- The Crisis of the Baroque
- Decentering the European Imaginary: A Baroque Taste for India
- Line and Trait of the Baroque River
- Water in The Baroque Garden
- Fashioning the Baroque Male
- Antinomies of the Twenty-First-Century Neobaroque: Cormac McCarthy and Demian Schopf
- The Automaton
- The Baroque City
- Surface and Substance: Baroque Dress in Spain and France, 1600–1720
- Baroque Dance
- Ibero-American Architecture and Urbanism
- Baroque Organ Music
- Ottoman Baroque
- Baroque Opera
- Machine Plays
- The Organization of Knowledge from Ramus to Diderot
- Experience and Knowledge in the Baroque
- Conversation and Civility
- The Philosopher’s Baroque: Benjamin, Lacan, Deleuze
- The Spanish Baroque Novel
- Baroque Tragedy
- The Baroque as a Literary Concept
- Baroque Discourse
- Classical Defense of the Baroque
- The Baroque and Philosophy
- The Baroque as Anti-Classicism: The French Case
- Is There a Baroque Style of Preaching in Early Modern France?
- Prayer, Meditation, and Retreat
- Baroque Sexualities
- Paradoxes: Baroque Science
- Baroque Diplomacy
- The End of Witch-Hunting
- Time and Chronometry
- Court Spectacle and Entertainment
- The Baroque State
Abstract and Keywords
“Baroque” is not a political concept. To speak of the “baroque state” implies that the epoch denoted as “the baroque” by art historians (the late sixteenth to eighteenth centuries) has certain significant commonalities in political terms as well. This chapter tries to describe a particular political style that linked the countries of Christian Europe to one another. It was characterized by the idea of the state as an artefact, coupled with a love of geometry, theatricality, and ceremonial order, a general climate of competition, and finally a fundamental tension between ideal order and factual disorder. This common political style of the baroque states was shaped by omnipresent competition between potentates. Since this competition was conducted with military, diplomatic, and artistic means at the same time, it makes sense to transfer the category “baroque” from art and literature to the political realm.
Barbara Stollberg-Rilinger is Professor of Early Modern History at the University of Münster, Germany. Her work focuses on the politics and culture of Europe in the 17th and 18th centuries. Her books include Der Staat als Maschine. Zur politischen Metaphorik des absoluten Fürstenstaats (Berlin: Duncker & Humblot. Berlin 1986), Vormünder des Volkes? Konzepte landständischer Repräsentation in der Spätphase des Alten Reiches (Berlin: Duncker & Humblot, 1999), Das Heilige Römische Reich Deutscher Nation. Vom Ende des Mittelalters bis 1806 (Munich: C. H. Beck 2009), and Des Kaisers alte Kleider. Verfassungsgeschichte und Symbolsprache des Alten Reiches (Munich: C. H. Beck 2013). She is a Corresponding Fellow of the British Academy.
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