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This book examines the cultural relations between the Spanish and Austrian Habsburg monarchies in the seventeenth century and explores the central role of transnational aristocratic networks in cultural transfer processes between Spain and Central Europe. It tells the story of Central European aristocrats who embraced new foreign fashions, commodities, and practices to demonstrate their wealth and superior social position, thereby contributing significantly to the emergence of a cosmopolitan aristocratic Baroque culture. It shows that a new type of aristocrat emerged during this period: the cultured and educated aristocratic connoisseur, who knew how to use cultural imports and practices for his own strategic ends. However, the book also shows that not everyone was equally enthusiastic about the growing cultural imports, but that the boundaries between acceptance and rejection were often fluid. Covering a wide range of topics that span from early modern luxury consumption and food culture to collecting painting and the emergence of early modern aristocratic libraries, the book will appeal to a broad academic audience, including social and cultural historians, art historians, and cultural anthropologists alike. With its transnational scope, the book will be relevant to scholars interested in exploring the cosmopolitan nature of the early modern aristocracy also beyond the Austrian Habsburg monarchy.
Few periods in history are so fundamentally contradictory as the Baroque, the culture flourishing from the mid-sixteenth to the mid-eighteenth centuries in Europe. When we hear the term âBaroque,â the first images that come to mind are symmetrically designed gardens in French chateaux, scenic fountains in Italian squares, and the vibrant rhythms of a harpsichord. Behind this commitment to rule, harmony, and rigid structure, however, the Baroque also embodies a deep fascination with wonder, excess, irrationality, and rebellion against order. The Oxford Handbook of the Baroque delves into this contradiction to provide a sweeping survey of the Baroque not only as a style but also as a historical, cultural, and intellectual concept. With its thirty-eight chapters edited by leading expert John D. Lyons, the Handbook explores different manifestations of Baroque culture, from theatricality in architecture and urbanism to opera and dance, from the role of water to innovations in fashion, from mechanistic philosophy and literature to the tension between religion and science. These discussions present the Baroque as a broad cultural phenomenon that arose in response to the enormous changes emerging from the sixteenth century: the division between Catholics and Protestants, the formation of nation-states and the growth of absolutist monarchies, the colonization of lands outside Europe and the mutual impact of European and non-European cultures. Technological developments such as the telescope and the microscope and even greater access to high-quality mirrors altered mankindâs view of the universe and of human identity itself. By exploring the Baroque in relation to these larger social upheavals, this Handbook reveals a fresh and surprisingly modern image of the Baroque as a powerful response to an epoch of crisis.
The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era. The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era.
Matthew Rampley’s The Vienna School of Art History is the first book in over seventy-five years to study in depth and in context the practices of art history from 1847, the year the first teaching position in the discipline was created, to 1918, the collapse of Austria-Hungary. It traces the emergence of art history as a discipline, the establishment of norms of scholarly inquiry, and the involvement of art historians in wider debates about the cultural and political identity of the monarchy. The so-called Vienna School plays the central role in the study, but Rampley also examines the formation of art history elsewhere in Austria-Hungary. Located in the Habsburg imperial capital, Vienna art historians frequently became entangled in debates that were of importance to art historians elsewhere in the Empire, and Rampley pays particular attention to these areas of overlapping interest. He also analyzes the methodological innovations for which the Vienna School was well known. Rampley focuses most fully, however, on the larger political and ideological context of the practice of art history—particularly the way in which art-historical debates served as proxies for wider arguments over the political, social, and cultural life of the Habsburg Empire.
This present work had it's origin in two series of twelve public lectures on music as part of the general culture, given at Harvard University between 1934 and 1935. Since these lectures this subject matter has been considerable enlarged, supplemented and concluded. Chapters include: Music of the Greeks, The Gothic Period, The Renaissance, Seventeenth-Century Baroque, Classical Tendencies of the Eighteenth Century, The Romantic Movement, The Twentieth Century and many others.
Redrawing the conventional map of Victorian Poetics
A COMPANION TO LATIN AMERICAN LITERATURE AND CULTURE “The work contains a wealth of information that must surely provide the basic material for a number of study modules. It should find a place on the library shelves of all institutions where Latin American studies form part of the curriculum.” Reference Review “In short, this is a fascinating panoply that goes from a reevaluation of pre-Columbian America to an intriguing consideration of recent developments in the debate on the modem and postmodern. Summing Up: Recommended.” CHOICE A Companion to Latin American Literature and Culture reflects the changes that have taken place in cultural theory and literary criticism since the latter part of the twentieth century. Written by more than thirty experts in cultural theory, literary history, and literary criticism, this authoritative and up-to-date reference places major authors in the complex cultural and historical contexts that have compelled their distinctive fiction, essays, and poetry. This allows the reader to more accurately interpret the esteemed but demanding literature of authors such as Jorge Luis Borges, Mario Vargas Llosa, Octavio Paz, and Diamela Eltit. Key authors whose work has defined a period, or defied borders, as in the cases of Sor Juana Inés de la Cruz, César Vallejo, and Gabriel García Márquez, are also discussed in historical and theoretical context. Additional essays engage the reader with in-depth discussions of forms and genres, and discussions of architecture, music, and film This text provides the historical background to help the reader understand the people and culture that have defined Latin American literature and its reception. Each chapter also includes short selected bibliographic guides and recommendations for further reading.
In his pioneering study The Philosophical Baroque: On Autopoietic Modernities, Erik S. Roraback argues that modern culture, contemplated over its four-century history, resembles nothing so much as the pearl famously described, by periodizers of old, as irregular, barroco. Reframing modernity as a multi-century baroque, Roraback steeps texts by Shakespeare, Henry James, Joyce, and Pynchon in systems theory and the ideas of philosophers of language and culture from Leibniz to such dynamic contemporaries as Luhmann, Benjamin, Blanchot, Deleuze and Guattari, Lacan, and Žižek. The resulting brew, high in intellectual caffeine, will be of value to all who take an interest in cultural modernity—indeed, all who recognize that “modernity” was (and remains) a congeries of competing aesthetic, economic, historical, ideological, philosophical, and political energies
Arthur Schwartz, popular radio host, cookbook author, and veteran restaurant critic, invites you to join him as he celebrates the food and people of Naples and Campania. Encompassing the provinces of Avellino, Benevento, Caserta, and Salerno, the internationally famous resorts of the Amalfi Coast, Capri, and Ischia—and, of course, Naples itself, Italy's third largest and most exuberant city—Campania is the cradle of Italian-American cuisine. In Naples at Table, Arthur Schwartz takes a fresh look at the region's major culinary contributions to the world—its pizza, dried pasta, seafood, and vegetable dishes, its sustaining soups and voluptuous desserts—and offers the recipes for some of Campania's lesser-known specialties as well. Always, he provides all the techniques and details you need to make them with authenticity and ease. Naples at Table is the first cookbook in English to survey and document the cooking of this culturally important and gastronomically rich area. Schwartz spent years traveling to Naples and throughout the region, making friends, eating at their tables, working with home cooks and restaurant chefs, researching the origins of each recipe. Here, then, are recipes that reveal the truly subtle, elegant Neapolitan hand with such familiar dishes as baked ziti, eggplant parmigiana, linguine with clam sauce, and tomato sauces of all kinds. This is the Italian food the world knows best, at its best—bold and vibrant flavors made from few ingredients, using the simplest techniques. Think Sophia Loren—and check out her recipe for Chicken Caccistora! Discover the joys of preparing a timballo like the pasta-filled pastry in the popular film Big Night. Or simply rediscover how truly delicious, satisfying, and healthful Campanian favorites can be—from vegetable dished such as stuffed peppers and garlicky greens to pasta sauces you can make while the spaghetti boils or the Neapolitans' famous long-simmered ragu, redolent with the flavors of meat and red wine. Then there's the succulent baked lamb Neapolitans love to serve to company, the lentils and pasta they make for family meals, baked pastas that go well beyond the red-sauce stereotype, their repertoire of deep-fried morsels, the pan of pork and pickled peppers so dear to Italian-American hearts, and the most delicate meatballs on earth. All are wonderfully old-fashioned and familiar, yet in hands of a Neapolitan, strikingly contemporary and ideal for today's busy cooks and nutrition-minded sybarites. Finally, what better way to feed a sweet tooth than with a Neapolitan dessert? Ice cream and other frozen fantasies were brought to their height in Baroque Naples. Baba, the rum-soaked cake, still reigns in every pastry shop. Campamnians invented ricotta cheesecake, and Arthur Schwartz predicts that the region's easily assembled refrigerator cakes—delizie or delights—are soon going to replace tiramisu on America's tables. In any case, one bite of zuppa inglese, a Neapolitan take on English trifle, and you'll be singing "That's Amore." A trip with Arthur Schwartz to Naples and its surrounding regions is the next best thing to being there. Join him as he presents the finest traditional and contemporary foods of the region, and shares myth, legend, history, recipes, and reminiscences with American fans, followers, and fellow lovers of all things Italian.