Baroque New Worlds , livre ebook

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2010

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690

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2010

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Baroque New Worlds traces the changing nature of Baroque representation in Europe and the Americas across four centuries, from its seventeenth-century origins as a Catholic and monarchical aesthetic and ideology to its contemporary function as a postcolonial ideology aimed at disrupting entrenched power structures and perceptual categories. Baroque forms are exuberant, ample, dynamic, and porous, and in the regions colonized by Catholic Europe, the Baroque was itself eventually colonized. In the New World, its transplants immediately began to reflect the cultural perspectives and iconographies of the indigenous and African artisans who built and decorated Catholic structures, and Europe's own cultural products were radically altered in turn. Today, under the rubric of the Neobaroque, this transculturated Baroque continues to impel artistic expression in literature, the visual arts, architecture, and popular entertainment worldwide.Since Neobaroque reconstitutions necessarily reference the European Baroque, this volume begins with the reevaluation of the Baroque that evolved in Europe during the late nineteenth century and the early twentieth. Foundational essays by Friedrich Nietzsche, Heinrich Wolfflin, Walter Benjamin, Eugenio d'Ors, Rene Wellek, and Mario Praz recuperate and redefine the historical Baroque. Their essays lay the groundwork for the revisionist Latin American essays, many of which have not been translated into English until now. Authors including Alejo Carpentier, Jose Lezama Lima, Severo Sarduy, Edouard Glissant, Haroldo de Campos, and Carlos Fuentes understand the New World Baroque and Neobaroque as decolonizing strategies in Latin America and other postcolonial contexts. This collection moves between art history and literary criticism to provide a rich interdisciplinary discussion of the transcultural forms and functions of the Baroque.Contributors. Dorothy Z. Baker, Walter Benjamin, Christine Buci-Glucksmann, Jose Pascual Buxo, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d'Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Edouard Glissant, Roberto Gonzalez Echevarria, Angel Guido, Monika Kaup, Jose Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henriquez Urena, Maarten van Delden, Rene Wellek, Christopher Winks, Heinrich Wolfflin, Lois Parkinson Zamora
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Date de parution

13 juillet 2010

EAN13

9780822392521

Langue

English

Poids de l'ouvrage

7 Mo

  àôûÉ NÉ Wôŝ
14 Baroqué Néw Worls Representation, Transculturation, Counterconquest
Edit ed by LoIs ParkInson Zamora an MonIka Kaup
Duké UnIvérsIY Préss Durham and London 2010
© 2010 DUkE UNîvERsîty PREss A RîgHts REsERvED PRîNtED îN tHE UNîtED stAtEs Of AmERîcA ON AcîD-fREE PAPER ♾
DEsîgNED by jENNîfER Hî tyPEsEt îN ARNO PRO by tsENg îNfORmAtîON systEms, îNc.
îbRARy Of cONgREss cAtAOgîNg-îN-PUbîcAtîON DAtA APPEAR ON tHE Ast PRîNtED PAgE Of tHîs bOOk.
Tô çôàôàô
Verde embeleso de la vida humana, loca Esperanza, frenesí dorado, sueño de los despiertos intrincado, como de sueños, de tesoros vana;
alma del mundo, senectud lozana, decrépito verdor imaginado; el hoy de los dichosos esperado, y de los desdichados el mañana:
SôÈ 152 
sigan tu sombra en busca de tu día los que, con verdes vidrios por anteojos, todo lo ven pintado a su deseo;
que yo, más cuerda en la fortuna mía, tengo en entrambas manos ambos ojos y solamente lo que toco veo. 
géé FàSçïàïô ôF ûMàïY, mà ôéFûéSS, FézY ï Gô ôàé, DéàM ôF é ôéS ààKé Sô ïïçàé, AS ïS ï éàMS, é éàSûéS VàïY.
sôû ôF é ô, àôôM SéïïY, Déçéï GéééSS ï ïMàGïé Sàé, tôàY Fô à é àY ôéS ï àï, tôMôô à é àéSS ôG ô Séé:
é àï Yôû Sàô ï Séàç ôF Yôû àY tôSé ô, ï éSéS Géé Fô GàSSéS àï, tô éï éSïé Séé ïGS à ôàY;
fô î, ï Fôûé Mïé Môé ïSé ôàY, î MY ô àS ô ôF MY éYéS éàï, A ôY à î ôûç ô î é Séé.
Sô jûàà ïŝ É à cû TàŝàÉ  cà W. cô
CôÈŝ 
 ïûŝàôŝ  AçôÉÉŝ ôïS PàKïSô ZàMôà à môïKà kàû,“àôûÉ, NÉ Wô àôûÉ, NÉôàôûÉ càÉôÉŝ à côçÉŝ”
Pa r t O n eRÉÉŝÉàô ôûàôà Éŝŝàŝ ô bàôûÈ AÈŝÈçŝ à ïÈôô  The european Baroque Éôŝ’ nôÈ ô CàÈ OÈ   fïéïç NïézSçé,“o É àôûÉ” ()   Éôŝ’ nôÈ ô CàÈ Tô   Héïïç WLï,EçÉ ô É ïôûçô ôpçÈŝ ô A Hŝô: hÈ pôÈ ô È dÈÈôÈ ô SÈ  àÈ A()  Éôŝ’ nôÈ ô CàÈ hÈÈ   Wàé béJàMï,EçÉŝ ôhÈ O ô GÈà Tàç dàà() 
Éôŝ’ nôÈ ô CàÈ ôû   EûGéïô ’OS,EçÉŝ ô “HÉ DÉàÉ ô É àôûÉ  pô” ()  Éôŝ’ nôÈ ô CàÈ È   RéÈ WééK,EçÉŝ ô “HÉ côçÉ ô àôûÉ  Éà Sçôàŝ” (, É. )  Éôŝ’ nôÈ ô CàÈ S   màïô Pàz,“àôûÉ  Eà” ()   Éôŝ’ nôÈ ô CàÈ SÈÈ   cïSïé bûçï-gûçKSMà,càÉ  ôà ôÈ û ô, “HÉ Wô ô É GàÉ” () 
 The new world Baroque and The neoBaroque Éôŝ’ nôÈ ô CàÈ É   AFôSô RéYéS,EçÉ ô “Sàô Gôà” ()  Éôŝ’ nôÈ ô CàÈ nÈ   ÁGé gûïô,càÉ  ôRÈÈŝçûÈô È Açà È È àÈ, “AÉçà’ŝ RÉàô ô EûôÉ  É Aŝ” () 
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