The Experts below are selected from a list of 50433 Experts worldwide ranked by ideXlab platform
Kate Armond - One of the best experts on this subject based on the ideXlab platform.
-
Modernism and the Theatre of the Baroque - The Apes of God and the World of the Commedia
Modernism and the Theatre of the Baroque, 2018Co-Authors: Kate ArmondAbstract:When Sacheverell Sitwell’s Southern Baroque Art was published in 1924 the term ‘Baroque’ was still considered a pejorative in Britain, Italy and much of southern Europe, denoting vulgar extravagance and a lack of formal restraint. Sacheverell’s original account of a largely forgotten incarnation of the Italian and Spanish Baroque changed this perception of the period dramatically for the well-read British public. His text was at once a critically-acclaimed source for the art-historian and a lyrical, imaginative recreation of the artistic and architectural splendours of Lecce, Noto and Naples and other destinations that Sacheverell and his brother visited in Italy and Spain. I explore the literary techniques and historical sources that led to the book’s particular success, and compare this account of the Baroque with the very different approach taken in his later, more factual German Baroque Art. This chapter summarises the ways in which Sacheverell Sitwell’s recreation of the Baroque period through the arts, and in particular the Commedia dell’Arte, helped to shape the playful and exclusive Sitwell aesthetic during the 1920s.
-
Modernism and the Theatre of the Baroque - Baroque Vienna: Nightwood’s Lost Enlightened Modernity
Modernism and the Theatre of the Baroque, 2018Co-Authors: Kate ArmondAbstract:Sacheverell Sitwell’s 1928 German Baroque Art identifies Vienna as the quintessential Baroque city, with Germany as a whole perfecting the Baroque style and providing Bach, Handel and Mozart with a beautiful and inspirational cultural setting. Sitwell writes at a time when original Baroque and rococo documents had come to light in both the British Museum and Vienna’s Hofburg Library, and, like many of his German counterparts, he responded with a reappraisal of the period. My analysis investigates these sources and Sacheverell’s subsequent use of ‘Baroque’ as a historical term applied to architecture, art, theatre and dance. I question why and how Vienna was able to supersede equivalent French, Spanish and Italian cities during the seventeenth and early eighteenth century, paying particular attention to the achievements of Lukas von Hildebrandt and Fischer von Erlach, the two architects responsible for the Schwarzenberg Palace in Vienna, the Schönborn, Prince Eugene’s Winter Palace and the Belvedere. My account does not focus exclusively on the city’s palaces and state buildings but acknowledges the importance of theatre in its own right, and as an influence on interior design and architecture. Alongside so much splendour and refinement Baroque Vienna developed its own particular aesthetic of cruelty, with the Jew in particular suffering under the absolute regimes of the German princes and electors after the Thirty Years War.
-
Modernism and the Theatre of the Baroque
2018Co-Authors: Kate ArmondAbstract:Did you know that seventeenth-century philosophy influenced dance theory and evolutionary science during the modernist period? Or that in England, Italy and Germany the term ‘Baroque’ was used almost exclusively as an insult until the 1900s? Modernism and the Theatre of the Baroque fashions an independent aesthetic for modernist writers and texts that challenges many high modernist qualities promoted by James Joyce and T. S. Eliot. Providing a fresh interpretation of the works of Djuna Barnes, Wyndham Lewis, Edward Gordon Craig and Isadora Duncan, the book broadens our understanding of modernist priorities and demonstrates how readily these ideas translate across genres. It shows that modernists are not passive recipients of Baroque stereotypes but are instead painstaking in their research and innovative in their reworking of original sources. This is an introduction to key ideas, characters and techniques that will allow the Baroque to be used as a conceptual and historical framework for analysing modernist achievements, thereby opening up new opportunities for further research
Evelyn Ruppert - One of the best experts on this subject based on the ideXlab platform.
-
modes of knowing resources from the Baroque
2016Co-Authors: John Law, Evelyn RuppertAbstract:How might we think differently? This book is an attempt to respond to this question. Its contributors are all interested in non-standard modes of knowing. They are all more or less uneasy with the restrictions or the agendas implied by academic modes of knowing, and they have chosen to do this by working with, through, or against one important Western alternative – that of the Baroque. Why the Baroque? One answer is that the Baroque made space for and fostered many forms of otherness. It involved knowing things differently, extravagantly, excessively, and in materially heterogeneous ways, and it apprehended that which is other and could not be caught in a cognitive or symbolic net. It also involved knowing in ways that did not gather into a single point, and knew itself to be performative. A part of a great Western division between rationalist and non-rationalist modes of knowing, the Baroque is therefore a possible resource for creating ways of knowing differently, a storehouse of possible alternative techniques. To say this is not to say that it is the right mode of knowing. The book’s authors do not seek to create a ‘Baroque social science’ whatever that might be, but instead work in a range of ways to explore how drawing on the ‘resources of the Baroque’ can help us to think differently.
-
Modes of Knowing: Resources from the Baroque - Modes of Knowing: Resources from the Baroque
2016Co-Authors: John Law, Evelyn RuppertAbstract:How might we think differently? This book is an attempt to respond to this question. Its contributors are all interested in non-standard modes of knowing. They are all more or less uneasy with the restrictions or the agendas implied by academic modes of knowing, and they have chosen to do this by working with, through, or against one important Western alternative – that of the Baroque. Why the Baroque? One answer is that the Baroque made space for and fostered many forms of otherness. It involved knowing things differently, extravagantly, excessively, and in materially heterogeneous ways, and it apprehended that which is other and could not be caught in a cognitive or symbolic net. It also involved knowing in ways that did not gather into a single point, and knew itself to be performative. A part of a great Western division between rationalist and non-rationalist modes of knowing, the Baroque is therefore a possible resource for creating ways of knowing differently, a storehouse of possible alternative techniques. To say this is not to say that it is the right mode of knowing. The book’s authors do not seek to create a ‘Baroque social science’ whatever that might be, but instead work in a range of ways to explore how drawing on the ‘resources of the Baroque’ can help us to think differently.
John Law - One of the best experts on this subject based on the ideXlab platform.
-
modes of knowing resources from the Baroque
2016Co-Authors: John Law, Evelyn RuppertAbstract:How might we think differently? This book is an attempt to respond to this question. Its contributors are all interested in non-standard modes of knowing. They are all more or less uneasy with the restrictions or the agendas implied by academic modes of knowing, and they have chosen to do this by working with, through, or against one important Western alternative – that of the Baroque. Why the Baroque? One answer is that the Baroque made space for and fostered many forms of otherness. It involved knowing things differently, extravagantly, excessively, and in materially heterogeneous ways, and it apprehended that which is other and could not be caught in a cognitive or symbolic net. It also involved knowing in ways that did not gather into a single point, and knew itself to be performative. A part of a great Western division between rationalist and non-rationalist modes of knowing, the Baroque is therefore a possible resource for creating ways of knowing differently, a storehouse of possible alternative techniques. To say this is not to say that it is the right mode of knowing. The book’s authors do not seek to create a ‘Baroque social science’ whatever that might be, but instead work in a range of ways to explore how drawing on the ‘resources of the Baroque’ can help us to think differently.
-
Modes of Knowing: Resources from the Baroque - Modes of Knowing: Resources from the Baroque
2016Co-Authors: John Law, Evelyn RuppertAbstract:How might we think differently? This book is an attempt to respond to this question. Its contributors are all interested in non-standard modes of knowing. They are all more or less uneasy with the restrictions or the agendas implied by academic modes of knowing, and they have chosen to do this by working with, through, or against one important Western alternative – that of the Baroque. Why the Baroque? One answer is that the Baroque made space for and fostered many forms of otherness. It involved knowing things differently, extravagantly, excessively, and in materially heterogeneous ways, and it apprehended that which is other and could not be caught in a cognitive or symbolic net. It also involved knowing in ways that did not gather into a single point, and knew itself to be performative. A part of a great Western division between rationalist and non-rationalist modes of knowing, the Baroque is therefore a possible resource for creating ways of knowing differently, a storehouse of possible alternative techniques. To say this is not to say that it is the right mode of knowing. The book’s authors do not seek to create a ‘Baroque social science’ whatever that might be, but instead work in a range of ways to explore how drawing on the ‘resources of the Baroque’ can help us to think differently.
Ann Shaffer - One of the best experts on this subject based on the ideXlab platform.
-
Research Guides: Baroque Music: Articles
2016Co-Authors: Ann ShafferAbstract:A guide to library resources for researching and performing Baroque music. Find scholarly articles about Baroque music
-
Research Guides: Baroque Music: Historic Overviews
2016Co-Authors: Ann ShafferAbstract:A guide to library resources for researching and performing Baroque music. Books about the history of Baroque music
-
Research Guides: Baroque Music: Other Resources
2016Co-Authors: Ann ShafferAbstract:A guide to library resources for researching and performing Baroque music. Professional organizations and research centers for Baroque music
Maggie Maclure - One of the best experts on this subject based on the ideXlab platform.
-
The bone in the throat: some uncertain thoughts on Baroque method
International Journal of Qualitative Studies in Education, 2006Co-Authors: Maggie MaclureAbstract:The paper conjures some possibilities for a Baroque method in qualitative educational research. It draws on work across a range of disciplines that has detected a recurrence of the Baroque in the philosophical and literary texts of modernity. A Baroque method would resist clarity, mastery and the single point of view, be radically uncertain about scale, boundaries and coherence, and favour movement and tension over structure and composure. It would open up strange spaces for difference, wonder and otherness to emerge. The paper uses Baroque exemplars such as trompe l’oeil painting and the cabinet of curiosities to pose methodological questions about analysis, representation and meaning. The obstructive potential of the Baroque might, it is argued, help post‐foundational research resist the bureaucratic reason that animates education policy and research. As the ‘bone in the throat’ of closure‐seeking systems, the Baroque offers a hopeful figure for a productively irritating method.