The sense of form that provides the modern poet with a unique experience of the literary object has been crucial to various attempts to compare poetry to other cultural activities. In maintaining similar conceptions of the relationship between poetry and painting, Arthur Rimbaud and W. C. Williams establish a common basis for interpreting their creative work. And yet their poetry is more crucially concerned with the sudden emergence of visible "worlds" containing verbal objects that integrate a new kind of literary (...) text. This paper discusses the emergence of "aesthetic worlds" in the work of both poets and then examines how a common concern with Baroque form unites them in the phenomenological task of overcoming Cartesian dualism. (shrink)

Qu'est-ce qu'un commentaire philosophique? Le cas offert par Gilles Deleuze dans son commentaire de Leibniz (Le pli) est l'occasion de saisir quelques uns des enjeux de cette pratique essentielle au travail du philosophe. En revivifiant en effet une tradition historiquement datée (Wölfflin), Gilles Deleuze s'est attaché à produire une description originale du système leibnizien. Au-delà des difficultés soulevées par la nature même de son modèle (la notion de baroque), le commentaire de Deleuze se singularise par une conception particulière de (...) la lecture philosophique comme recréation d'une pensée à partir de la description de ses conditions formelles d'existence. (shrink)

Le baroque politique est connu pour avoir été pensé dans les images théâtrales. Par rapport à la compréhension du pouvoir sous la forme de la représentation ostentatoire, le secret – contenu et pratique – se présente dans une dimension toute différente. Héritier infidèle des pensées de la raison d’État et des théories de la dissimulation machiavélienne, le secret politique est lié aux nouvelles descriptions de la prudence mélangée, où ne sont plus séparées morale et politique. Dissimulation des intentions plutôt (...) que mensonge, le secret ouvre un nouvel espace politique qui n’a pas de lieu propre, et dont tout l’intérêt pour les hommes de pouvoir est de laisser croire qu’il y a secret, presque indépendamment du contenu lui-même. Ainsi le secret pensé politiquement est-il lié à un nouveau partage du politique, qui crée une société restreinte liée par une communication spéciale entre destinateur, dépositaire et destinataire du secret, inaugurant à la fois une rationalité sans légitimité et une science politique nouvelle. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Neo-Baroque Aesthetics and Contemporary EntertainmentTheodore GracykNeo-Baroque Aesthetics and Contemporary Entertainment, by Angela Ndalianis. Cambridge, MA, and London: MIT Press, 2004, 323 pp., $34.95 cloth.Like the cliché about not judging a book by its cover, the prominence of the term "aesthetics" in a book's title is no indication of what one will find inside. Has the term become so elastic that it will now cover everything cultural? (...) Or is it the case, as in Angela Ndalianis's discussions of theme park rides and computer games, that the term applies to anything that has a parallel in earlier practices covered by this rubric? Ndalianis may be stretching it too far, for the book in question emphasizes parallels with baroque practices that predate Alexander Baumgarten's 1735 proposal to use "aesthetics" as the name of an emerging discipline concerned [End Page 115] with perception. We are alternately informed that the book explores the poetics, semiotics, and the "logic of contemporary media." But because Ndalianis holds that recent visual media involve a "specific system of perception" that arises from a "radical cultural transformation" (22-23), the term "aesthetics" may be as good as any other in conveying her purposes. For she is not concerned with artistic style—presumably the province of art historians. She is theorizing broadly about visual media by examining an assortment of media strategies found in the two eras and aims to identify their common "morphology" (19). Her sources are Fredric Jameson, Walter Benjamin, and Gilles Deleuze rather than, say, Kendall Walton, Noël Carroll, or Gregory Currie.Ndalianis's main idea is that there is a strong but not exact parallel between our own times and the visual forms favored in the seventeenth century. (For Ndalianis, the baroque period stretches from 1492 to the 1680s.) The two epochs involve similar cultural sensibilities and artistic practices, so if we understand baroque art and visual media, we will better understand what is going on in contemporary media. In short, the framing assumption is Shelley's dictum that art is the expression of the spirit of its time. More specifically, the design of modern entertainment media is argued to be very similar to a wide range of baroque entertainment and representational practice. But the similarity is not due to either awareness or imitation of baroque style. Each "logically emerged as a result of systemic and cultural transformations" peculiar to its own time (17). The similar "logic" of each period is thus seen as evidence that there are parallels in the "general tendencies" and consequent "dominant cultural sensibilities" of the two periods (17-21). Because hindsight is more reliable than precognition, a backward glance at the baroque may help us to better grasp our own historical and cultural context.Having outlined these proposals in a lengthy introduction, Ndalianis offers five chapters, each devoted to a specific parallel. All five chapters share a similar strategy. A different aspect of neo-baroque communication is highlighted, and one type of baroque art or entertainment is compared and contrasted with its neo-baroque counterpart, with at least one neo-baroque example explored in considerable detail.The introduction focuses on Jurassic Park (both the film and the theme park ride). Chapter 1 focuses on neo-baroque "narrative strategies," as first Don Quixote and its sequel and then the palace at Versailles are compared to the various Alien films and comic books. The main focus is "serial" art as an outgrowth of capitalism, generating "an aesthetics of repetition" enriched by its "rampant self-reflexivity" (69). Chapter 2 shifts to the baroque love of labyrinthine structure, with its "enforced circuitousness, planned chaos, choice among paths, intricacy, complexity, and an invitation to the audience to engage reflexively" in exploring the labyrinth (84). Ndalianis's baroque case is Pietro de Cortona's elaborate painted ceiling for the Palazzo Barberini in Rome. The neo-baroque counterpart is the Doom video game and its sequel, Doom II. Inexplicably, for a book with numerous illustrations, there are no visuals to display Doom for those unfamiliar with such games. Chapter 3 examines baroque cartography as a background for discussing geographic discovery and colonization, leading to the neo-baroque... (shrink)

Based on the Benjaminian thesis that – like that of the 17th century concept of sovereignty – the philosophical-historical foundation of the baroque is the affirmation of historical immanence, this article intends to think, in a dialogue with Carl Schmitt, about the baroque experience in our colonial condition, using as material some of Sermons by Fr. António Vieira.

A leading young Italian semiologist scrutinizes today's cultural phenomena and finds the prevailing taste to be "neo-baroque"--characterized by an appetite for virtuosity, frantic rhythms, instability, poly-dimensionality, and change. Omar Calabrese locates a "sign of the times" in an amazing variety of literary, philosophical, artistic, musical, and architectural forms, from the Venice Biennale through the "new science" to television series, video games, and "zapping" with the remote control device from channel to channel! Calabrese admits that he begins the book (...) with a refusal to distinguish between "Donald Duck and Dante." Avoiding hierarchies or ghettos among works, he takes his readers on a fast-paced expedition through contemporary culture that closes with an elegant essay on evaluation and classical form. According to Calabrese, the enormous quantity of narrative now being produced has led to a new situation: everything has already been said, and everything has already been written. The only way of avoiding saturation has been to turn to a poetics of repetition. The author shows that pleasure in texts is now produced by tiny variations, and a certain kind of citation from other works has taken on a central importance that would have been unthinkable only a few years ago. In describing this development, and others shared by both avant-garde and mass media, he makes us aware of the rapid shrinkage in the once ample space between "highbrow" and "lowbrow." Originally published in 1992. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

This article addresses the notion of Latin American baroque, linking its aesthetic and interpretive dimension with the cognitive, to develop a located epistemology in Latin America, consistent with its tradition and cultural history. This exercise requires a transdisciplinary effort, therefore this article takes the form of notes, in the context of a broader research program focusing on the contribution of the sociologist Pedro Morandé and writers Pablo Rokha and José Lezama Lima, in a transdisciplinary perspective that assumes theories of (...) knowledge grounded in the identification of Baroque and Latin American appropriations as core of our cultural substrate and therefore epicenter of reflection on identity; developing emerging forms of writing grounded in a metalanguage that appeals to the neo-baroque as a foundation. En este artículo se aborda la noción de barroco latinoamericano, vinculando su dimensión estética e interpretativa con la cognoscitiva, para dar pistas en el desarrollo transdisciplinario de una forma de epistemología situada en Latinoamérica, coherente con su tradición e historia cultural. El ejercicio requiere un esfuerzo transdisciplinario, por ello el artículo toma la forma de apuntes, en el contexto de un programa de investigación más amplio, centrándose en un somero examen del aporte del sociólogo Pedro Morandé y de los escritores Pablo de Rokha y José Lezama Lima, ello en una perspectiva transdisciplinaria que asume teorías del conocimiento fundamentadas en la identificación del barroco y sus apropiaciones latinoamericanas, como médula de nuestro substrato cultural y por tanto, epicentro de la reflexión sobre la identidad, surgiendo un modo de desarrollar formas de escritura cimentadas en una metalengua que apela al neobarroco como fundamento. (shrink)

Renaissance and Baroque, two terms unknown in the ages they describe, are now an integral part of the general public's cultural vocabulary. The first encompasses European civilization from the mid-fifteenth century to around 1550, and the second refers to developments in the seventeenth century, with the intervening fifty years forming a period of transition termed Mannerism. Beginning with the appearance of Heinrich Wölfflin's Kunst geschichtliche Grundbegriffe in 1915, these two great epochs of intellectual development have been described quite successfully (...) by juxtaposing the one with the other. Wölfffin, for example, saw five great categories of discrimination between the two, namely Linear and Painterly, Plane and Recession, Closed and Open Form (Tectonic and A-tectonic Form), Multiplicity and Unity (Multiple Unity and Unified Unity), and Clearness and Unclearness (Absolute and Relative Clearness). More recently, Wylie Sypher in Four Stages of Renaissance Style has extended the list with the polar characteristics of Cyclic-Broken (Cyclothym-Schizothym), Exact-Abstract (Representational-Nonrepresentational), Visual-Haptic, Nearseeing-Farseeing, Dark-Light, Horizontal/Vertical-Oblique/Spiraling, and Points/Lines-Planes/Volumes. (shrink)

This comparative and interdisciplinary study focuses on a cluster of epoch-making themes that emerged in the late sixteenth century. Michelangelo and Giordano Bruno are taken as the founding fathers of the Baroque, and we see that beyond the Alps their lessons were echoed in Montaigne, Cervantes, and the Counter-Reformation culture of the Mediterranean basin. Maiorino shows that the common denominator that links the origins of the Baroque to its maturity is the concept of form as &"process,&" which is (...) then articulated into chapters on the formative unity of the arts, art forms at the threshold, and the development from humanist perfection to Baroque perfectibility. Such an evolution in literature and the arts is situated in relation to the age of explorations (Columbus), scientific inventions (the telescope), and the fundamental shift from the enclosed Ptolemic system to the open universe of the Copernican revolution. At the Baroque point of origin, the inner vitality of Michelangelo's emphasis on creation as &"process&" rather than completed act taught a crucial lesson to Baroque artists. Their response to the infinite and open universe of the &"New Science&" was one that took part to be as dynamic and metamorphic as life itself. It is in the context of &"open&" forms within an &"open&" universe that this study moves from Michelangelo to Bruno. His poetics of immeasurable abundance set &"process&" at the very core of the Baroque art, thought, and science. Applied to the forms of art, growth and metamorphosis are linked to what Maiorino calls (borrowing from Mikhail Bakhtin) the Baroque chronotope of formation, which refers to forms responding to the dynamics of space-time interactions. Such interactions were exhaustive and even tested the boundaries between reality and fiction, creation and denial, conformity and criticism from picaresque Spain to middle-class Holland. And it is the painting of a Dutch artist&—Rembrandt's Aristotle Contemplating the Bust of Homer&— that is taken as a symbol of the Baroque reconciliation of humanist learning with human or humane understanding. Such a humanizing attitude also marked the final transformation of humanist ideals of perfection into the Baroque experience of human perfectibility. This book will be of importance to all scholars concerned with the history of ideas, cultural history, and the Baroque in literature and art. (shrink)

In the chapter on multiplicity and unity, the affective or anthropological motifs are both more complex and more interesting. Wölfflin’s initial distinction is between “the articulated system of forms of classic art and the flow of the baroque” . Imagery of fluidity pervades the chapter, for water, according to Wölfflin, “was the period’s favourite element” . “Now, and now only,” he says, “the greatness of the sea could find its representation”, and as if to inculcate this affinity he (...) places the reproduction of a baroque seascape by Jan van Goyen at the head of the introduction to the book and a riverscape by Peter Brueghel at the head of this chapter, even though neither painting is discussed where it is reproduced. In fact it is worth observing that Wölfflin does not discuss any water paintings in this chapter, though of course he does so elsewhere. Where fluidity becomes the meaning of his category, it is absent from the contents of the paintings. Wölfflin’s procedure, as I have argued, is both objectively analytical and subjectively interpretive, and in this chapter he seems careful to preserve the distance between the forms he describes and the significances he reveals. Were he to treat water paintings here, he would obscure the fact that his analyses are always the prelude to translations.Though he conceals the fact, Wölfflin has here effected a translation of the baroque into itself, of water painting into fluidity. Baroque art has declared its true meaning, which is to be an art of flux—of time and, throughout this chapter, of momentariness. Suddenly here the baroque comes into its own, with a surprising reversal in Wölfflin’s categories. Until now he has associated the baroque with lawlessness and confusion, and classicism with the unifying force of symmetrical organization around a center. Unity is repose—the equation had been made explicitly in the discussion in Classic Art of Michelangelo’s Medici Madonna —and clearly in Principles of Art History Wölfflin seems to say that the unification achieved in Leonardo’s Last Supper was later lost Tiepolo’s version.21 As Wölfflin says in the first sentence of chapter 4, “The principle of closed form of itself presumes the conception of the picture as a unity.” But as the baroque now comes into its own, it appears that the unity of classicism is an illusory, “multiple unity,” whereas the true or “unified unity” actually pertains to the baroque. It is the usurping baroque, rather than the deposed classic, that now has “a dominating central motive.” And So Wölfflin returns in this chapter to the two Last Suppers in order to rescind his earlier position. He still claims that Leonardo’s painting is unified, but he offers Tiepolo’s version to illustrate the “possibility of surpassing this unity” . In becoming itself, baroque art has overthrown classicism.21. “Tiepolo composed a Last Supper which, while it cannot be compared with Leonardo as a work of art, stylistically presents the absolute opposite. The figures do not unite in the plane, and that decides”. (shrink)

In this article, the world of Heian women's literature is interpreted through Deleuzian concepts of desire and becoming and figures of the rhizome, the Baroque fold and origami, supported by Elizabeth Grosz's concept of art as originating in the impulse to seduction. Within the constraints of movement, dress and behaviour imposed by a polygamous hierarchical court society, Heian women created a rich body of literature that celebrated and subtly critiqued their world. Through aesthetic intensification of form and imagination within (...) a labyrinthine cloistered society, they folded their fictional and autobiographical subjectivities into intricate patterns of desire. The richly described and imagined world of their fictional and confessional literature, still read, translated and transformed into other art forms, celebrates the freedom of the imagination even in confined and controlled circumstances. (shrink)

Christine Buci-Glucksmann’s__ _The Madness of Vision_ is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material (...) world, actually dazzles and distorts the perception of reality. In each of the nine essays that form _The Madness of Vision_ Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s _Saint Teresa_ and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s _Judith Beheading Holofernes,_ the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s_ El Criticón_; Monteverdi’s opera _Orfeo; _the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

The meaning of the term "baroque" has been the subject of much debate. In the field of historiography, historians have not engaged in a dialogue on the subject and have accepted uncritically the value-judgments of eighteenth-century scholarship. One approach to be used in this author's new book, Historians and Historiography in the Italian Renaissance, compares the work of 782 Italian historians from earliest times through the seventeenth century. The humanist historiography of the Italian Renaissance exhibited the concepts of change, (...) contingency, and epoch in history; relied on ancient forms; used methodological principles of causation; and taught moral and political lessons. Italian Baroque historiography, on the other hand, employed the forms of the new bulletins or avvisi, copied the prose style of its contemporaries, discounted its practical utility, and displayed a separation between history as literature and history as research. (shrink)

Christine Buci-Glucksmann’s The Madness of Vision is one of the most influential studies in phenomenological aesthetics of the baroque. Integrating the work of Merleau-Ponty with Lacanian psychoanalysis, Renaissance studies in optics, and twentieth-century mathematics, the author asserts the materiality of the body and world in her aesthetic theory. All vision is embodied vision, with the body and the emotions continually at play on the visual field. Thus vision, once considered a clear, uniform, and totalizing way of understanding the material (...) world, actually dazzles and distorts the perception of reality. In each of the nine essays that form The Madness of Vision Buci-Glucksmann develops her theoretical argument via a study of a major painting, sculpture, or influential visual image—Arabic script, Bettini’s “The Eye of Cardinal Colonna,” Bernini’s Saint Teresa and his 1661 fireworks display to celebrate the birth of the French dauphin, Caravaggio’s Judith Beheading Holofernes, the Paris arcades, and Arnulf Rainer’s selfportrait, among others—and deftly crosses historical, national, and artistic boundaries to address Gracián’s El Criticón; Monteverdi’s opera Orfeo; the poetry of Hafiz, John Donne, and Baudelaire; as well as baroque architecture and Anselm Kiefer’s Holocaust paintings. In doing so, Buci-Glucksmann makes the case for the pervasive influence of the baroque throughout history and the continuing importance of the baroque in contemporary arts. (shrink)

Introduction Il s’agit ici d’établir la forme shakespearienne – en sa volonté d’opposition à la forme classique, en sa volonté de variété, de digression, d’enchâssement ou d’inachèvement volontaire – sur le sol du Baroque, ce qui ne va pas de soi. Il s’agit de montrer en quoi cette forme, qu’on peut appeler « du dehors » parce qu’elle fuit la perfection dans la clôture qui prévaut à l’âge classique ou renaissant, correspondrait à une pensée du dehors, aisément attribuable à (...) Nietzsche, et défi... (shrink)

The attack on the US Capitol on 6 January 2021 was a tragic illustration of the existential threat that the viral spread of disinformation poses in the age of social media and twenty-four-hour news. From climate change denialism to the frenzied conspiracy theories and racist mythologies that fuel antidemocratic white nationalist movements in the United States and abroad, What Would Cervantes Do? is a lucid meditation on the key role the humanities must play in dissecting and combatting all forms (...) of disinformation. David Castillo and William Egginton travel back to the early modern period, the first age of inflationary media, in search of historically tested strategies to overcome disinformation and shed light on our post-truth market. Through a series of critical conversations between cultural icons of the twenty-first century and those of the Spanish Golden Age, What Would Cervantes Do? provides a tour-de-force commentary on current politics and popular culture. Offering a diverse range of Cervantist comparative readings of contemporary cultural texts – movies, television shows, and infotainment – alongside ideas and issues from literary and cultural texts of early modern Spain, Castillo and Egginton present a new way of unpacking the logic of contemporary media. What Would Cervantes Do? is an urgent and timely self-help manual for literary scholars and humanists of all stripes, and a powerful toolkit for reality literacy. (shrink)

This volume delves into the question of how, in an Iberian world apparently far removed from the battlegrounds of modernity and secularisation, doubt and unbelief found fertile soil, stimulated by social and religious developments. Adopting a multidisciplinary perspective, the contributors show how the crisis of identity produced by forced mass conversion touched off inner crises about the nature of Truth. By tracing the path from medieval Spain to the Spanish Inquisition, and from the great literary and artistic works of the (...) Spanish Baroque to Sephardic Marranism, this volume fills a historiographical gap in European social and intellectual history, demonstrating the importance of the Iberian world in the evolution of European scepticism. Mercedes García-Arenal is Research Professor at CSIC, Madrid, and Stefania Pastore is Associate Professor at the Scuola Normale Superiore di Pisa. They work on tolerance and dissent in Early Modern Iberia: on forced conversion, on the violent world of the Inquisition and the debates and protests that it sparked, and on the complex interplay of minorities. They have recently collaborated on After Conversion. Iberia and the Emergence of Modernity (Brill, 2016) and, as editors, Visiones imperiales y profecía. Roma, España, Nuevo Mundo (Abada, 2018). (shrink)

The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the (...) article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi. (shrink)

What can postmodernism do for, or to, educational research? The article discusses its potential for resisting closure and simplification. Developing a ‘preposterous’, anachronistic postmodern method that is caught up with surrealism and the baroque, the article plays with trompel'oeil paintings and outmoded popular entertainments such as magic lanterns, peep shows and clockwork automata as figures for critique and analysis. It argues for defamiliarisation, fascination, recalcitrance and frivolity as methodic practices for research in the compromised conditions of postmodernity, and as (...) forms of ethical resistance to the risk-averse literalism that pervades contemporary education policy. (shrink)

The essay aims to illuminate the current crisis, as it has been diagnosed by important currents of contemporary European thought, from the baroque remarkably the Hispanic perspective. The author argues that one of the fundamental figures of the Baroque is what he calls an infinite aporethic difference. According to this, Baroque understands the world as a set of differences that bind aporethically tending to infinity. This figure is, at the same time, shown as a critical operator with (...) regard to reality, which has lost its pre-modern configuration as Cosmos. The author also holds that in its present projection, the figure of the infinite aporethic difference takes the form of a new normativity, namely, that of the Chaosmos, which is particularly visible in post-structuralism and in the Ibero-American Neo-baroque. By its virtue, it is possible to distinguish two ways of coping with the current crisis. The chaosmotic one would be characteristic of a compromised strong trans-modernity, which contrasts with the evasive weak postmodernity. This problem is finally investigated from the point of view of the subtle baroque heroism and its shadow in the present. (shrink)

The article explores the discrepancy of the form and the content as a philosophical, moral and axiological problem in the works of Hryhorii Skovoroda. Using the phenomenological reading and structural analysis, the author investigates the interaction between the form and the content in treatises, soliloquies, poems, and letters of Skovoroda. The intellectual and aesthetic background of the Baroque epoch to a large extent explains why this motive of discrepancy occupies a prominent place among the writings of the Ukrainian philosopher. (...) The article analyzes the main plots, in which the discrepancy is revealed: vocation against non-congenial work; a real friend and a flunkey; the truth and a false thing; and the heavenly and an earthly city. After considering all these aspects and other crucial issues, it is concluded what makes the problem of discrepancy an invariant motive in the works of Hryhorii Skovoroda. (shrink)

Between 1650 and 1664, a giant globe was created in Gottorf under Duke Friedrich III, which was widely known and marvelled at by many contemporaries as a wonder of the world. The scientific management of the project was the responsibility of the court mathematician and librarian Adam Olearius. The Gottorf Globe and its counterpart (a “Sphaera Copernicana”) presented the astronomical knowledge of the time in a pictorial form. The image of the earth and the cosmos was also intended to show (...) the Creator and his omnipotence. Erhard Weigel, professor of mathematics at the University of Jena from 1653, also constructed monumental globes. These baroque world models, as well as Robert Long’s 18th-century sphere, can be considered the precursors of today’s planetariums. (shrink)

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

This paper analyses the paradigms of interpretation and the evolution of the creative processes in music and law. Whether it is matter of a score or a law, the text is reborn through the work of the interpreter who, in dealing with the epistemological problem of the understanding, has to harmonize the purity of the philological reconstruction of the object with the need to actualize its sense. Moving from the creative character of every interpretation—neither the musician can be reduced to (...) a mere executor of a concatenation of musical symbols on the staff as Stravinsky wanted nor the judge may be conceived as a bouche de la loi according to Montesquieu’s theory—this work, after having discussed Gadamer and Betti’s hermeneutical approaches to music and law, focuses on the issue of the limits to the interpreters’ freedom. The interpretation here proposed revolves around improvisation, seen as a typical cultural practice of the aesthetic dimension of music. Improvisation, which from baroque to jazz does not correspond to the realm of absolute freedom, is used as a trait d’union in order to make a comparison with legal experience. This is particularly true with the development of case law, which becomes increasingly problematic especially in the light of “liquid modernity”, where the “polytheism of values” has been gaining strength. Seen from this perspective, the comparison between the judge and the musician in their activity as interpreters of a formalized system of signs highlights the controversial relationship between form and creativity, the accuracy of the text and the requisites deriving from the social context, certainty and justice. (shrink)

"The question of complex systems is relatively new for critics today. Analyzing complex systems in Renaissance texts shows that the Christian kabbalistical concept of harmonia mundi led to an aesthetical development, reflecting the worldview of harmonious parallel worlds. Failure to perceive the esoteric text uniting apparently contradicting themes has often led Renaissance scholars to elaborate a theory of the instability of atmospheres characterizing the English Baroque. This article gives an example of a complex system in Shakespeare's Antony and Cleopatra (...) revealing that the Christian kabbalistical Hercules unifies contradicting metaphors and intertexts of the play, and reintegrates this work in a form of semantic stability more in harmony with the aesthetics of its time. In the case of postmodern literature, contradictory intertexts appear as a device to deconstruct all values and logic previously established. With the study of a text structured by the optical questions around the refraction of light, this paper shows that in the case of Nabokov, the unifying system of apparently contradicting semantic systems is the underlying logic of scientific theory. In Nabokov's text, failing to perceive the fundamental intertext of scientific debate leads one to assimilate Nabokov's writing to a form of postmodern deconstruction. Both cases studied tend to show a continuity of a form of aesthetics through different epistemological eras.". (shrink)

continent. 2.2 (2012): 60–63 Translated by Rodrigo Maltez Novaes. From the forthcoming book Post-History , Minneapolis: Univocal Publishing, 2013. It is not necessary to have a keen ear in order to find out that the steps we take towards the future sound hollow. But it is necessary to have concentrated hearing if one wishes to find out which type of vacuity resonates with our progress. There are several types of vacuity, and ours must be compared to others, if the aim (...) is to understand it. The incomparable is incomprehensible. If we affirm that our situation is incomparable, we give up the effort to grasp it. The comparison that imposes itself is to the vacuity of the Baroque. There are innumerable traces in the present that evoke the Baroque. We bear the mark of the same somber rationalism (logics, informatics, cybernetics), and of the same magic and fanatic irrationalism (mass media, phantastic ideologies). But there is a decisive difference. Humanity advanced over a stage during the Baroque. All of its gestures, even the most sincere, were marked by theatricality. The vacuity that resonated under its feet was of the void under the stage. Baroque man represented. 1 For example he represented faith in waging religious wars. Baroque vacuity was the consequence of a medieval loss of faith in dogmas . Our vacuity is different. We do not represent anything. Our world is not a stage. We are not actors, and if we act, it is not to represent a drama, but to divert the audience's attention and our own from the subjects that really matter. We act like criminals that try to hide their tracks. We pretend. Our progress is a farce. The vacuity under our feet is not Baroque. We have not lost our faith in dogmas: we have lost faith in ourselves . We are as counter-reformists as was the Baroque (we want to cover up the recent revolution with warm cloths), but for different reasons. Although comparable with the Baroque, in certain aspects, our situation is in fact incomparable to any other. That is because an incomparable, unheard of, never before seen event happened recently, which emptied the ground we tread. Auschwitz . Other posterior events; Hiroshima, the Gulags, are nothing but variations of the first. Therefore every attempt to grasp the present leads to the following questions: how was Auschwitz possible? How can we live after this? Such questions relate not only to the ones directly or indirectly responsible, and not only to those who were directly or indirectly hit by it: they relate to everyone who takes part in our culture. Because what is so incomparable, unheard of, never before seen and therefore incomprehensible in Auschwitz, is that it was there that Western culture revealed one of its inherent virtualities. Auschwitz is a characteristic realization of our culture. It is neither the product of a particular Western ideology, nor of specific “advanced” industrial techniques. It springs directly from the depths of culture and of its concepts and values. The possibility to realize Auschwitzes is implicit within our culture from the very start: the Western “project” already harbored it, although as a remote possibility. Auschwitz lies within the initial program of the West, which progressively realizes all of its virtualities as history unfolds. That is why the question that Auschwitz poses before us is not: how did it happen? It serves no purpose to “explain” Auschwitz. The fundamental question is: how was it possible? Because what is being questioned is not the extermination camp, but the West. Thus one other question: how to live within a culture henceforth unmasked? Everything that happened afterwards resonates with such a question, with such vacuity. Every economic, social, political, technical, scientific, artistic, philosophic event is corroded by such an undigested question. The distance that separates us from the event does not mitigate the abyss, it erodes it even deeper. Because the distance progressively dissolves the aura of the horror that envelops the event, and it progressively opens up a vision of the scene. It progressively reveals that there all of our categories, all of our “models”, suffered an irreparable shipwreck. Auschwitz was a revolutionary event, in the sense that it overthrew our culture. Insofar as we seek ways to cover up such revolution with trips to the moon or with genetic manipulations, we are counter-revolutionaries: we are inverting the course of history in order to cover up the past. The unspoken in Auschwitz is not the mass murder, it is not the crime . It is the ultimate reification of people into amorphous objects, into ashes. The Western tendency towards objectification was finally realized and it was done so in the shape of an apparatus . The SS were functionaries of an extermination apparatus, and their victims functioned in function of their own annihilation. The extermination camp's program, once it started functioning, developed in an automatic fashion, autonomous from the decisions of the initial programmers, even if, as it effectively did, it contributed to the defeat of the programmers. The SS and the Jews functioned one in function of the other like cogwheels. The models for such functionality were provided by the highest of Western values: the SS behaved like “heroes” and the Jews like “martyrs”. This is an apparatus that functions at a borderline situation: objective even beyond death. What has just been said is intolerable. We cannot accept it and so we mobilize arguments against it. Good arguments. The SS behaved like criminals: they removed the gold teeth from the cadavers. The Jews behaved like victims: they rose up in the Warsaw ghetto. Such arguments are true, but they do not reach the nucleus, the “ eidos ” of the phenomenon: they do not grasp it. Although there was “normal” behavior: (theft, murder, revolt, heroism), there was also “abnormal” behavior: functionality during a borderline situation. And this is what counts. There, for the first time in the history of humanity, an apparatus was put into operation that was programmed with the most advanced techniques available, which realized the objectification of man, together with the functional collaboration of man. The previous horrors committed by Western society against other societies and against itself (and there are many) were crimes . They were violations of Western models of behavior: anti-Christian, anti-human, irrational. So that it is possible to condemn them and continue to be Western, even if the horror is so colossal, such as the enslavement of Africans. However, it is not possible to condemn Auschwitz and continue to adhere consciously to the West. Auschwitz is not a violation of Western models of behavior, it is, on the contrary, the result of the application of such models. Our culture allowed its mystifying mask to fall and must be rejected in toto if we admit that the purpose of every culture is to allow for the convivial existence of men that recognize each other mutually as subjects. However: it is not possible to reject one's own culture. It is the ground we tread . Those who seek to reject their own culture (as Nietzsche did in rejecting Judeo-Christianity), fall victim to madness. Those who reject their culture's models, are incapable of grasping the world in which they live. Cultural models are traps to catch the world. Those who seek to substitute their own models for other's (for example by shouting “Hare Krishna”) will find that such exotic models have already been caught by the very models to be substituted. There is no exit: we are condemned to use our models and to serve such models, even after they have been unmasked, if we wish to continue living. The only alternative would be to commit suicide. That is: we must continue our economic, political, scientific, artistic, philosophic activities despite Auschwitz. We must continue progressing despite everything . That is why there are those who recommend that we should seek to forget what happened, that we should repress the event. They sustain that enough has already been said and written about the subject and that it is time to “overcome” it. But such an ostrich strategy reveals itself disastrous. Because the result is that Auschwitz transfers itself from Poland of the 1940s to the post-industrial society of the future. What characterizes the extermination camp is precisely that it is not an event that can be “overcome”, because it is the first realization of an inherent virtuality within the Western project, which will repeat itself in other formats unless we become totally conscious of it. The advantage (if this is an appropriate term) that Auschwitz offers us, is to give us a concrete example of the West’s tendency towards the apparatus. For the first time in our history it is possible for us to experience concretely the utopia inherent in our culture. For the first time in our history we have the experience that utopia, no matter in what form, towards which we progress, is the extermination camp. Everywhere we can observe, as of now, the emergence of variations on the theme “Auschwitz”. Everywhere apparatus spring, just like mushrooms after a Nazi rain, from the ground that has become rotten. Certainly: such new apparatus are not externally similar to the Nazi extermination camps. Their labels are different, as are the ideologies that pretend to inspire them. Even the apparatus that admittedly envision extermination, such as the Gulags, the ones of a future nuclear war, or the ones that functioned in Vietnam, claim to be different from Auschwitz. Others claim to be “friends of mankind”, such as the scientific, technical and administrative apparatus. But such labels and such ideologies are deceptive and serve only to cover up the essence of apparatus. They are all just like Auschwitz, black boxes that function with complex inner-workings in order to realize a program. They all function according to an inertia that is inherent to them and such functionality escapes , from a certain point, the control of their initial programmers. In a final analysis such apparatuses function, all of them, towards the annihilation of all their functionaries, including their programmers. Exactly because they objectify and dehumanize man. Thus Western culture reveals itself as a project that seeks to transform itself into an apparatus. What characterizes the West is its capacity for an objectifying transcendence. Such transcendence allows for the transformation of all phenomena, including the human phenomenon, into an object of knowledge and manipulation. The space for such transcendence opened up thanks to Judeo-Christianity and resulted, in the course of our history, in science, technique and recently, in Auschwitz. The ultimate objectification of the Jews into ashes is the ultimate victory of the spirit of the West. It is social technique taken to the extreme. Certainly: the transformation of men into ashes is primitive, incipient social technique that progressively refines itself. It will be followed by less brutal objectifications, such as the robotization of society. But it does not matter which form it will assume: it will always be an objectifying manipulation of mankind. Although the apparatus of the immediate future are not necessarily incineration ovens, all will be, and not only the nuclear ones, apparatus for the annihilation of man. The Western program contains several virtualities, not only apparatus. Numerous virtualities have not yet been realized. In this sense the “history of the West” has not ended yet, the Western game continues. But all not-yet realized virtualities are infected by apparatus. That is why it has become currently impossible to engage ourselves in the “ progress of culture .” As it would be to engage ourselves in our own annihilation. We have lost our faith in our culture, in the ground we tread. That is: we have lost faith in ourselves. It is this hollow vibration that follows our steps towards the future. What remains is for us to analyze the event “Auschwitz” in all its details in order to discover the fundamental project that realized itself there for the first time, so that we may nurture the hope to project ourselves out of that project. Out of the history of the West. This is the “post- historical” climate in which we are condemned to live from hereon. NOTES 1. In Portuguese representar (to represent) also means “to act” or “to play a role.&rdquo. (shrink)

The article is devoted to context specific of folk songs from the collection “Songs of people of Galicia” by polish folklorist Z. Pauli. General and subjective problems and issues of Ukrainian society in 17th and 18th centuries were revealed. Song’s lyrics were analyzed and actual problems of baroque Ukrainian’s life were highlighted. Each of these problems and issues has it’s specific worldview expression. This worldview response to society and subjective problems of Baroque was presented in folk songs. Thus, (...) the problems of Ukrainian community and personal issues was considered in terms of worldview specific. So, in our point of view the main problems of Ukrainian Baroque society were “cossachyna” and conscription. Attitude of ordinary people to cossacks, their life and role in the state’s fate presented in historical songs, epic songs and Cossack songs. Context of these songs from Z. Pauli collection showed us some important worldview responses to the Cossacks. As a response to the historical events of the seventeenth and eighteenth centuries formed the cult of the warrior’s force. So the main virtues were agility and courage of the warrior. “Cossack glory” was one of the main values in the mass perception of Ukrainians. And was defeating during the battle was the most threat in terms of the relatives of warrior. In the song’s lyrics of 18th century the theme of soldier’s military duty hade wide spreading. Many families had to say good bye to their close relatives. That’s why the frequently motives of soldier songs are farewell, anguish and sorrow. Social problems such as insecurity, orphanhood and gender imbalance, caused by man’s military service, became a relevant for ordinary citizens. Personal existential problems presented in lyric songs and ballads. Widespread subjective problems such as freedom of someone own choice, choice contrary to the social or family opinion, contradictory feelings, emotions and actions outlined in folk-song’s lyrics. Frequently such song’s lyrics expressed metaphysical meditations about loneliness, person’s place in the world, happiness and desire to be happy, the influence of fate on human life etc. This group of songs present a typical Baroque pessimism. So, us our research showed ancient folk songs are real rich source for understanding worldview of our ancestors. (shrink)

The article is dedicated to Ukrainian Art Nouveau architecture, which became a unique phenomenon in the development of late nineteenth and early twentieth-century architecture. Along with the reality that architecture in Ukraine evolved as a component of the European artistic movement, a distinctive architectural style was formed, based on the development of the traditions of folk architecture and ornamentation. This style produced much innovation in the shaping, decor, and ornamentation of buildings. Significant contributions to the development of architectural modernism in (...) Ukraine were made by Opanas Slastion, Vasyl Krychevskyi, Yevhen Serdiuk, Oleksandr Verbytskyi, Serhii Tymoshenko, Oleksandr Lushpynskyi, Ivan Levynskyi, Dmytro Diachenko, and others. Ukrainian Art Nouveau architecture was represented by five main architectural styles: modernist, folkloric, rationalist, neo-baroque, and Vienna Secession. Due to an attainment of the possibilities embodied in the constructions, developed techniques, and in the design of interior space and external features — such as walls, roofs, doors and windows, columns and balustrades — this style formed its own expressive system, which included a significant number of socially significant types of buildings. The styles of Ukrainian architectural modernism have not exhausted their potential and may yet have a continuation in contemporary architecture and that of the future. (shrink)

This essay does not aim to investigate film-novel relationships per se, although the fact that the two genres now share certain generative procedures may be further evidence that fiction in print and on film lie to a great extent in a unified field not only of diegesis but also of structure. A diachronic or historical approach to the theory of fictional generators would show that, with the shifts which have occurred on present-day aesthetic thought, much of what once was considered (...) to be a static analysis of retrospective rules or established forms could now be regarded as the disguised beginning of generative theory. Aristotle's seemingly static doctrines of dramatic structure, involving such notions as peripeteia, discovery, or unity of action, to the extent that dramatists had consciously or unconsciously followed such doctrines, obviously served the production of their works, as well as their later analysis. In fact, any sort of artistic intentionality constitutes a kind of "generator," as does the deliberate adherence to outward forms as rhyme schemes, stanzas, cantos, or chapters. As we shall see, it is not always easy to distinguish between generative formulas and self-imposed forms or limits, such as the sonnet with its fourteen lines, its quatrains, and its tercets. Although the most advanced practitioners of generative theory, like Jean Ricardou, seem to view their work as a radical break with the past and the discovery of an entirely new domain of fiction, literary history would provide innumerable examples of precedents, from antiquity through the Grands Rhétoriqueurs, the Gongorists and Baroque poets, and many subsequent groups of writers down to and including the pre-modern and modern periods. Bruce Morrissette has published widely on French fiction of the classical period, Rimbaud and the Symbolist movement, the Nouveau Roman and Robbe-Grillet, and on contemporary film. He is the Sunny Distinguished Service Professor and Chairman of Romance Languages and Literatures at the University of Chicago. He translated Alain Robbe-Grillet's "ARTISTS ON ART: Order and Disorder in Film and Fiction" for the Autumn 1977 issue of Critical Inquiry. (shrink)

Digital practices in design, together with computer-assisted manufacturing (CAM), have inspired the reflection of philosophers, theorists, and historians over the last decades. Gilles Deleuze’s The Fold: Leibniz and the Baroque (1988) presents one of the first and most successful concepts created to think about these new design and manufacturing practices.1 Deleuze proposed a new concept of the technological object, which was inspired by Bernard Cache’s digital design practices and computer-assisted manufacturing. Deleuze compared Cache’s practices to Leibniz’s differential calculus-based notion (...) of the parametric curve. From this perspective, the object is no longer an essential form: rather, it is functional, defined by a family of parametric curves. In Deleuze’s terms, it is an objectile. This definition grasps a particular aspect of modernity in the technological object, rendering possible the industrial production of “the unique object” (la pièce unique), while making obsolete the homogeneity that comes with industrial standardization. What follows introduces developmental biology into this design matrix, interrogating the relationship between parametric design and computer-assisted manufactory on the one hand and biological morphogenetic processes on the other. Is one necessary for the other? Does an architect need computation in order to render morphogenetic shapes? In answering these questions, this chapter displaces the centrality of digital technology in the design of shape-shifting forms within architecture and calls for a rethinking of design by way of analog prototypes. I argue that “thinking through analogs” offers another means of generating parametrically based morphogenetic forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 322-334 [Access article in PDF] From Mysticism to Skepticism: Stylistic Reform inSeventeenth-century British Philosophy and Rhetoric Ryan J. Stark The idea of stylistic plainness captured the imaginations of philosophers in the seventeenth century. Francis Bacon's early attacks on "sweet falling clauses" and Thomas Sprat's invectives against "swellings of style" are especially quotable, and have been cited often by scholars from R. F. Jones to (...) Ian Robinson as evidence that a new attitude toward style emerged in the seventeenth century in conjunction with the new science. Still, even Robinson, who acknowledges the scientific influence on prose, cannot reconcile the plain style ideology with the less-than-sparse styles of the plain style advocates themselves. "The paradox," Robinson notes, "is that Sprat's language is itself imaginative and rhetorical," adding that Sprat denounced "the imagination... in a quite strongly imaginative way" with his "anti-rhetorical rhetoric" (160). This problem leads Robinson to charge that Sprat, Joseph Glanville, Bishop John Wilkins, and the other plain style advocates contradicted themselves by using highly metaphorical styles to criticize metaphorical styles, or were hypocrites in a stronger phrasing, even "painted hypocrites," to borrow a metaphor from one of Wilkins's complaints against metaphorical language.I will address this persistent argument that members of the Royal Society contradicted themselves by using elaborate metaphors to denounce elaborate metaphors, calling into question the very premise of the plain style mandates. The fact that members of the Royal Society continued to use figurative language in their writings is irrelevant. The plain style advocates did not attempt to remove figurative language from all discourses, or even scientific discourses. 1 "Plainness," instead, denotes a lack of occult influence in language. This forgotten philosophical meaning of "plainness" shows clearly that the plain style advocates did not share an antipathy toward ornamental styles, as is often suggested; rather, they shared an antipathy toward entelechial conceptions of style. The Royal Society's [End Page 322] arguments against obscure styles are arguments against the assumptions of a magical worldview, that enchanted cosmos occupied by Faustus and Macbeth, not arguments against any specific type of sentence structure or kind of metaphor. Technical issues of grammar and syntax played a minor role in these stylistic debates. In an ontological sense, the plain style advocates from Bacon to Sprat reconceptualized the very nature of linguistic form. This reconceptualization is best described as a movement away from mystical understandings of style and toward skeptical understandings of style, and this shift from mysticism to skepticism marks the stylistic reformation in the seventeenth century. 1. Entelechies and ornaments Bacon complains famously against "tropes and figures," "sweet falling of clauses," and "watery writings" in an introductory section of The Advancement of Learning entitled "Discredits to Learning from the Follies of the Learned--Ciceronianism, Scholasticism, Alchemy, and Natural Magic" (24-26). 2 Bacon includes a section for distempers of learning that do not fit neatly into categories, called "Other Errors of Learned Men Which Hinder the Progress and Credit of Learning." The coupling of these styles with alchemy and natural magic is not incidental. Bacon and the subsequent plain style advocates of the Royal Society target Ciceronian and scholastic styles specifically because of their strange cosmic elements, not because of their grammatical structures. For the new scientists, these vital styles recall a mystical worldview full of celestial influences, magical emblems, oneiric visions, and attendant spirits. The introductory section of Bacon's Advancement of Learning codifies in the newly scientific community the negative association between mysterious styles (e.g., Ciceronian, Senecan, baroque, metaphysical) and various kinds of occult behavior. Perhaps more so than any other English text, Bacon's Advancement banishes those mystical high styles of the late Renaissance to the mists and shadows of the credulous past, as Cowley describes in his "Ode to the Royal Society," to the "Kingdom of Darkness and Night" in Pope's Dunciad, or to "the island of savage women and moonlight" in Tennyson's "Locksley Hall."In Sciri Tuum Nihil Est, Glanville defends the plain style programs... (shrink)

This essay attempts to illustrate the vital dialogue there is between architecture and theatre, not only in the sense that the former resembles a worldly stage but also in the way it intentionally designates spaces for events to be seen and experienced. The origins of architecture go back to the erection of spaces to facilitate the dialogue between humans and gods. The stage is the embodiment and objectification of the flow of life. It makes it possible to contemplate both the (...) present and the past thereby creating narratives. Architecture is also a mediator for us to observe our own actions. The theatrical quality of space in relation to the movements of the body and the bodily perceptions of spatial elements, leads to an active participation in the unfolding of meanings. The city has not only been defined as theatre by many urbanists; it has also throughout history been designed and formed as a natural stage. Baroque Rome, the impressionists’ paintings of Paris, or Byzantine Constantinople with its many spectacles illustrate well this dimension of the city. (shrink)

Gottfried Wilhelm Leibniz, who was born in 1646 just before the end of the Thirty Years War and who died 1716, is surely one of the most bizarre and interesting of the early modern philosophers. He was an astonishing polymath, and responsible for some of the most advanced work in the sciences of his day—he was, for instance, the co-inventor along with Newton, of differential calculus, and is generally recognized as the greatest logician of the early modern period, responsible for (...) advances in logic not rivaled until the mid-nineteenth century. But this progressive aspect of Leibniz’s thought is paired by one that was more backward looking, deeply engaged with premodern forms of thinking that referred back through Medieval culture to the philosophy of ancient times. And alongside of his scientific advances, he is known for having created one of the most baroque and puzzling metaphysical systems in the history of philosophy—the so-called “Monadology”. For much of his life he was also absorbed in theological disputes that have now been long been forgotten, and generally thought of as alien to modern scientific modes of thought. (shrink)

RESUMO Este artigo é oriundo da pesquisa resultante na tese de doutorado Antônio José da Silva: uma dramaturgia de convenções1. No presente texto, discute-se o princípio de carnavalização no teatro ibérico a partir de diferentes perspectivas teóricas, dentre as quais a de Mikhail Bakhtin. Nesse sentido, a partir da descrição da personagem-tipo do gracioso, o criado carnavalizado originalmente inserido no teatro pelos autores do Século de Ouro espanhol, pretende-se problematizar embates de classe e artifícios discursivos da narrativa tragicômica. Tal análise (...) é embasada pela teoria de análise de textos barrocos ibéricos desenvolvidas em Espanha, nos estertores do século XX e no início do XXI, especialmente em Hermenegildo. Desse modo, analisa-se como a personagem-tipo, seja em sua formulação tradicional masculina ou na feminina, como criada, participa das intrigas, de modo a tornar mais contundentes as questões centrais do enredo disparador. Como exemplificação da teoria trabalhada, trazemos a obra do autor português setecentista Antônio José da Silva, Precipício de Faetonte. Nela, é possível perceber a participação dessas personagens baixas entremeando a intriga principal: o que pode ser lido, em nossa perspectiva, como uma forma de carnavalização do teatro ibérico de tal período, dentro da perspectiva bakhtiniana. ABSTRACT This article derives from the research which resulted in the doctoral thesis Antonio Jose da Silva: a dramaturgy made of conventions.1 It discusses the principle of carnivalization in Iberian theatre from different theoretical perspectives, including that of Mikhail Bakhtin. Through an analysis of the stock character of the gracioso, the carnivalized servant figure originally introduced by the dramatists of the Spanish Golden Age, the intention is to problematize the class tensions and discursive artifices of the tragicomic narrative. This analysis is based on the theory for studying Iberian baroque texts developed in Spain at the end of the 20th century and the beginning of the 21st, and which is particularly present in Hermenegildo. This article therefore examines the ways in which this stock character, either in its traditional male version or as its female counterpart - the maid -, participates in the development of dramatic intrigue, amplifying the impact of the central issues of a given play’s main plot. To demonstrate the aforementioned theory, this article will examine the play Precipício de Faetonte by 18th-century Portuguese playwright Antonio José da Silva. In this work the actions of these low-status characters can be seen to be interwoven with the development of the central intrigue, a fact which, from a Bakhtinian perspective, can be interpreted as a form of carnivalization explored by the Iberian theatre of the period. (shrink)

Seckendorff's »Teutsche Reden« of 1691 and the outline of his ideas on natural law published with them are a uniquely eloquent testimony of German Baroque culture. Seckendorff was the only 17th century aristocratic practitioner of courtly and political life to publish a number of his speeches in book form during his own lifetime and to supplement them with a theoretical superstructure substantiating his practical convictions. The text is centrally concerned with the connection between civilization and language culture and the (...) dependence of public speaking on the nature of the state. Seckendorff's unfinished outline of natural law betokens the critical engagement with the rise of secular natural law by a genuinely significant theoretician on the essential issues posed by government and administration. (shrink)

The past several generations of scholarship on Rembrandt's “Anatomy Lesson of Dr. Nicolaas Tulp” have suffered from the anxiety of influence exercised by the influential interpretations of William Heckscher and William Schupbach. Schupbach's interpretation in particular has guided interpretation of the painting in the past generation and has given rise to a fundamental misunderstanding of the painting and its cultural significance. Schupbach and those whom he has influenced have failed to recognize that, from the standpoint of Baroque consciousness, there (...) is an inner compatibility rather than a paradox or tension between the optimistic endorsement of earthly science and the putatively pessimistic resignation to the inevitability of death. Where the figure of Tulp represents the optimism of science and technology, that of the topmost surgeon Van Loenen represents the recognition that the technological project functions within the larger context of a Christian worldview. A reflection on the original form of “Tulp,” in which Van Loenen was depicted wearing a hat, shows how Rembrandt's painting can still speak to us from a distance of almost four hundred years and pose a challenge to our own secular ambitions. (shrink)

The desire to see a sign phenomenon in different ways always has a reason to interpret it in an unbiased, panoramic way, and in some places - even allowing for contradictions in its understanding by different participants in the interpretative process. For modern humanities, this disposition is quite understandable, since it follows from its very postmodern nature, thereby defining the semantic semantic fields of the leading humanities. True, it is not so wide-spread, but instead, it is evident that Ukrainian religious (...) thinkers of the Middle Ages and Baroque have interpreted the iconic phenomena more deeply. In the story of Petro Mohyla "On the Wonderful Elder Grigory Mezhyhirsky" the metropolitan Mohyla clearly expresses the need to build before the thinking gaze of the reader his own, immanently religious-philosophical conception of the Divine, which every time would present him not just as an act of manifestation, otherwise he appears before the person, while remaining alone. The contemporary study of this issue in order to integrate its leading concepts in the religious-philosophical and general cultural discourse of the postmodern era has largely determined the relevance of the proposed article. The study of the phenomenon of "leaving" by itself in changing forms of the phenomenon of the Divine is also one of the key ones in the proposed studio, because it expresses the very meaning of the Divine as a religious, and therefore a cultural phenomenon. (shrink)

Si l'invention du sens moderne du mot Etat est due a Machiavel, c'est au XVIIIe siecle que, apres la paix d'Utrecht, l'institution etatique prit franchement le visage de la modernite. Faisant suite a l'Etat baroque (1610-1652) et a l'Etat classique (1652-1715), l'Etat moderne (1715-1848) donna corps aux espoirs de paix, de justice, de bonheur et de liberte secretes par la philosophie des lumieres. Il realisa les grandes mutations juridiques qui devaient contribuer a forger l'epure de l'Idee republicaine a laquelle (...) la Revolution de France donna sa premiere forme historique. Cet ouvrage s'est voulu pluridisciplinaire. En rassemblant des contributions dont la tonalite est historique, juridique, litteraire, philosophique ou politologique, il a pour objectif d'apporter sur la periode fascinante de l'histoire occidentale ou s'est affirme l'Etat moderne, des eclairages diversifies complementaires. (shrink)

Although typically realized by free items, degree modification has a number of morphological exponents in Polish, including the neoclassical prefix arcy-, which, while originally attaching to profession-denoting nouns with a view to indicating a higher rank in a hierarchy, has come to perform the function of reinforcement in conjunction with adjectival bases. Since the scarce previous research concerned with the aforementioned prefixal reinforcer builds only on lexicographic material, this paper offers a quantitative, corpus-based account of the productivity of the formative (...) at issue by providing its TTR (type-token ratio) and HTR (hapax-token ratio) measures, calculated by dividing the number of, respectively, types of adjectival bases and hapax adjectives by that of all relevant tokens, in two periods in the history of Polish, namely in the Baroque epoch, when arcy- gained a strong foothold in language practice owing to the then prevalent rhetorical tendency toward a profuse employment of elements of foreign provenance, and in contemporary Polish. The results of the empirical analysis indicate a dramatic decrease in the level of the bound form’s productivity over time, to the point that the probability of an arcy-adjective encountered by a language user being unique fell from nearly 30% in the Baroque period to less than 1% at present time, which can be accounted for in terms of the formative having been superseded by more recent, functionally analogous prefixes, particularly super- and mega-. (shrink)

_How does a man who once adored music beyond measure come to revile it as a form of tyranny?_ Throughout Pascal Quignard’s distinguished literary career, music has been a recurring obsession. As a musician he organized the International Festival of Baroque Opera and Theatre at Versailles in the early 1990s, and thus was instrumental in the rediscovery of much forgotten classical music. Yet in 1994 he abruptly renounced all musical activities. _The Hatred of Music_ is Quignard’s masterful exploration of (...) the power of music and what history reveals about the dangers it poses. From prehistoric chants to challenging contemporary compositions, Quignard reflects on music of all kinds and eras. He draws on vast cultural knowledge—the Bible, Greek mythology, early modern history, modern philosophy, the Holocaust, and more—to develop ten accessible treatises on music. In each of these small masterpieces the author exposes music’s potential to manipulate, to mesmerize, to domesticate. Especially disturbing is his scrutiny of the role music played in the concentration camps of Nazi Germany. Quignard’s provocative book takes on particular relevance today, as we find ourselves surrounded by music as never before in history. (shrink)

The article is devoted to postmodernism musical performance. There was realized a comprehensive retrospective analysis of the phenomenon development from ancient period to nowadays. It was proved that in ancient times interpretation was explained as a form of mythological worldview embodiment; in the Middle Ages as a way of uniting man and God; in Rrenaissance as a means of harmonizing material and spiritual components of personality; in Baroque as a method of theatricality of person's existence; in Classicism as an (...) opportunity to assert the power of human mind; Romanticism emphasized emotionality and subjectivity of concerting, the unique role of master; Modernism declared freedom of interpretation. Understanding the essence of musical performance with each historical stage became deeper, was enriched with new terminological, depth of scientific and theoretical understanding. The musical performance of postmodernism as a unique phenomenon has its own chronology of formation and development, based on achievements of previous epochs, transformed in accordance to philosophical aesthetics of the late XX century. Its outstanding constitutive qualities are: anthropology, religiosity, spirituality, meditation, improvisation, humanism, dialogicity, theatricality, rationalism, intellectualism, emotionality, playing, intertextuality, polystylistics etc. The performing art of postmodernism embodies the conceptual principles of its time: pluralism, irony, collage, synthesis, the death of the author, so on. It unites, eclectically mixes different artistic traditions and views, it forms a unique interpretive vision of musical text, demonstrates openness to dialogue with different historical epochs and civilizations, aimed at both the elite and the mass audience. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Buddhist-Christian Studies in Relation to DialogueFrancis V. TisoIn taking on the task of co-editing Buddhist-Christian Studies, it would seem appropriate to provide some background by way of introduction. Being a disciple of Brother David Steindl-Rast, O.S.B., a man who refuses to sign his name with capital letters, since the late 1960s, it goes against my grain to write too much about myself. Therefore, the following comments are meant (...) also to serve as a foreword to the current issue.My own background in Buddhist-Christian studies has its roots in ongoing collaboration with Br. David, who will be remembered for his decades-long study of Zen and his affectionate rapport with the San Francisco Zen Center community, among others. I later studied interreligious dialogue and its theological implications with George Rupp and Harvey Cox at Harvard Divinity School. In order to let my studies sink their roots into contemplative soil, I served as Br. David's assistant at the Benedictine Grange and then went on to edit theological books at the Seabury Press in New York. Thanks to the kindness of the late and revered Alex Wayman, I was able to complete a doctorate in Buddhist Studies at Columbia University and Union Theological Seminary, where I gained some ability to work with Pali, Sanskrit, and Tibetan. I sought additional tutorial guidance from José Pereira of Fordham University, a polymath scholar deeply appreciated for his extraordinary ability to introduce students to the intricacies of Sanskrit literature. Our lengthy conversations about the Baroque Scholastic Catholic theologians formed my eagerness to welcome at least three of the articles in the current issue of BCS. After the doctorate, I continued to pursue study and contemplative practice in Europe and Asia, developing collegial friendships, especially with members of the International Association for Tibetan Studies. In 2003, M. R. John C. Wester, auxiliary bishop of San Francisco, asked me to participate in the Northern California Zen/Ch'an–Catholic Dialogue that had arisen from earlier dialogue programs in various monastic milieux such as Gethsemane and New Camaldoli. In the context of that dialogue, I was asked to serve the United States Conference of Catholic Bishops as associate director of the Secretariat for Ecumencial and Interreligious Affairs in Washington, DC, in 2004.Given this ongoing interplay in my own life between scholarly research and contemplative [End Page iii] practice, it is my hope that BCS will continue to nurture the same interests in its readership. Good scholarship and commitment to the goals of spiritual inquiry should also enrich the dialogue between Buddhists and Christians in various parts of the world. In a recent publication,1 Taigen Dan Leighton describes Dogen's methods with regard to reading: "So in addition to just reading through this material, the student of Zen may likely want to chew slowly at times, find pieces that are especially provocative, stimulating, or unsettlingly challenging, and take a while to consider, reflect, and digest." This is exactly what the Christian contemplative does in lectio divina. Moreover, to persons inclined to this kind of inquiry, even scholarly research gives rise to creative and, at times, truly contemplative insight. Thus even a journal committed to scholarship might find comfort in the "apophatic" methods of Buddhist or Christian contemplatives. Taigen reminds us that Zen sitting practice (zazen) is not the suppression of content. In fact, understanding is expected:Dogen is clearly not recommending zazen as mere blank, mindless sitting. Although he frequently criticizes practice concerned with achievement, or with reaching for particular schematized stages of development, Dogen regularly asks his monks if they thoroughly understand. He is suggesting a practice that is informed by intense inquiry into the ancient teachings, sayings, and dialogues, as well as into our present immediate experience. Throughout formal meditation as well as in our everyday activity, Dogen encourages vivid attention and awareness.In practice, this is nothing less than the interactive application of the principles of the great teachings on emptiness. As a method, the philosophical analysis of emptiness came to have an enormous impact on the Ch'an and Zen traditions; it was a method of "negation" in the sense that it could be... (shrink)

L’oeuvre de Jean-Luc Nancy - une des plus importantes aujourd'hui - aura traversé plus qu'une expérience de pensée. La richesse et la complexité de ses analyses, de ses références, de son engagement intellectuel sont d'une densité rare. Rien ne lui aura échappé : histoire de la philosophie, métaphysique, politique, déconstruction, théologie, esthétique, art, littérature... Les entretiens passe en revue ces différents registres de la pensée sans jamais céder à l'exigence philosophique qui caractérise ce partage à deux voix. Ce dialogue entre (...) Danielle Cohen-Levinas et Jean-Luc Nancy a commencé depuis longtemps, un peu sur le mode d'une forme musicale, telle qu'on la trouve à l'époque classique et baroque. L'inventeur de l'invention est Jean-Sébastien Bach. Il s'agit ici d'une invention à deux voix, qui se déploie dans le temps sans jamais viser sa finalité ou sans jamais toucher à sa fin. (shrink)

Sequence on modern ontology -- From theology to philosophy -- The four pillars of modern philosophy -- Modern philosophy : a theological critique -- Analogy versus univocity -- Identity versus representation -- Intentionality and embodiment -- Intentionality and selfhood -- Reason and the incarnation of the logos -- The passivity of modern reason -- The baroque simulation of cosmic order -- Deconstructed representation and beyond -- Passivity and concursus -- Representation in philosophy -- Actualism versus possibilism -- Influence versus (...) concurrence -- Transition -- Sequence on political ontology -- Cosmos, law and morality -- Metaphysics and modern politics -- The fate of the rational animal -- The irony of representation -- On legal concurrence -- The fate of the social animal -- Representation and mixed government -- Bureaucracy and the formal distinction -- Form, matter and contract -- The antiquity of historicism -- The sovereignty of the artist -- Eucharistic creativity and political power -- The conundrum of kingship -- The truth of political fiction -- The two rival constructions -- Creativity and mixed constitution -- Christological constitutionalism -- The fate of the fabricating animal -- The fate of the beast-angel -- The death of charity -- Augustine's three cities -- Church as cosmopolis -- Aquinas and kingship -- The theology of ruling -- The ecumenico-political problem -- Supernatural charity and global order -- Socialism beyond the left -- Critique of all materialisms. (shrink)

Resumen Este artículo explora las figuras del flâneur y del "mestizo". Reúno con el sustantivo "mestizo" una serie de operaciones estilísticas y retóricas que emplea Echeverría para describir el mestizaje como fenómeno histórico de las sociedades urbanas en las colonias españolas en los siglos XVI y XVII. Partiré de la lectura de Echeverría a Benjamin de principios de los años noventa. Luego analizaré la figura del flâneur y la del mestizo para mostrar algunas líneas de conexión, desde la estrategia alegórica (...) a la relación entre el barroco y la sociedad moderna. Por último, consideraré ambas figuras como paradigmas de sujetidad barroca, es decir, como principios de inteligibilidad de formas sociales que resisten las contradicciones de la modernidad capitalista.This article explores two figures: the flâneur and the "mestizo". Under the word "mestizo" I gather a group of stylistic and rhetorical operations that Echeverría uses to describe mestizaje as a historical phenomenon occurred in the urban societies of spanish Colonies during the 16th and 17th centuries. I start with a historical approach to Echeverría's readings of Benjamin from the beginning of the 1990s. Then I show some possible connections between both figures, from the allegorical strategy to the relationship between baroque and modern society. Finally, I conceive them as paradigms of baroque sujetity; that is, principles of intelligibility of social forms that resist the contradictions of Western modern capitalism. (shrink)

Issues of style in art are fundamental issues of modern aesthetics, since style is put forward in a number of main categories of art, acting as a principle of the organization of aesthetic form. It is no coincidence that over the past century, the attention of numerous researchers has been drawn to the XVII century - the beginning of the history of aesthetics of modern times, in which, perhaps, the root of modern problems lies. In this respect, the XVII century (...) seems to be the most grateful material for a discussion about style, since in the XVII century great styles arise that will develop and transform in the following centuries and will determine the development of art for many decades - classicism and Baroque. Since the 30s of the XX century, in studies devoted to the study of literature and art of the XVII century, a departure from the theory of classicism of the XIX century is planned. The first stage of this turn is the study of the creativity of the "pillars of classicism", which demonstrated that it has nothing to do with hierarchized academicism and reverence for norms. The desire to please the public, which was initially perceived as the main paradox in the theory of classicism, is further formulated by researchers as the presence of a different aesthetic. The next stage - the term "classicism" itself is criticized as late, evaluative, giving this era the meaning of the absolute. As a result, many researchers come to the conclusion that in France of the XVII century there was no literary and aesthetic doctrine as a single and "classical" one. Finally, the third stage of the study - the appeal to a single anthropo-socio-cultural concept of history, the use of sociological methods to highlight the gallant ethos allows us to conclude that classicism is a phenomenon in the field of art, gallantry is not only an artistic phenomenon, but also a social one. (shrink)

Si l'invention du sens moderne du mot Etat est due a Machiavel, c'est au XVIIIe siecle que, apres la paix d'Utrecht, l'institution etatique prit franchement le visage de la modernite. Faisant suite a l'Etat baroque (1610-1652) et a l'Etat classique (1652-1715), l'Etat moderne (1715-1848) donna corps aux espoirs de paix, de justice, de bonheur et de liberte secretes par la philosophie des lumieres. Il realisa les grandes mutations juridiques qui devaient contribuer a forger l'epure de l'Idee republicaine a laquelle (...) la Revolution de France donna sa premiere forme historique. Cet ouvrage s'est voulu pluridisciplinaire. En rassemblant des contributions dont la tonalite est historique, juridique, litteraire, philosophique ou politologique, il a pour objectif d'apporter sur la periode fascinante de l'histoire occidentale ou s'est affirme l'Etat moderne, des eclairages diversifies complementaires. (shrink)

The poet Henrich Hudemann from Holstein achieved lasting fame through his innovative contributions to German poetry of the Early Baroque period. They have earned him a place in the manuals of literary history, where his work is considered an important stage in the emergence of a refined vernacular poetry. However, like many of his contemporaries, Hudemann also left an oeuvre of sophisticated Latin poems, inspired mainly by Horace’s lyric poetry. The present paper investigates Hudemann’s artistic as well as his (...) more practical aims. By using the poetic forms of classical antiquity for the expression of his religious beliefs, Hudemann created a remarkable specimen of Christian humanism through which he hoped to gain access to the leading intellectual figures of Europe, especially Daniel Heinsius. (shrink)

Jacob Böhme (1576-1624), the noted theosophist and mystic of the German Baroque, was possessed of a strong sense of the spiritual which pervades the many profound and lofty ideas of his thought. His philosophy is rooted in the belief that everything exists and becomes intelligible only through its opposite. This is sometimes considered the basis of philosophical systems akin to those of Hegel, Spinoza, and Schelling; and the sectarian Philadelphians were formed for the explication of his works. Here the (...) hidden meanings behind Böhme's mystical language are examined through his theory of theosophic-semantic elevation of the "phoneme" to codified "lexeme." This is the first organized and highly idiosyncratic linguistic grammar of the German Baroque, a grammar that emerges from behind the effect of words-in-context analysis. This is an invaluable study for both the literary historian and the student of linguistic history.--front jacket flat. (shrink)