LYCOS RETRIEVER 
Baroque Literature
built 231 days ago
Baroque actually expressed new values, which often are summarised in the use of metaphor and allegory, widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment — as in Marinism), the use of artifices. If Mannerism was a first breach with Renaissance, Baroque was an opposed language. The psychological pain of Man -- a theme disbanded after the Copernican and the Lutheran revolutions in search of solid anchors, a proof of an "ultimate human power" -- was to be found in both the art and architecture of the Baroque period. A relevant part of works was made on religious themes, since the Roman Church was the main "customer."
Source:
In these works, various forms of archaic literature are integrated into Shevchuk's texts, from the Paterikon stories in On a Submissive Field, to Baroque drama and poetry in the later works. This use of archaic texts in contemporary works by Valerii Shevchuk can be approached from three perspectives. First, Bakhtin's notion of the genre of the novel, which can accommodate a multiplicity of voices (raznorechie) within its world of ideas, is appropriate for the consideration of texts which articulate the themes and ideas of archaic literature through "authorial speech, the speech of characters and inserted genres."9 The resulting dialogisation is a potent means of breaking down cultural hierarchies and changing polarities in the text. Liberation of the voices of the archaic, through the contemporary narrative of Shevchuk's prose, creates a dialogue which brings about a criticism of hierarchy and ideology.
Source:
In Spain, the baroque transformed along similar formal lines, becoming associated in the second half of the twentieth century with the literature of the period and with postmodernism. Freeing themselves from the oppressive censorship of the Franquist regime, in the 1960s and 1970s Spanish writers began to experiment with modernist and antirealist literary styles.30 Critics labeled the emerging Spanish style, which was influenced by the Latin American boom authors who had deliberately embraced the styles and concerns of Golden Age writers such as Miguel de Cervantes and Calderon de la Barca, "baroque" or, more often, "neo-baroque" (Zatlin 1994, 30; Overesch 1981, 19). Following the lead of many Latin American authors, Spanish writers such as Jose Vidal Cadellan, Maria Moix, Jose Maria Castellet, Manuel Ferrand, and Juan Goytisolo adopted stylistic features integral to seventeenth-century Spanish baroque literature.31 Francisco Ayala's El Rapto (1965), for example, retells one of the stories recounted in Cervantes's Don Quixote. Reflecting on the layered nature of the baroque, Ayala travels back in time to the seventeenth century to comment on Spain of the present, particularly on the "disorientation pervading contemporary Spanish society" under the post-Franco regime (Orringer 1994, 47). As with the Latin American neobaroque, particular features of a baroque poetics emerged:32 minimal or lack of concern with plot development and a preference for a multiple and fragmented structure that recalls the form of a labyrinth; open rather than closed form; a complexity and layering evident, for example, in the merging of genres and literary forms such as poetry and the novel; a world in which dream and reality are indistinguishable; a view of the illusory nature of the world-a world as theater; a virtuosity revealed through stylistic flourish and allusion; and a sell-reflexivity that requires active audience engagement (Overesch 1981, 26-60).33 For these Latin American and Spanish writers, the neo-baroque became a potent weapon that could counteract the mainstream: They embraced the neo-baroque for its inherent avant-garde properties.34 The contemporary neo-baroque, on the other hand, finds its voice within a mainstream market and, like the seventeenth-century baroque, directs its seduction to a mass audience.
Source:
Featuring Baroque works for strings and trumpet by Vivaldi, Telemann and their other Italian contemporaries, Rebel takes away any limpness from bland interpretations of this rich literature with dramatic and energetic period playing. Based in New York, the ensemble is one of the most widely recognized Baroque ensembles in the United States, having performed with such soloists as Soprano Renee Fleming.
Source:
There he gained access to the archives of the Pegnesischer Blumenorden, a literary society founded in 1644 devoted to Baroque literature. He became its only American member. His first book was "The Archives of the Pegnesischer Blumenorden. A Survey and Reference Guide" (1960).
Source:
The voice master class will focus on style, technique, and diction in the baroque literature. Bring Baroque songs or arias you have prepared in advance (and translated, if not in English), with extra copies to share with the class. Italian arias and recitatives will be particularly useful for workshop study this year, but any Baroque repertoire you wish to bring to class is welcome. To consult about repertoire, contact Karen Clark: karenreeclark@earthlink.net
Source:
MORE ABOUT
Baroque Literature