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Journal articles on the topic 'Baroque literature History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

Meimei, Huan. "THE WORLDVIEW PRINCIPLES OF THEOPHAN PROKOPOVYCH'S "POETICS"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 34–39. http://dx.doi.org/10.17721/1728-2659.2022.31.07.

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The article examines the peculiarities of the worldview foundations of "Poetics" by Theophan Prokopovych. The thesis is substantiated that the ideological foundations of the treatise are generally educational. It is emphasized on the author's criticism and denial of Baroque norms, as the opposition to the enlightenment theses. Prokopovych represents the author's vision of well-known concepts and categories of theoretical poetics, showing the examples of the world literature. The thinker argues with traditional understandings of a number of categories, while offering innovative and relevant to his era theses. The writer develops the idea of the necessity to adhere to the stated theoretical provisions, representing them as a model for further literary development. The treatise, having not only theoretical but also practical character, represents the peculiarities of literary evolution. In "Poetics" by Theophan Prokopovych, we observe the development of the tradition of creating such treatises in school institutions. The author's contribution to the improvement of this genre and its existence in Ukrainian literature is important. The studied treatise represents the author's departure from the baroque tradition of poetics, even in some cases its denial, the presentation of individual worldview in the field of theory and history of literature. T. Prokopovych offered his vision of poetic art and its understanding in an educational way. The traditional thesis in science about the worldview principles of the treatise "Poetics" as synthetic in nature, combining traditions of Antiquity, Medieval, Renaissance, Baroque, is discussed and supplemented by considerations of the predominance in the treatise of classical and enlightenment elements. The author's character is also clearly shown in the presentation of T. Prokopovych's artistic texts in "Poetics", which tend towards the Enlightenment style. In general, written in the era of Ukrainian literary Baroque "Poetics" by Theophan Prokopovych leads a discussion with the ideas and theses of the day as those that have lost their relevance and need to be modernized. Thus, the essence of the worldview principles of the treatise is in their revolutionary nature in relation to the ruling era and the establishment of innovation in the field of theory and history of literature, which Prokopovych notices in the Enlightenment.

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2

Valsalobre, Pep. "Un text excèntric. L’Ambaixada de Francesc Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, no. 21 (June 22, 2023): 531. http://dx.doi.org/10.7203/scripta.21.26850.

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Resum: Després d’un preàmbul amb l’exposició sumària de les abundants i diverses interrogacions que ens suscita aquest text del poeta barroc barceloní Francesc Fontanella –que n’abasten tots els aspectes: transmissió, testimonis amb textos divergents, autoria, context de creació, gènere literari– es passa a intentar respondre-les una per una a partir de les darreres (poques) aportacions que s’han fet sobre la qüestió juntament amb noves aproximacions de l’autor. Se’n dreça, finalment, una hipòtesi de context i d’execució dramàtica.Aquesta introducció serveix de presentació de l’edició crítica del text amb una anotació exhaustiva. L’Annex incorpora tots els elements ecdòtics disposats per a la consideració del lector i de l’investigador.Paraules clau: Literatura barroca catalana; Francesc Fontanella; teatre barroc; Ambaixada del príncep Licomandro a l’emperador de Bugia.Abstract: Following a preamble that provides a summary of the abundant and diverse questions raised by this text penned by the Barcelona baroque poet Francesc Fontanella –which cover all aspects: its transmission in manuscripts, testimonies with divergent texts, authorship, creative context, literary genre– a response is offered for each based on the last (few) contributions that have been made on the issue together with new approaches by the author to the work. A hypothesis of the work’s context and its dramatic execution is then ultimately established.This introduction serves as a presentation of the critical edition of the text with exhaustive annotations. The Annex includes all elements pertaining to textual criticism of the work arranged for the consideration of the reader and researcher.Keywords: Catalan Baroque Literature; Francesc Fontanella; Baroque theatre; Ambaixada del príncep Licomandro a l’emperador de Bugia.

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3

Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.

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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.

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4

Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.

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5

Petrenko-Tseunova, Olha. "THE STATUS OF CAPITAL IN THE “KYIV’S TEXT” OF THE BAROQUE EPOCH." City History, Culture, Society, no. 8 (June 16, 2020): 11–23. http://dx.doi.org/10.15407/mics2020.08.011.

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Urban studies are a multidisciplinary area, but experts in different fields conclude that the city is worth considering in the categories of text. Moreover, urban studies in literary criticism are distinguished by the fact that the phrase “a city as a text” for philologists is not only a beautiful metaphor. The fiction space, including urban space, is a separate reality that exists according to its own rules, depending on the epoch style and the genre of a particular piece of writing. In the Baroque times, a city is a place of creation and functioning of culture. In the XVII century in Ukrainian cities appeared many educational institutions, thanks to patrons, numerous churches were built, which was reflected in panegyrics. At the same time, the large number of Kyiv Rus’ buildings had been reconstructed, and there are mentions of the Russ past of the city in polemical literature, school dramaturgy and chronicles. In Kyiv, the glory of the “capital”, “Jerusalem of the Russ land” is affirmed. The purpose of the author is to explore the mechanism of rethinking the past and its role in the construction of an artistic model of the city in the Baroque epoch. The ways of transcoding Kyiv Russ urban motifs into the language of Baroque culture are considered in the paper. In the early 1600s, Kyiv remained a capital status in the minds of citizens, despite the decline and destruction of the past. At the turn of the 16–17th centuries the idea of continuity of the history and glory of Kyiv from the Middle ages became widespread among intellectuals. In times of statelessness, the current becomes relative and unimportant, while the past is considered to be the actual reality. This article aims to examine how the urban space becomes the embodiment of collective memory: through the buildings of St. Sophia’s Cathedral, St. Michael’s Cathedral, the Desiatynna Church, the Church of Virgin Mary Pyrohoshcha, the Cathedral of the Dormition in the Kyiv-Pechersk Monastery, the holiness and centrality of the city are transmitted in sacral and profane levels. The author pays particular attention to the analysis of the opposite self-image of Kyiv citizens as residents of the “city on the outskirt”, on the border of Wild Field.

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6

Zudina, D. A., and T. A. Sharypina. "Josef Váchal’s Authorial Intentionality as a Manifestation of Aesthetic Trends in Culture at Turn of 19th—20th Centuries." Nauchnyi dialog 12, no. 3 (April 28, 2023): 248–68. http://dx.doi.org/10.24224/2227-1295-2023-12-3-248-268.

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The question of the formation of a new type of creator-demiurge in the conditions of culture at the turn of the 19th—20th centuries is considered. Particular attention is paid to the personality of the Czech artist Josef Váchal. The relevance of the study is determined by several factors: firstly, the recent increased interest in Czech literature in Russia and, at the same time, its insufficient representation both in the book market and in the scientific community; secondly, the lack of Russian-language criticism directly devoted to the work and the author’s figure of J. Váchal. Describing the cultural and historical environment in which the creative personality of the artist was formed, the authors of the article refer both to the general European context and directly to the Czech language. It has been established that the work of J. Váchal has a deep connection with the history of his country. In particular, the artist’s reaction to certain moods prevailing in Czech society at that time explains his passion for baroque aesthetics, the cornerstone of his poetics. In addition, Váchal’s biography largely determined the themes and form of his works, so understanding him as a specific personality of the 19th-20th centuries contributes to a more detailed analysis of his work.

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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.

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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.

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Zhelezcheva, Tanya K. "Thomas Traherne on Punctuation." Explorations in Renaissance Culture 48, no. 2 (September 30, 2022): 190–220. http://dx.doi.org/10.1163/23526963-04802003.

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Abstract Though Thomas Traherne’s punctuation has been harshly criticized for its idiosyncrasy, scholars have also frequently admired the stylistic effects that it creates. His punctuation is linked to baroque art and music, the use of periods to highlighting subordinate ideas, capitalization to its inability to foster figurative language, and parentheses to his writing and editing process. This essay draws attention to a related, but different, issue that has remained unaddressed: what does Traherne himself have to say about punctuation? An examination of Traherne’s works shows that Traherne’s understanding of punctuation falls into two broad categories: the complex-metaphoric and the politico-religious. His metaphoric understanding, which belongs to a long tradition, can be gleaned from his references to the oracle of Delphi’s capital letters inscription; Ficino’s translation of Plato; and Ben Jonson’s borrowing from a fourteenth-century translation of Julius Scaliger’s grammar. Traherne’s politico-religious understanding of punctuation emerges most clearly in his Roman Forgeries (1673) in which he critiques a long list of ecclesiastical sources—epistles, church canons, multi-volume works of the councils—to argue that Catholic scribes and editors used punctuation for ideological purposes: to obfuscate, hide, and forge religious doctrines. Traherne’s comments reveal that early modern readers were likely to skip over text within parenthesis and marginal annotations and to be impressed by the use of all capital letters. Traherne’s textual criticism through the lens of punctuation helps us to understand early modern reading habits as well as the history of textual editing and textual transmission.

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9

Chaberski, Mateusz. "Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s The Baroque Cycle." Art History & Criticism 14, no. 1 (December 1, 2018): 110–21. http://dx.doi.org/10.2478/mik-2018-0010.

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Summary In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past. By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.

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De Grazia, Diane. "Carl Goldstein. Visual Fact over Verbal Fiction. A Study of the Carracci and the Criticism, Theory, and Practice of Art in Renaissance and Baroque Italy. Cambridge: Cambridge University Press, 1988. 143 figs. + xix + 244 pp. $59.50." Renaissance Quarterly 42, no. 4 (1989): 866–68. http://dx.doi.org/10.2307/2862304.

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11

Knapp. "Rethinking the Literary Baroque." Criticism 62, no. 1 (2020): 165. http://dx.doi.org/10.13110/criticism.62.1.0165.

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12

Wielander, E. "РЕЦЕНЗІЯ НА МОНОГРАФІЮ М. ЗУЄНКО «МІФ У ЛІТЕРАТУРІ АНГЛІЙСЬКОГО БАРОКО»." Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 2, no. 96 (2020): 166. http://dx.doi.org/10.34142/2312-1076.2020.2.96.10.

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The monograph “Myth in the Literature of English Baroque” by Dr Maryna Zuienko addresses important questions related to key mythopoetic paradigms in a range of lyrical, epic and dramatic literature written during the English Baroque, with a focus on works by writers such as John Milton, Francis Beaumont, George Herbert and John Bunyan. As such, it constitutes a valuable addition to the fi eld of literary criticism in Ukraine.

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13

Corum, Robert T. "Baroque Typographies: Literature/History/Philosophy (review)." Philosophy and Literature 17, no. 2 (1993): 355–56. http://dx.doi.org/10.1353/phl.1993.0042.

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14

Maskell, David. "Yale French studies. Baroque topographies: Literature/history/philosophy." History of European Ideas 17, no. 2-3 (March 1993): 347–48. http://dx.doi.org/10.1016/0191-6599(93)90311-d.

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15

McH., B., and Dominick LaCapra. "History and Criticism." Poetics Today 7, no. 3 (1986): 594. http://dx.doi.org/10.2307/1772526.

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16

Hornsby, Joseph, and David Aers. "Medieval Literature: Criticism, Ideology and History." South Atlantic Review 53, no. 1 (January 1988): 107. http://dx.doi.org/10.2307/3200408.

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Samson, Anne, and David Aers. "Medieval Literature: Criticism, Ideology and History." Modern Language Review 84, no. 4 (October 1989): 917. http://dx.doi.org/10.2307/3731173.

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18

Montes, Francisco, and Natália Amarante. "Baroque History: The origin, growth and specimens in the district of Vila Real." ERAS | European Review of Artistic Studies 14, no. 4 (December 30, 2023): 78–97. http://dx.doi.org/10.37334/eras.v14i4.306.

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This paper aims to talk about the history of the Baroque, since its appearance in Italy, a brief introduction to the theme, explaining what this architectural style is, what is its definition according to some authors and how is its presence today, specifically in the district of Vila Real. An attempt is made to give a definition of Baroque art according to various authors, and to demonstrate the different strands present. How Baroque art came about and what are the main characteristics that are present in the different art forms. Later on, some of the representations of Baroque art that exist in different types of art such as architecture, sculpture, painting, literature, theater, and music will be discussed. At the end of this work, the Baroque in Portugal will be exposed, as well as some of the representative works of the Baroque style existing in the District of Vila Real.

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19

Perrot, Jean. "Dialogisme Baroque." Seventeenth-Century French Studies 14, no. 1 (January 1992): 27–41. http://dx.doi.org/10.1179/c17.1992.14.1.27.

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20

Jakovljevic, Branislav. "Wooster Baroque." TDR/The Drama Review 54, no. 3 (September 2010): 87–122. http://dx.doi.org/10.1162/dram_a_00006.

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In the decade following 9/11, the Wooster Group staged three landmark 17th-century plays, Phaedra, Hamlet, and La Didone. This turn to baroque theatre is both a comment on American culture of the first decade of the 21st century and a significant departure in the history of the group itself.

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Mullins, G. A. "Atrocity, Literature, Criticism." American Literary History 23, no. 1 (December 10, 2010): 217–27. http://dx.doi.org/10.1093/alh/ajq084.

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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (June 1, 1999): 146–69. http://dx.doi.org/10.2307/991482.

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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.

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Kofman, Andrey F. "“A Well-organized Disorder”. A Look at the Spanish American Neo-baroque." Literature of the Americas, no. 15 (2023): 70–115. http://dx.doi.org/10.22455/2541-7894-2023-15-70-115.

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The article consists of two parts: theory and artistic practice. The first part examines the history of the concept of Latin American Neo-Baroque. It begins in European art history, first, when J. Burkhard characterized the Baroque as a certain period in the development of art; then, when G. Wölfflin presented the Baroque as a kind of “great style” and singled out its constitutive features; finally, when E. d’Ors formulated the theory of “eternal” styles, “classical” and “non-classical” (baroque) cyclically replacing each other. D’Ors’ concept was accepted and developed by Cuban writers J. Lezama Lima, A. Carpentier and S. Sarduy. Two factors led to the formation of the theory of Latin American Neo-Baroque. The first one is the richest layer of colonial art that developed in the Baroque style; the second one is the peculiarity of Latin American imago mundi, which from the very beginning was the opposite to rationality, system, order. The peculiarity of this imago mundi is revealed in the section “Artistic Practice. Motives”. The citations show that in Latin American literature are embodied such constants of Latin American imago mundi as chaos, predominance of curved lines, violation of European norms and mystery. The final part of the article presents an analysis of the four famous Latin American Neo-Baroque novels that reveal the poetics of this literary current on the level of imagery and motives and, most expressively, in style.

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Michael Farrell. "The Colonial Baroque in Australia: On Drover Boab Texts, Wiradjuri Clubs, and Charlie Flannigan's Drawings." Criticism 58, no. 3 (2016): 409. http://dx.doi.org/10.13110/criticism.58.3.0409.

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25

Parente, James A. "The Seventeenth-Century Literary Text: Aesthetic Problems and Perspectives." Central European History 18, no. 1 (March 1985): 48–69. http://dx.doi.org/10.1017/s0008938900016903.

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Seventeenth-century literature in the Holy Roman Empire has rarely been discussed in general cultural histories about the European Baroque. The dramatic achievements of Shakespeare, Calderon, and Corneille, the inimitable poetry of the Metaphysicals and Marino and the mischievous adventures of the Spanish picaro have long overshadowed the literary accomplishments of the German Baroque. Even today many scholars are still content to dismiss the German seventeenth century as derivative while, in the opposite camp, loyal Germanists currently defend its uniqueness. As is generally known, literary developments in the Empire were slowed by a number of unfortunate circumstances. Geographical, confessional, and linguistic disunity strongly contributed to the parochialism of German Baroque letters. Local literary societies were widely scattered throughout the Empire from Silesia to the Rhine and communication between them was greatly hampered. The lack of a main cultural center similar to the artistic hubs of Paris or London further isolated the writers from each other. In addition, confessional differences not only segregated Catholic and Protestant poets, but also resulted in the simultaneous development of a Batoque Latin and German literature.

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Gearhart, Suzanne, and Dominick LaCapra. "History as Criticism: The Dialogue of History and Literature." Diacritics 17, no. 3 (1987): 56. http://dx.doi.org/10.2307/464835.

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Kolomiiets, Anton. "The Phenomenon of New Spanish Baroque: An Architectural Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 61–67. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306901.

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The paper provides a brief overview of the academic literature on the New Spanish Baroque architecture history. The genesis and spectrum of the scientific opinion of the leading Mexican researchers in this area have been studied and presented. Sculpture is briefly mentioned as a type of fine art inextricably linked to Baroque architecture. The New Spanish Baroque classification modalities according to Manuel González Galván is also presented. The authors and their works mentioned in the article were previously unknown to the Ukrainian researchers. Unfortunately, none of these studies have been translated into Ukrainian. The article introduces the information about the New Spanish Baroque, its main researchers, architects and monuments into the national scientific circulation, opening up opportunities for further art-historical and cultural studies and a deeper study of the history of architecture and art of New Spain Baroque era.

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Johnson, Christopher D. "On Borges’s B/baroque." Comparative Literature 72, no. 4 (December 1, 2020): 377–405. http://dx.doi.org/10.1215/00104124-8537731.

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Abstract This article examines Jorge Luis Borges’s ingenious, largely dehistoricized interpretations and imitations of seventeenth-century writers typically called Baroque. It contends that the aesthetic, epistemological, and metaphysical values Borges assigns to works by Cervantes, Góngora, Quevedo, Gracián, Marino, Browne, Pascal, Leibniz, Angelus Silesius, and Spinoza depend largely on his conservative notions of how style and, specifically, metaphor should work. While writers from the historical Baroque often require readers to embrace hermeneutic difficulty, Borges, despite the ingenious difficulty of his own writings, refuses to countenance this stance. This refusal turns also on Borges’s distinction between writing he fervently praises as “classic” and writing he ambiguously blames as “baroque.” The former serves as the explicit model for his own invention; but the latter implicitly, agonistically, informs much of his thinking and writing as well. Borges’s unwillingness to distinguish the historical Baroque from a recurring, eternal baroque is understandable, given his philosophy of art and history; however, it ignores how periodization can have the heuristic and conceptual function of finding unity in multiplicity, a unity that includes divergent styles and ideologies.

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Beverley, John. "Going Baroque?" boundary 2 15, no. 3 (1988): 27. http://dx.doi.org/10.2307/303244.

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Carli, Stefania. "Laurent Versini, Baroque Montesquieu." Studi Francesi, no. 147 (XLX | III) (December 1, 2005): 645–46. http://dx.doi.org/10.4000/studifrancesi.33261.

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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.

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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.

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Zelle, Carsten. "‚Arbeit an den Sachen selbst‘. Zu Praxis und Programmatik der Literatursoziologie Karl Viëtors." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 2 (November 9, 2021): 461–501. http://dx.doi.org/10.1515/iasl-2021-0025.

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Abstract This article focuses on Karl Viëtor’s (1892–1951) literary-sociological oriented Baroque research and follows its development up to a generalized literary-sociological research program. Viëtor defines his stance on the sociology of literature by distancing himself from two strands of thought: on the one hand, from different versions of “Geistesgeschichte” (represented e. g. by Fritz Strich, Oskar Walzel, or Emil Ermatinger), and, on the other hand, from various materialistic positions based on the base/superstructure-model (such as those by Franz Mehring or Karl August Wittfogel). First, I will examine Viëtor’s unpublished lecture History of German Literature in the Age of Baroque (Geschichte der deutschen Literatur im Zeitalter des Barock, 1922/1923 until 1937), which is his repository for his baroque publications in the 1920 s, that also inspired in-depth research conducted by his students. Secondly, I will analyze Viëtor’s Program of a Sociology of Literature (Programm einer Literatursoziologie, 1934), a critical examination of relevant contributions by Erich Rothacker and others, both from bourgeois and Marxist backgrounds. In this text, Viëtor outlines the sociology of literature in two ways: as a sociology of literary life and as a sociology of literary works.

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Romanowski, Sylvie. "Baroque Montesquieu." French Studies LX, no. 1 (January 1, 2006): 112–13. http://dx.doi.org/10.1093/fs/kni290.

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Meyer, Ingo. "Benjamins Trauerspiel." Daphnis 46, no. 4 (October 17, 2018): 593–605. http://dx.doi.org/10.1163/18796583-04601008.

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Geisenhanslüke’s book applies Benjamin’s famous concepts such as ‘myth’ vs. ‘history’, ‘catastrophy’ vs. ‘mourning’, ‘idea’, ‘meaning’ etc. in a comparative manner on the baroque drama to recommend his view as still being capable for stimulating further research. The article critically discusses range and capacity of Geisenhanslüke’s attempt in the light of baroque philology and suggests to limitate Benjamin’s thinking strictly on modern literature at best.

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Strohm, Paul. "Medieval Literature: Criticism, Ideology and History. David Aers." Speculum 63, no. 2 (April 1988): 352–54. http://dx.doi.org/10.2307/2853226.

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Byerman, Keith. "Remembering History in Contemporary Black Literature and Criticism." American Literary History 3, no. 4 (1991): 809–16. http://dx.doi.org/10.1093/alh/3.4.809.

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Dean, Paul. "Current Literature 2000: Literary Theory, History and Criticism." English Studies 83, no. 1 (February 1, 2002): 9–39. http://dx.doi.org/10.1076/enst.83.1.9.9567.

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Dean, Paul. "Current Literature 2001. Literary Theory, History and Criticism." English Studies 84, no. 2 (April 1, 2003): 145–69. http://dx.doi.org/10.1076/enst.84.2.145.14904.

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Dean, Paul. "Current Literature 2002. Literary Theory, History and Criticism." English Studies 84, no. 6 (December 1, 2003): 558–72. http://dx.doi.org/10.1076/enst.84.6.558.28782.

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Dean, Paul. "CURRENT LITERATURE 2003: LITERARY THEORY, HISTORY AND CRITICISM." English Studies 85, no. 6 (December 2004): 532–46. http://dx.doi.org/10.1080/00138380412331339260.

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Astvatsaturova, Vera. "BOOK N.A. ZHYMUNSKOY «FROM BAROQUE TO ROMANTICISM»: HISTORY OF CREATION AND HISTORY OF PUBLICATION." Chronos: social sciences 6, no. 3(23) (November 3, 2021): 17–21. http://dx.doi.org/10.52013/2712-9705-23-3-3.

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The article discusses a collection of articles of professor St. Petersburg State University Nina Zhirmunsky, articles on French and German literature. The collection was published posthumously. The article traces the author’s scientific path, the evolution of his interests related to French and German literature, as well as literary relationships. In addition, the article tells the history and principles of the posthumous publication of the collection.

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Raskov, D. "Baroque and Cameralism: Towards an Intellectual History of Economic Thinking." Versus 3, no. 1 (October 27, 2023): 100–122. http://dx.doi.org/10.58186/2782-3660-2023-3-1-100-122.

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The Baroque, as an era and style in architecture, music, and literature, shares analogies with the history of early political economy. The main purpose of this article is to show that the use of the notion of the Baroque in the intellectual history of economic thinking provides a better understanding of both the corpus of works and the motivations of the authors. It is common to refer to the era preceding classical political economy as mercantilism or cameralism, as its German version. A close acquaintance with the most prominent figures of cameralism — such as Johann Joachim Becher and Johann Heinrich Gottlob Justi — raises questions. How can we understand such amazing productivity and desire to work simultaneously in such different fields, not limited to agriculture, finance, security, police, ethics, but touching upon law, natural philosophy, and natural sciences, humor, and such questions as making paints or turning sand into gold? Why are they so versatile and multifaceted? Why such immense mobility and desire to impress, charm and at the same time to create verbose intrigue, to intentionally obscure their meaning, to bring about a certain level of confusion? Why this manner of writing and the famous projectionism — those which are courageous and comic at the same time? In some cases, it is the juxtaposition of the two labels that will give a better understanding of the corpus of texts — Baroque and Cameralism. In addition, states had new demands for maintaining a permanent army, for building roads and buildings, for displaying grandeur and glory. The festive splendor of Versailles needed a Baroque man. Many obscure manifestations of economic thought become clearer through the prism of Baroque terms. The corpus of works exhibits vitality, excess, a desire for a new pathos, and optimism.

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Dancer, Thom. "Literary Criticism: A Concise Political History." Comparative Literature 71, no. 1 (March 1, 2019): 117–21. http://dx.doi.org/10.1215/00104124-7217100.

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Rescia, Laura. "Aa. Vv., Le Roman baroque." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 411. http://dx.doi.org/10.4000/studifrancesi.34626.

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Zhang, Jie, and Wenxin Lin. "Historical facts of literature and personality in research – about the compilation of the book “History of Russian and Soviet literary criticism of the XX century”." Neophilology, no. 24 (2020): 755–64. http://dx.doi.org/10.20310/2587-6953-2020-6-24-755-764.

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Russian literature is an important part of world literature and is studied all over the world. In comparison with the history of literature, the history of literary criticism is more an interaction between the objectivity of literary facts and the personality of the compiler of this history. This work presents a description of the personality in research using the example of the book “History of Russian and Soviet literary criticism of the XX century” written by Chinese scientist Zhang Jie, the main task of which is to provide a theoretical basis and methods of criticism for analyzing the mechanism of reproducing the meanings of literary texts and images. We analyze the functions of literary criticism and explain the interaction and harmony of objective historical facts of literature and the compiler’s personality in the study. We define three currents of Russian and Soviet literary criticism of the 20th century: religious and cultural criticism, real literary criticism, and aesthetic criticism. We prove that history reflects not only the objectivity of factors, but also its compiler’s personality, which is an indicator. We explain the need to coordinate the objectivity of historical facts and the subjectivity of the compiler, and we present a value-based reflection of a scientific linguistic personality in the Chinese ethnoculture.

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Valsalobre, Pep. "Sobre la transmissió manuscrita de l'obra poètica de Francesc Fontanella: els cançoners principals i l'ordenació dels textos." Zeitschrift für Katalanistik 28 (July 1, 2015): 167–86. http://dx.doi.org/10.46586/zfk.2015.167-186.

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Summary: The poetic oeuvre of the baroque poet Francesc Fontanella (1622–1682/83) was widely known. We still keep thirty-seven witnesses of his work: thirty-one are manuscripts and six are printed copies. Despite the fact that his poems have been generally regarded as following a disordered arrangement, this paper proposes two nuances to this perception: on the one hand, the analysis of Fontanella’s poetry transmission allows us to define a micro organization through well defined cycles in accordance with subject, addressees, writing circumstances, etc.; on the other hand, we can classify a large number of Fontanella’s poetry through the comparison of the disposition of the poems both in his books and in the miscellaneous collections which contain a critical number of his poems. The outcome are three large sets of manuscripts. The resulting data has been supported by the comparative analysis of its rubrics. Both factors offer a guideline to understand the poetic works of the Barcelona poet and playwright and collaborate with the ecdotic analysis to build a critical edition of his poetic oeuvre. [Keywords: Francesc Fontanella; baroque poetry; modern Catalan literature; textual criticism; codicology]

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Ciaramitaro, Fernando. "Reseña de: Pasolini, Alessandra y Pilo, Rafaella (eds.), Cagliari and Valencia during the Baroque Age." Espacio Tiempo y Forma. Serie IV, Historia Moderna, no. 32 (July 16, 2019): 375. http://dx.doi.org/10.5944/etfiv.32.2019.25202.

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Russo, Adelaide M., Dominique Viart, Roger Célestin, and Eliane DalMolin. "Literature and Criticism: Taking Stock." Contemporary French and Francophone Studies 20, no. 3 (May 26, 2016): 351–56. http://dx.doi.org/10.1080/17409292.2016.1177352.

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Dean, Paul. "Current Literature 1998: II. Literary Theory, History and Criticism." English Studies 81, no. 1 (February 1, 2000): 56–81. http://dx.doi.org/10.1076/0013-838x(200001)81:1;1-#;ft056.

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Dean, Paul. "Current Literature 1999: II. Literary Theory, History and Criticism." English Studies 81, no. 6 (December 1, 2000): 548–73. http://dx.doi.org/10.1076/enst.81.6.548.9182.

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