Konstfacks bibliotek

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*020  $a9780822392521
*035  $a(Ko)48593
*040  $aAU-PeEL$beng$cAU-PeEL$dAU-PeEL
*050 4$aNX501
*08200$a709.03/2
*24510$aBaroque new worlds :$brepresentation, transculturation, counterconquest /$cLois  Parkinson Zamora, Monika Kaup, editors
*264 1$aDurham$bDuke University Press$c2009
*264 4$c©2010
*300  $a1 online resource (690 pages)
*336  $atext$btxt$2rdacontent
*337  $acomputer$bc$2rdamedia
*338  $aonline resource$bcr$2rdacarrier
*5050 $aContents -- Illustrations -- Acknowledgments -- Lois Parkinson Zamora and Monika Kaup, "Baroque, New World Baroque, Neobaroque: Categories and Concepts" -- Part One: Representation: Foundational Essays on Baroque Aethetics and Ideology -- The European Baroque -- Editors' Note to Chapter One -- 1. Friedrich Nietzsche, "On the Baroque" (1878) -- Editors' Note to Chapter Two -- 2. Heinrich Wölfflin, Excerpt from the Introduction to "Principles of Art History: The Problem of the Development of Style in Later Art" (1915) -- Editors' Note to Chapter Three -- 3. Walter Benjamin, Excerpts from "The Origin of German Tragic Drama" (1928) -- Editors' Note to Chapter Four -- 4. Eugenio d'Ors, Excerpts from "The Debate on the Baroque in Pontigny" (1935) -- Editors' Note to Chapter Five -- 5. René Wellek, Excerpts from "The Concept of Baroque in Literary Scholarship" (1945, rev. 1962) -- Editors' Note to Chapter Six -- 6. Mario Praz, "Baroque in England" (1960) -- Editors' Note to Chapter Seven -- 7. Christine Buci-Glucksmann, Chapter 2 from "La folie du voir", "The Work of the Gaze" (1986) -- The New World Baroque and the NeoBaroque -- Editors' Note to Chapter Eight -- 8. Alfonso Reyes, Excerpt from "Savoring Góngora" (1928) -- Editors' Note to Chapter Nine -- 9. Ángel Guido, Chapter 1 from "Redescubrimienta de América en el arte, 'America's Relation to Europe in the Arts'" (1936) -- Editors' Note to Chapter Ten -- 10. Pedro Henríquez Ureña, "The Baroque in America" (1940) -- Editors' Note to Chapter Eleven -- 11. José Lezama Lima, Chapter 2 from "La expresión americana", 'Baroque Curiosity' (1957) -- Editors' Note to Chapter Twelve and Thirteen -- 12. Alejo Carpentier, "The City of Columns" (1964) -- 13. Alejo Carpentier, Excerpt from "Questions Concerning the Contemporary Latin American Novel" (1964) -- Editors' Note to Chapter Fourteen and Fifteen
*5058 $a14. Severo Sarduy, "The Baroque and the Neobaroque" (1972) -- 15. Severo Sarduy, Chapter 3 from "Barroco", "Baroque Cosmology: Kepler" (1974) -- Editors' Note to Chapter Sixteen -- 16. Haroldo de Campos, "The Rule of Anthropophagy: Europe under the Sign of Devoration" (1981) -- Part Two: Transculturation: Colonial Practice -- 17. Jorge Ruedas de la Serna, "Góngora in Spanish American Poetry, Góngora in Luso-Brazilian Poetry: Critical Parallels" -- 18. José Pascual Buxó, "Sor Juana and Luis de Góngora: The Poetics of 'Imitatio'" (2006) -- 19. Timothy J. Reiss, "American Baroque Histories and Geographies from Sigüenza y Góngora and Balbuena to Balboa, Carpentier, and Lezama" -- 20. William Childers, "Baroque Quixote: New World Writing and the Collapse of the Heroic Ideal" -- 21. Dorothy Z. Baker, "Baroque Self-Fashioning in Seventeenth-Century New France" -- 22. Leo Cabranes-Grant, "The Fold of Difference: Performing Baroque and Neobaroque Mexican Identities" -- Part Three: Counterconquest: Postcolonial Positions -- 23. Gonzalo Celorio, Chapter 2 from "Ensayo de contraconquista", "From the Baroque to the Neobaroque" (2001) -- 24. Irlemar Chiampi, Chapter 1 from "Barroco y modernidad", "The Baroque at the Twilight of Modernity" (2000) -- Editors' Note to Chapter -- 25. Carlos Fuentes, "The Novel as Tragedy: William Faulkner" (1970) -- 26. Roberto González Echevarría, "Góngora's and Lezama's Appetites" (1978) -- 27. Maarten van Delden, "Europe and Latin America in José Lezama Lima" -- 28. Christopher Winks, "Seeking a Cuba of the Self: Baroque Dialogues between José Lezama Lima and Wallace Stevens" -- Editors' Note to Chapter Twenty-Nine -- 29. Édouard Glissant, "Concerning a Baroque Abroad in the World" (1990) -- Bibliography -- Notes on Contributors -- Index
*520  $aTraces the changing nature of Baroque representation across European and Latin American cultures, from an imperial aesthetic encoding Catholic ideologies, into a means of resistance to colonialism, into a mode of postcolonial self-definition.
*588  $aDescription based on publisher supplied metadata and other sources.
*588  $aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
*650 0$aArt, Latin American.
*650 0$aArts, Baroque -- Latin America.
*650 0$aCultural fusion and the arts.
*650 0$aLatin American literature.
*655 0$aElectronic books.
*7001 $aNietzsche, Friedrich.
*7001 $aBenjamin, Walter,$d1892-1940
*7001 $ad'Ors, Eugenio.
*7001 $aZamora, Lois Parkinson.
*7001 $aKaup, Monika$4edt
*77608$iPrint version:$aNietzsche, Friedrich$tBaroque New Worlds : Representation, Transculturation, Counterconquest$dDurham : Duke University Press,c2009$z9780822346302
*852  $lBAR$hTillgänglig inom Konstfack
*85640$uhttp://ebookcentral.proquest.com/lib/konstfack/detail.action?docID=1171705$zDownload / read online
^

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 Wölfflin, Walter Benjamin, Eugenio d'Ors, René 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, José Lezama Lima, Severo Sarduy, Édouard 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, José Pascual Buxó, Leo Cabranes-Grant, Haroldo de Campos, Alejo Carpentier, Irlemar Chiampi, William Childers, Gonzalo Celorio, Eugenio d'Ors, Jorge Ruedas de la Serna, Carlos Fuentes, Édouard Glissant, Roberto González Echevarría, Ángel Guido, Monika Kaup, José Lezama Lima, Friedrich Nietzsche, Mario Praz, Timothy J. Reiss, Alfonso Reyes, Severo Sarduy, Pedro Henríquez Ureña, Maarten van Delden, René Wellek, Christopher Winks, Heinrich Wölfflin, Lois Parkinson Zamora