- Copyright Page
- Introduction: The Crisis of the Baroque
- Decentering the European Imaginary: A Baroque Taste for India
- Line and Trait of the Baroque River
- Baroque Theatricality
- 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
- Saints and Baroque Piety
Abstract and Keywords
The usefulness of the label “baroque” as a literary concept has been fiercely contested ever since Wölfflin first applied a term usually imagined in terms of the visual arts to literature. We will question how different traditions of literary scholarship have imagined and redrawn that relation between form and ideology, and how they have embraced, rejected, or hybridized the baroque as a label. How has the concept enabled or thwarted a comparative work thinking beyond national literary tradition? We turn to two case studies in order to find out what the concept of the literary baroque has allowed in different traditions: in France, where the early modern period has often been defined in terms of a particularly French classicism; and in Latin America, where the style became a proxy for American innovation within European traditions.
Katherine Ibbett is Professor of French at the University of Oxford and the Caroline de Jager Fellow in French of Trinity College, Oxford. She is the author of Compassion’s Edge: Fellow-Feeling and its Limits in Early Modern France (2017) and The Style of the State in French Theater (2009) and, with Hall Bjørnstad, the co-editor of Walter Benjamin’s Hypothetical French Trauerspiel (2013).
Anna More is Professor of Hispanic Literatures in the Department of Literary Theory and Literatures at the University of Brasília. She is the editor of Sor Juana Inés de la Cruz: Selected Works, a Norton Critical Edition (2016) and author of Baroque Sovereignty: Carlos de Sigüenza y Góngora and the Creole Archive of Colonial Mexico (2013), which won honorable mention for best book in humanities from the Mexico Section of the Latin American Studies Association.
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