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Journal articles on the topic 'Baroque literature'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Lawrance. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316. http://dx.doi.org/10.5699/modelangrevi.116.2.0316.

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2

Lawrance, Jeremy. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316–37. http://dx.doi.org/10.1353/mlr.2021.0086.

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3

Levitt, Marcus. ""Toward a Typology of the Baroque in Russian Literature of the XVII—Early XVIII Centuries"." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 9 (December 21, 2021): 128–46. http://dx.doi.org/10.21900/j.vivliofika.v9.919.

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Viktor Zhivov’s 2007 article, here translated into English for the first time, attempts to describe the specific nature of the Baroque in Russia. According to Zhivov, Russian Baroque culture arose via transplantation and was not the result of organic cultural development. Because of their cardinal differences, the language of Western Baroque and that of traditional Russian culture represent polar opposites in many ways. Hence the transplantation of even the most insignificant element results in its radical transformation, highlighting the peculiarities of the process of reception. The article outlines the principles that governed this process. It argues that it was the external features of the Baroque style that were borrowed, while its deeper orientation on polysemy, which defined the Baroque worldview in the West, was not. The assimilation of Western literature was eclectic and replaced rhetorical ambivalence with the rhetoric of didacticism. It took what could be synthesized with traditional culture most easily, at the same time as the more content-oriented features and those specific to European Baroque were rejected. If in Western Europe the Baroque posed riddles for the reader, in Russia authors on the “European" trajectory assisted the reader by providing solutions. The Baroque in Russia was primarily a phenomenon of Western influence, so that its unique features took second place in the process of forming a new cultural paradigm as a whole. “Baroque” elements acquired a completely new pedagogical function, becoming carriers of the new ideology that was being introduced. The Baroque became a servitor of power, whose aim was the political reeducation of society.
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4

Wrobel, Jasmin. "“Partenogênese sem ovo ontológico”. A função catalisadora da discussão sobre o (neo)barroco nos intercâmbios interamericanos." Remate de Males 36, no. 1 (March 14, 2016): 85. http://dx.doi.org/10.20396/remate.v36i1.8646454.

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In this article we intend to demonstrate in how far the discussion about Latin American baroque and neo-baroque “catalysed” the approximations and cultural dialogues between Brazil and Hispanic America in the 20th century. The central axis of our analysis is the Brazilian poet, translator and critic Haroldo de Campos, who regretted the lack of approaches on several occasions and who tried to establish cultural bridges between both sides. After giving a short overview about his relationship to the Hispanic Literatures and his thoughts about a non-hierarchical conception of literature, we are going to focus on his theoretical considerations about the baroque as starting point to rethink Latin American Literature. Moreover, we intend to show some of the implicit and explicit literary dialogues between Brazil and Hispanic America which arised both from the historical and the neo-baroque.
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5

Kuperty-Tsur, Nadine, and Claude-Gilbert Dubois. "Baroque Redefined." Poetics Today 19, no. 4 (1998): 613. http://dx.doi.org/10.2307/1773264.

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6

Green, Maria, and Nicole Brossard. "Baroque d'aube." World Literature Today 70, no. 4 (1996): 905. http://dx.doi.org/10.2307/40152320.

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7

Bercot, Martine. "Musset baroque ?" Cahiers de l'Association internationale des études francaises 39, no. 1 (1987): 221–36. http://dx.doi.org/10.3406/caief.1987.2436.

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8

Anderson, Charlotte, and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." Die Unterrichtspraxis / Teaching German 18, no. 1 (1985): 208. http://dx.doi.org/10.2307/3530025.

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9

Preece, Julian, Alexander Weber, Gunter Grass, and Dieter Stolz. "Gunter Grass's Use of Baroque Literature." Modern Language Review 92, no. 4 (October 1997): 1030. http://dx.doi.org/10.2307/3734296.

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10

Johnson, Lathrop P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." MLN 100, no. 3 (April 1985): 679. http://dx.doi.org/10.2307/2905544.

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11

Aikin, Judith P., and Gerhart Hoffmeister. "German Baroque Literature: The European Perspective." German Quarterly 58, no. 1 (1985): 110. http://dx.doi.org/10.2307/406052.

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12

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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13

Merchant, John, and Michael J. Mikos. "Polish Baroque and Enlightenment Literature: An Anthology." Slavic and East European Journal 43, no. 4 (1999): 704. http://dx.doi.org/10.2307/309422.

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14

Slagle, Judith Bailey. "The Baroque in English Neoclassical Literature (review)." Journal for Early Modern Cultural Studies 6, no. 1 (2006): 130–32. http://dx.doi.org/10.1353/jem.2006.0007.

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15

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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16

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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17

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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18

Levchenko, Nataliia, Olena Liamprekht, Maryna Povar, and Olena Chukhno. "Adoption of Western Four-Sense Biblical Hermeneutics by Ukrainian Baroque Literature." Revista Amazonia Investiga 9, no. 31 (August 7, 2020): 178–84. http://dx.doi.org/10.34069/ai/2020.31.07.16.

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The study outlines general principles of biblical hermeneutics influence on the poetics of Ukrainian baroque prose. The Bible perceived by ancient writers as a collection of sacred books written by the Holy Spirit through the mediation of hagiographers is full of metaphors, comparisons, allegories and parables that needed clarification. Biblical hermeneutics developed rules for the Bible exegesis in order to avoid false variants of interpreting the Scripture. The four-sense method of biblical hermeneutics borrowed from Western Catholic tradition helped to avoid controversial interpretation of the Holy Scripture. The immersion of Ukrainian baroque literature into the biblical domain caused its paraphrasing nature and created conditions for the development of the four-sense hermeneutics as the structure of the poetics of Ukrainian baroque prose. Principles of biblical hermeneutics, having become a monolithic core of the form and content of authors’ texts, eventually began to go beyond the actual theological literature into the field of secular arts.
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19

Petrescu, Cristina. "O lugar da literatura monástica feminina no cânone Barroco português." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (December 17, 2021): 211–22. http://dx.doi.org/10.24193/subbphilo.2021.4.14.

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Women’s Monastic Writing within the Portuguese Baroque Canon. This article aims to approach Portuguese female monastic literature of the seventeenth and eighteenth centuries in terms of its relationship with the Baroque literary canon. Shaped at the border that separates voice and silence, the visible and the spiritual universe, the cult of moderation and the desire to assert, this literature outlined a new type of discourse, which hinted at the intense conflict between suppression and authority, which, in turn, gave rise to a permanent dialogue between the feminine ethos, the controversial character of the Baroque and the always oscillating essence of the canon. We will show, that, during the last centuries, the works of some famous female writers, such as Sóror Maria do Céu, Sóror Violante do Céu and Sóror Madalena da Glória, or of other female authors who remained in the shadows, have been differently and unequally absorbed by literary critics and historians and by great anthologists. Their writings have not ceased to be represented as preferential places of dispute, of the uninterrupted dialogue between silence and affirmation, between center and margin, which generally regulates the literary canon. Keywords: monastic, literature, feminine, canon, Baroque
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20

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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21

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

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22

Macé, Stéphane. "Les mutations de l’espace pastoral dans la poésie baroque." Études littéraires 34, no. 1-2 (February 23, 2004): 169–77. http://dx.doi.org/10.7202/007560ar.

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RésuméCet article vise à étudier l’évolution du décor et du rôle qui lui est dévolu dans la poésie pastorale de l’âge baroque. Pour ce faire, il est y brièvement fait référence à l’héritage antique et néo-latin, ces périodes ayant progressivement construit le statut rhétorique dulocus amoenus. Sont ensuite envisagées les transformations que les poètes baroques font subir à ce décor canonique, tant d’un point de vue thématique (l’émergence du motif de la forêt, du nocturne), esthétique (le poids du cauchemar, la présence récurrente de quelques grands mythes fondateurs) ou technique (la place et le statut de la description). L’évolution du décor n’est pas seulement accidentelle ou ornementale, mais peut parfois, de façon décisive, induire d’importantes modifications formelles, qui permettront de structurer un véritable espace de parole — ce dont témoigne le succès du monologue de déploration ou de sa forme dérivée, le poème d’écho.
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23

Merlin-Kajman, Hélène. "Un siècle classico-baroque ?" Dix-septième siècle 223, no. 2 (2004): 163. http://dx.doi.org/10.3917/dss.042.0163.

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24

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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25

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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26

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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27

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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28

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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29

Kaup, Monika. "“¡Vaya Papaya!”: Cuban Baroque and Visual Culture in Alejo Carpentier, Ricardo Porro, and Ramón Alejandro." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 156–71. http://dx.doi.org/10.1632/pmla.2009.124.1.156.

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Cuba assumes a special place in the genealogy of the latin American Baroque and its twentieth-century recuperation, ongoing in our twenty-first century—the neobaroque. As Alejo Carpentier has pointed out (and as architectural critics confirm), the Caribbean lacks a monumental architectural baroque heritage comparable with that of the mainland, such as the hyperornate Churrigueresque ultrabaroque of central Mexico and Peru (fig. 1). Nevertheless, it was two Cuban intellectuals, Alejo Carpentier and José Lezama Lima, who spearheaded a new turn in neobaroque discourse after World War II by popularizing the notion of an insurgent, mestizo New World baroque unique to the Americas. Carpentier and Lezama Lima are the key authors of the notion of a decolonizing American baroque, a baroque that expressed contraconquista (counterconquest), as Lezama punned, countering the familiar identification of the baroque with the repressive ideology of the Counter-Reformation and its allies, the imperial Catholic Iberian states (80). Lezama and Carpentier argue that the imported Iberian state baroque was transformed into the transculturated, syncretic New World baroque at the hands of the (often anonymous) native artisans who continued to work under the Europeans, grafting their own indigenous traditions onto the iconography of the Catholic baroque style. The New World baroque is a product of the confluence (however unequal) of Iberian, pre-Columbian, and African cultures during the peaceful seventeenth century and into the eighteenth in Spain's and Portugal's territories in the New World. The examples studied by Lezama and Carpentier are all from the monumental baroque sculpture and architecture of Mexico, the Andes, and Brazil's Minas Gerais province: the work of the Brazilian mulatto artist O Aleijadinho (Antônio Francisco Lisboa [1738–1814]; see fig. 2 in Zamora in this issue) and the indigenous Andean artist José Kondori (dates unknown; see fig. 1 in Zamora), central Mexico's Church of San Francisco Xavier Tepotzotlán (fig. 1), and the folk baroque Church of Santa María Tonantzintla (see fig. 3 in Zamora), to mention a few landmarks and names.
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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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31

Kryvoruchko, S. "Baroque: Myth, Mythopoeia, and Mythopoetic Paradigm." Fìlologìčnì traktati 12, no. 2 (2020): 153–54. http://dx.doi.org/10.21272/ftrk.2020.12(2)-17.

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32

Levchenko, Nataliia, Olena Liamprekht, Oksana Zosimova, Olena Varenikoba, and Svitlana Boiko. "Emblematic Literature as a Form of Biblical Hermeneutics." Revista Amazonia Investiga 9, no. 32 (September 8, 2020): 61–69. http://dx.doi.org/10.34069/ai/2020.32.08.7.

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The article defines the basic principles of the influence of biblical hermeneutics on the poetics of Ukrainian Baroque emblematic literature, which were determined by its general development trends. The four-sense biblical hermeneutics, founded by the Greek and Roman Church Fathers, played an important role in the formation of Ukrainian Baroque literature that mainly developed within the theological framework. The principles of biblical hermeneutics eventually began to go beyond the theological literature. Thus, the medieval interest in symbol and allegory led to the appearance of “empresas” – symbolic drawings that became fashionable at the royal courts of Europe in the 15th century. The Renaissance misunderstanding about the nature of Egyptian hieroglyphs, their perception as ideographic writing through which Egyptian priests expressed their wisdom, led to the appearance of emblems, allegorical prints with long explanatory verses, aimed at giving some moral lessons. It was believed that the emblem could communicate truth to the mind more directly than with the help of words. It was reflected in the mind, while the person’s gaze wandered through the symbolic details of the emblem. The research provides evidence that a large number of literary works of the 17th century showed the influence of the emblem on the formation of symbolic representation, arranged to reveal the truth implicitly or explicitly through the sequential placement of the elements. Many poetic images of the 17th century come from well-known emblems, which were means of perceiving, interpreting, and opening the world of the Bible to the Baroque reader.
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Salvato, Nick. "Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater." Modern Drama 66, no. 1 (March 1, 2023): 121–23. http://dx.doi.org/10.3138/md-66-1-rev1.

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In Baroque Modernity, Joseph Cermatori upends received ideas about modernism’s anti-theatricality by carefully identifying, and closely unpacking, the surprising strains of baroque theatricality running through works by Nietzsche, Mallarmé, Benjamin, Stein, and others. The book also illuminates the necessity of modern philosophy to modern drama and theatre – and vice versa.
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Barthes, Roland, and Susan Homar. "The Baroque Face." Review: Literature and Arts of the Americas 53, no. 1 (January 2, 2020): 21–23. http://dx.doi.org/10.1080/08905762.2020.1748424.

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35

Faraudo, Rosario. "Sor Juana and the Painters - A neo-baroque Perspective." Anuario de Letras Modernas 14 (July 31, 2009): 63–70. http://dx.doi.org/10.22201/ffyl.01860526p.2008.14.673.

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This text intends to explore how renewed interest in the Baroque has transcended the field of literature and Sor Juana is once more attracting the attention of artists who update the Baroque with contemporary techniques and attitudes. The text focuses mainly on a contemporary picture of Sor Juana, parodying the well-known portrait by Miguel Cabrera and how it also contains elements of the Neo-Baroque. In addition, this picture includes in the composition the first quatrain of one of the poet’s sonnets, which creates an ekphrastic dimension and multiplies the possible readings.
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36

Santa-Aguilar, Sara. "Baroque metaphors and Nietzschean influence in Vivaldi Metal Project’s The Four Seasons." Metal Music Studies 9, no. 2 (June 1, 2023): 215–32. http://dx.doi.org/10.1386/mms_00106_1.

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In this article I will analyse how a widespread metaphor of Renaissance and Baroque literature, the comparison between the stages of life and the seasons of the year, is updated via a contemporary perspective and transformed through an intertextual relation with Nietzsche’s Thus Spoke Zarathustra in Vivaldi Metal Project’s The Four Seasons. I highlight the strong presence of Baroque aesthetics in symphonic metal and I aim to propose, from a literary perspective, a model for the analysis of the presence and transformation of Baroque elements in this subgenre.
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Oropesa, Salvador A. "Obscuritas and the Closet: Queer Neobaroque in Mexico." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 172–79. http://dx.doi.org/10.1632/pmla.2009.124.1.172.

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During the Baroque period, Luis De GÓngora y Argote (1561–1627) wrote the first Spanish-language closeted literature. Some three hundred years later, the challenging originality of his closet verse, openly studied and appreciated by a cultured, intellectual elite, played a pivotal role in the development of homosexual literature in the early-twentieth-century avant-garde movements of Spain and Latin America. This essay will briefly explore how twentieth-century Mexican avant-garde writers expressed the closet using baroque models. The thesis is that the rhetorical strategies of obscuritas provided Góngora an ideal instrument for representing the closet, which in literature is defined as a symbolic space that allows writers to represent and readers to recognize homosexuality in a heterosexual context. The pertinent OED definition of closet as an adjective reads, “secret, covert, used esp. with reference to homosexuality” (“Closet”). This recognized use of obscuritas is validated further in the observations of the Peruvian colonial writer Espinosa Medrano, one of Góngora's seventeenth-century commentators, who epitomizes the consolidation of baroque aesthetics in Hispanic America by the criollo elite. The final chapter in this tour of the baroque closet will examine how the Mexican avant-garde became aware of obscuritas through Federico García Lorca's Gongorine lectures and poetry.
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Zhuravel, O. D. "To the Study of Visual Poetics in the Old Believer Literature of the 18th Century." Critique and Semiotics 38, no. 1 (2020): 249–62. http://dx.doi.org/10.25205/2307-1737-2020-1-249-262.

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The article raises the problem of visual poetics in the Old Believer literature. The author analyzes the texts of Baroque rhetoric and sermons created on the Vyg during the 18 th century, including the works written by the Vyg leaders Andrei Denisov and Andrei Borisov. The author argues that focalization in the Old Believer literary culture is linked to general poetic attitudes. The Baroque Poetics implied the intensive inclusion of the illustrative material in the texts. Visual metaphors were meant to clarify the writer's idea, and simultaneously execute a didactic function. The author shows that visual images and metaphors used in the texts written at the beginning of the 18 th century helped to create an idealized image of the world, which itself was based on the structure- forming constants of the Baroque worldview. The excerpts from baroque rhetoric reflected the ideas common for the Baroque culture, such as the contrasting nature of the world, the world as a labyrinth, “vanitas vanitatum”, “life is a dream” etc. The usage of emblem is considered to be an example of the implementation of conceptual metaphors. The author displays how through the visualization techniques Andrei Denisov constructs the ideal image of Vyg as a place of spiritual asceticism. Details of the real-life and landscape are included in the utopian discourse, which encompasses the topic of paradise as well. Different symbols such as honey, bees, gold, sunshine, rose and others are used. The article discusses the first detailed description of the elephant in Russian literature, included in the allegorical context of Andrei Denisov’s preaching. At the end of the 18 th century, Andrei Borisov started emphasizing the author’s personality. Naturalistically accurate descriptions of the author’s condition focus attention on his viewpoint and also serve as an expression of the didactic thoughts. The detailed analysis of the unique example of ekphrasis from Andrei Borisov’s work, a description of the portrait of Catherine the Second by D. Levitsky, is provided.
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39

Skrine, Peter, and Judith Popovich Aikin. "German Baroque Drama." Modern Language Review 80, no. 1 (January 1985): 210. http://dx.doi.org/10.2307/3729450.

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Sperberg-McQueen, M. R., and Judith Popovich Aikin. "German Baroque Drama." MLN 100, no. 3 (April 1985): 665. http://dx.doi.org/10.2307/2905537.

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García, César. "Cardinal Mazarin’s Breviary of politics: Exploring parallelisms between the Baroque and public relations in a post-truth society." Public Relations Inquiry 9, no. 3 (May 24, 2020): 295–310. http://dx.doi.org/10.1177/2046147x20920805.

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This article suggests we live in a neo-Baroque era of communication between organizations and publics. The 17th and 18th centuries are particularly rich in literature about the importance of building a reputation to get and retain power. These authors consider communication management, a key factor in how monarchs, princes, and governments must relate to their constituencies to make their power sustainable. A chief minister to the French kings Louis XIII and Louis XIV, Cardinal Mazarin’s Breviary of Politics offers a solid representation of Baroque thought on communication and power. A critical analysis of his book shows that many of the elements associated with Baroque art, a style born with a propagandistic purpose that appeals to irrationality and primary emotions through a combination of dramatic visual elements, could be found to have profound resemblances with the way public relations is practiced in our current post-truth era. This era shows how communication managers and leaders have been able to reach their objectives by being irrational, thanks to the echo chamber provided by both social media and mainstream media with their multiplicity of truths, where a community of like-minded individuals, sort of a correlate of the ‘believers’ in the Baroque period, are looking to confirm their preconceptions. The resemblances between Mazarin and Baroque’s simulation art, privileging appearances, the visual and emotional over facts, squares surprisingly well with how recent or current leaders such as Donald J. Trump, Boris Johnson or George W. Bush connect with the masses. Perhaps these political leaders are being irrational, but there is a rationality in using irrationality to their advantage.
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Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.

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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as analytical method in performanceanalysis of pieces of music (intonation and structural analysis), andrevealing the value of the baroque repertoire in the process of becoming amodern vocalist. Applied methods reveal the practical performing aspectof the study. The scientific novelty of the article is to identify andsummarize the main factors and techniques of training that becomenecessary for modern performers of baroque vocal music, influencing theformation of a vocalist and the further performance of another vocalrepertoire. This question is considered from the singer-performer’s point ofview the application of the rules and traditions of baroque performance inmodern conditions. Both the works of composers and the methodologicalliterature of the Baroque era, as well as the experience of contemporaryrecognized singers, the personal experience of the author as a singerperformerof baroque music, and pieces of music, are in the field of view.In the conclusions it is noted that the broad analysis of pieces of music,involved in performing practice, makes it possible to reveal the existenceof important requirements for vocalists in the Baroque art, from whichboth the musical aesthetics of the Baroque and the tradition of baroqueperformance gradually grew.
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Bosco,, Mark. "Flannery O’Connor as Baroque Artist." Renascence 62, no. 1 (2009): 41–61. http://dx.doi.org/10.5840/renascence200962117.

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Terras, Victor, and David MacFadyen. "Joseph Brodsky and the Baroque." World Literature Today 74, no. 1 (2000): 188. http://dx.doi.org/10.2307/40155451.

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Guiderdoni, Agnès. "Des méandres du baroque littéraire." Les Lettres Romanes 70, no. 3-4 (July 2016): 203–5. http://dx.doi.org/10.1484/j.llr.5.112582.

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Campos, Raquel. "Haroldo de Campos: um caso concreto-barroco." Elyra, no. 17 (2021): 43–52. http://dx.doi.org/10.21747/2182-8954/ely17a3.

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This research aims to analyze the poetic writing of Haroldo de Campos, which brings a baroque language closer to a concrete language, exemplifying this supposed paradox through the poem A Máquina do Mundo Repensada. Augusto de Campos, his brother, defined him as a kind of “concrete-baroque”, capable of bringing together these two apparently contradictory facets in his production. The defense of the inclusion of the Brazilian baroque in the formation of national literature made by Haroldo also reverberated in his work, leaving baroque traces in his writings, as will be shown below. Finally, the analyzes made in this article will lead us to an analog and iconic reading gesture, prioritizing the similarities brought by the analogies, which will allow us to conceive the existence of opposite paths shared in the same text.
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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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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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ABDULRAZZAQ AL-RUBAIEE, AHMED. "EL ESTILO LITERARIO EN LA EPOCA BARROCA." Al-Adab Journal 1, no. 127 (December 5, 2018): 40–48. http://dx.doi.org/10.31973/aj.v1i127.199.

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At the end of the middle eras, began in Spain an era of literary integration called it the (Golden era) Unlike political events which was prevalent there, Spain was from the side political lives he situation is stressed and internal divisions, but from the literary side She reached the peak of her relationship. The term Baroque refers to a movement of art, literature and culture, spread in Spain since the end of the sixteenth century until the end of the seventeenth century, In the seventeenth century began Literary productions from theater, novel, poetry and prose reach its grandeur, and there appeared prominent writers They knew in Spain and the world as well such as (Luba de Veca) and his style in theater and literary currents, Who followed his approach. The current study consists of two chapters: Chapter one refers to the beginning and prosperity and the end of baroque style in Spanish literature. The second chapter explains it operation evolution of the method (baroque) especially in lyric poetry of the baroque, We spoke in it about the most prominent figures in the field of poetry during the golden era.
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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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