a milestone in Western architectural history. This way of proceeding respected humanist thinking, in which the household of God was supposed to symbolize perfection, harmony, beauty and integrity of Creator.

Abstract: The adaptation of the Royal Chapel of Seville to a royal mausoleum and shrine of Saint Ferdinand was one of the most discussed decorative projects during the Baroque period. Its execution was prolongued half a century, and the Court and the eclesiastical and civil authorities of the city also took part in it. A discussion that revolved around the different traces made by Francisco de Herrera the Younger in order to design the altarpiece-tabernacle of Our Lady of the Kings and the urn-shrine of Saint Ferdinand, which highlighted the different aesthetic trends in which the local panorama moves.

Abstract: This essay investigates the early rediscovery of Bernini and the Roman Baroque in D’Annunzio’s Il piacere. Starting from the analysis of the few explicit textual references and the many implicit allusions to the Baroque artist in the novel, the present study documents Bernini’s impact on Sperelli’s persona, poetic method, and artistic projects. At the same time, based on the protagonist’s radical re-evaluation of Bernini—after two centuries of critical dismissal—this article also sheds light on the deep and substantial relationship connecting the Roman Baroque and D’Annunzio’s aesthetics. The rediscovered culture of the 17th century indeed constitutes not only a key element in Il piacere, but also an important poetic prelude for D’Annunzio’s hoped-for renaissance of the arts, and for the scholarly re-appreciation of the genius of Bernini (from Riegl to Wittkower). In light of the later success of dannunzianesimo, the novel’s Baroque vein can also be read as the first historical spark of the fervent Italia...

Abstract: Resumo: Este ensaio procura abordar a tensao causada pelo auto-retrato de Ana Hatherly que cobre a capa da edicao das 463 Tisanas (2006). O caracter enigmatico das tisanas – que em si transportam o conhecimento do Experimentalismo, da Psicanalise, do Estruturalismo e do Budismo Zen, sobretudo, o «ensinamento dos desconcertantes mestres japoneses [usado] para instruir os seus discipulos» – sera motivo de reflexao, centrando-se, no entanto, o texto, entre outros aspectos, no conceito de atencao perfeita que a interiorizacao da sabedoria budica proporcionou a autora. Ana Hatherly e uma escritora que pinta, ensaista, estudiosa do Barroco, cineasta, investigadora. Participou no Movimento Experimentalista em Portugal e no estrangeiro. Palavras-chave: Atencao, impermanencia, metamorfose. Resume : Cet article cherche a analyser la tension causee par l'autoportrait d'Ana Hatherly illustrant la couverture des 463 Tisanas (2006) et etudie la nature enigmatique de cette œuvre, qui porte la connaissance de l'Experimentalisme, de la Psychanalyse, du Structuralisme et du Bouddhisme Zen, en particulier l'enseignement deconcertant des maitres japonais [utilise] pour instruire ses disciples. Le texte se concentre sur le concept d'attention parfaite que l'interiorisation de la sagesse de Bouddha a fourni a l'auteur. Ana Hatherly est un ecrivain qui peint, essayiste, specialiste du baroque, cineaste, chercheur, et a participe au Mouvement Experimentaliste au Portugal et a l'etranger. Mots-cles : Attention, impermanence, metamorphose. Abstract: This paper seeks to address the tension caused by the self-portrait of Ana Hatherly illustrating the cover of the 463 Tisanas (2006). The enigmatic nature of Tisanas, which itself carries the knowledge of ​Experimentalism, ​Psychoanalysis, Structuralism and the Zen Buddhism, especially the «teaching of disconcerting Japanese Masters [used] to instruct his disciples», will be examined. The text focuses on the perfect attention concept that the interiorization of Buddha-wisdom provided the author. Ana Hatherly is a writer who paints, essayist, scholar of the Baroque, filmmaker, researcher, having participated in the ​Experimentalist Movement in Portugal and abroad. Key words: Attention, impermanence, metamorphosis.

Abstract: The purpose of this paper is to address the relationship between art and religious belief in the Middle Ages, and particularly during the Renaissance and the Baroque. There is special focus on the themes of art as religion and embodied belief in Christian art in the Renaissance and the Baroque viewed in a somaesthetic perspective. These themes are analysed primarily through interpretations of the works by artists including Raphael, Veronese, Titian, and Caravaggio.

Abstract: A study of around 13,000 musical compositions from the Western classical tradition is carried out, spanning 33 major composers from the Baroque to the Romantic, with a focus on the usage of major/minor key signatures. A 2-dimensional chromatic diagram is proposed to succinctly visualize the data. The diagram is found to be useful not only in distinguishing style and period, but also in tracking the career development of a particular composer.

Abstract: The proclamation of Ferdinand VII in the city of Guatemala bequeathed, from the pen of Antonio Juarros, one of the most complete examples of the literary genre of the Baroque festivals. Guatemala por Fernando Setimo el dia 12 de diciembre de 1808 , is both a synthesis of the complex political events that the Spanish empire faced as a result of the French invasion of the Iberian peninsula as a sample of the transformations experienced by the rhetoric of loyalty that had operated during the Baroque period both sides of the Atlantic.

Abstract: In The Philosophical Baroque, Erik Roraback brings a fresh, interdisciplinary eye to a selection of texts from across modernity’s four hundred years—from the explosive energy of the early seventeenth century to the spectacle society of the present.

Abstract: Les variations de Gilles Châtelet Sur une petite phrase de Riemann , montrent que loin de constituer une variante de la « philosophie baroque » telle que la definit Deleuze, son manierisme epistemologique le rapproche etonnamment de l’attention aux « modes de donnees » et aux « modes de visee » caracteristique de la phenomenologie transcendantale. Comme Hermann Weyl, il voit a l’œuvre dans la phenomenologie husser-lienne un approfondissement de l’esthetique transcendantale kantienne, en la tenant pour une approche philosophique pertinente et ajustee a la science de son temps (en particulier a la theorie de la relativite restreinte et generale). Châtelet’s variation on a note by Riemann, shows that, far from constituting a variant of the “Baroque philosophy” such as Deleuze defines it, his epistemological mannerism pays attention to “modes of givenness” and “modes of constitution”, which is characteristic of transcendental phe-nomenology. This explains why he considers, like Hermann Weyl, phe-nomenology as a deepening of Kant’s transcendental aesthetics and as a philosophical approach, relevant and adapted to the science of his time. It is in this perspective that we should hear their joint statements that transcendental phenomenology is epistemologically contemporary to special and general relativity. Châtelets Variation auf einer kleinen Phrase von Rie-mann zeigt, das sein erkenntnistheoretischer Manierismus, eine Variante der nach Definition „barocken Philosophie“ von Deleuze weit entfernt zu sein, im Gegenteil in der Nahe von transzendentale Phanomenologie und seine Aufmerksamkeit auf die „Gegebenheitsmodi“ und „Konstitution-sweise“ steht. Uberdies betrachtet er, wie Hermann Weyl, die Phanomenol-ogie und die Vertiefung der transzendentalen Asthetik als philosophischen Ansatz fur die Wissenschaft seiner Zeit. Es ist in dieser Perspektive, dass wir ihre gemeinsamen Aussagen horen, dass die Kantische Asthetik in Husserls vertieft wird, und dass die transzendentale Phanomenologie epistemologisch zeitgenossisch ist fur speziell und allgemeine Relativitat. This article is in French.

Abstract: The Roman goddess Fortuna represented the personification of luck, chance or destiny That was the sense that persisted in memory and customs throughout history After the advent of Christianity, Pagan customs and some of their divinities changed their meaning, adapting to the new realities Fortune was transformed into Providence governed by the one God We contemplate this evolution through different examples of different times: two statues of Fortuna Dea, in classic time, located into the funds of the Prado Museum; a medieval painting of the Wheel of Fortune originally from the Town Hall of Alcaniz (Teruel); several Renaissance works by different authors (Previtali, Bellini, Durero); a classicist work of Reni; another pre-Raphaelite example of Burne-Jones; and finally a Baroque work of Rubens located at the Prado Museum

Abstract: espanolMi intervencion desea verificar la posibilidad de delinear algunos rasgos caracteristicos de un pensamiento “barroco” (siglos XVI-XVII), sin limitarse por un lado a una analogia debil con el estilo arquitectonico y pictorico, y por otro lado sin tener la presuncion de proponer una etiqueta historiografica demasiado general e indistinta. La perspectiva escogida por el autor es la de centrase en algunos problemas que emergen en las obras de algunos teologos y filosofos jesuitas operantes en la epoca posterior al Concilio de Trento (como Roberto Bellarmino y Francisco Suarez). En particular, se afronta el problema de la relacion entre “lo natural” y “lo sobrenatural”, en el intento de tomar distancias tanto de la solucion luterana como de la solucion “pelagiana” (o semipelagiana).Siguiendo a Bellarmino se saca a la luz la discusion sobre el estado de la naturaleza humana: si incluso despues del pecado es posible rastrear en el hombre la justicia original, esto es, si el hombre pecador es todavia capax Dei. Siguiendo a Suarez se saca a la luz la tentativa de institucionalizar el nexo entre naturaleza/sobrenaturaleza mediante la relacion circular entre metafisica y teologia: por un lado la metafisica –las cientia transcendens que tiene como objeto propio el concepto generalisimo de ens ic y la essentia del ente como aptitudo ad existendum– es la condicion de posibilidad noetica de la teologia (entendida como teologia natural o filosofica); de otra parte la teologia (revelada) es la secreta condicion de posibilidad de la metafisica en su totalidad.En este plexo de problemas se delinea el posible caracter “barroco” de un pensamiento a la vez tardo-escolastico y moderno. EnglishThe contribution aims at verifying the possibility to outline some distinctive cha- racteristics of a “baroque” thought (16th-17th centuries), trying nor to reduce it in a weak analogy with the architectural or pictorial style neither labelling it with a too general and vague sense. The author intends to focus some questions raised in the works of some jesuit theologians and philosophers in the period after the Council of Trent, as Roberto Bellarmino and Francisco Suarez. In particular, the relationship between “natural” and “supernatural” will be put forward, getting some distance from both the “lutheran” and the “pelagian” solution. According to Bellarmino we highlight the late- scholastic problem of the constitution of human nature: if it is possible, after the fall due to the original sin, to retrace the original justice and so if the man remains "capax Dei”. Following Suarez’ thought is highlighted the attempt to "institutionalize" the link between nature and supernature, through the circular relationship between metaphysics and theology. On one side, the metaphysics – the scientia transcendens whose object is the supergeneral concept of ens ut sic and the essence of being as aptitudo ad existendum – is the epistemological condition of possibility of theology (intended as natural or philosophical theology); on the other side, the revealed theology is the secret condition of the possibility of the whole metaphysics. Thus, from the interweaving of these problems emerges the "baroque" feature of a philosophical thought, which is at the same time scholastic and early modern.