Mariana de Jesús entre los caminos sagrados y profanos del cuerpo barroco

Mariana puede ser pensada desde la matriz dominante represora, pero al mismo tiempo se inserta en la versión de los reprimidos y sus estrategias para sobrevivir. Tuvo una vida de máxima obediencia, regida por confesores y padres de la Compañía de Jesús, sin embargo contrajo matrimonio con su amado Jesús, a quien entregó sus casi inconcebibles penitencias corporales que la llevaron a los extremos del éxtasis religioso, rompiendo con todo esquema moral católico. ¿Importa preguntarse si existió verdaderamente? A mi manera de ver, no, ya que los habitantes de Quito la tomaron para sí y la construyeron según sus necesidades. Su historia, habla del proyecto irrealizable de conquista, en donde la Iglesia Católica respaldada por la Corona, intentó restablecer su poder y crear una nueva y mejorada España. No obstante, los habitantes de América hallaron en el escenario violento la estrategia de re-apropiarse de las formas de vida impuestas por sus represores y adecuarlas para sí. Finalmente, la Iglesia tuvo que ceder y hacer suyas prácticas que consideraba profanas. Mariana se inserta justo en el medio de la delgada línea de lo profano, lo sagrado, lo prohibido y lo transgresor en el imaginario católico, evidenciando el contexto barroco de la ciudad de Quito. Su exacerbada práctica sacrificial sobrepasa las leyes y regulaciones de la Iglesia, haciendo que se acerque cada vez más al oscuro mundo de lo profano. La Santa logra decidir sobre su vida que se que volcará en el goce profundo provocado por el intenso amor a Cristo. Su religiosidad y su fe, que la llevan al placer máximo a través de su cuerpo sacrificado, son incuestionables.

La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603) [Estudios]

Tomando como caso de estudio los festejos en honor de la canonización de Raimundo de Peñafort en Quito, en 1603, el artículo ofrece una reflexión alrededor de la cultura barroca en Hispanoamérica desde el punto de vista de la soberanía. El texto muestra cómo las élites quiteñas se apropiaron de las festividades organizadas en Quito en honor al santo catalán. Los criollos utilizaron las celebraciones en honor a San Raimundo como una estrategia política para solicitar a la Corona que deroguen los castigos impuestos a la ciudad luego de la Rebelión de las Alcabalas (1593).

El cuerpo barroco. Mariana de Jesús entre lo sagrado y lo profano

Mariana puede ser pensada desde la matriz dominante represora, pero al mismo tiempo se inserta en la versión de los reprimidos y sus estrategias para sobrevivir. Tuvo una vida de máxima obediencia, regida por confesores y padres de la Compañía de Jesús, sin embargo, contrajo matrimonio con su amado Jesús, a quien entregó sus casi inconcebibles penitencias corporales, que la llevaron a los extremos del éxtasis religioso, rompiendo con todo esquema moral católico. Su historia habla del proyecto de la Conquista, en el que la Iglesia católica, respaldada por la Corona, intentó restablecer su poder y crear una nueva y mejorada España. No obstante, los habitantes de América hallaron en ese escenario violento estrategias para modificar las formas de vida impuestas por sus represores, y adecuarlas para sí. Finalmente, la Iglesia tuvo que ceder y hacer suyas prácticas que consideraba profanas. Mariana se inserta justo en el medio de la delgada línea de lo profano, lo sagrado, lo prohibido y lo transgresor en el imaginario católico, evidenciando el contexto barroco de la ciudad de Quito. Su exacerbada práctica sacrificial sobrepasa las leyes y regulaciones de la Iglesia, haciendo que se acerque cada vez más al oscuro mundo de lo profano.

Arquitetura, poder & opressão : o barroco francês e o caso de Versalhes

Ce considérable travail de recherche s’occupe de faire la relation entre l’Architecture, le Pouvoir et l’Oppression. Pour devenir possible cette tâche, nous avons, d’abord et de façon particulière, discouri largement au sujet de ces concepts, pour arriver, à la fin, de forme étendue, à une étude plus complète, plus objective et plus conclusive. La recherche a été divisée en trois parties, aux abordages distintes, mais complémentaires parmi leurs mêmes. Dans la première, nous avons travaillé sur l’arc de l’évolution de l’Architecture, qui commence avec la Renaissance, continue travers le Maniérisme et polarise em arrivant au Baroque, lequel nous a intéressé , particulièrement, une fois qu’il s’agit d’une expréssion claire du Pouvoir sur les Arts. Dans la deuxième, nous avons defini le concept du mot Pouvoir à travailler, en choisissant le Roi Louis XIV , de France, comme le suprême représentant de l’expréssion. Tout de suíte, nous avons remarqué la Cour du Monarque comme paradigme de l’Oppression. Dans la troisième partie, finalement, nous avons réalisé la resumée de tous ces concepts, en une seule oeuvre: Versailles. Pour en finir, la compreension des études nous a permis identifer la force du symbolisme que la construction du Palais a eu: érigé pour la Gloire et la perpétuation du Pouvoir du Roi-Soleil . Le lieu où il se confond avec la construction et réalise son auto-affirmation ; le centre pour lequel toute la Cour - fréquemment opprimée par la forte vigilance du Monarque – a été déménagée. Louis XIV est le Pouvoir et Versailles est la plâce où le Roi semble lumineux comme le Soleil.

O rococó na Madeira: a talha e a pintura do último barroco ao primeiro neoclássico

Universidade da Madeira

O Barroco Hispano-americano: primero sueño ou Sor Juana Inés de La Cuz

The current dissertation is linked to the research line Poéticas da modernidade e da pós-modernidade (modern and post modern poetics), which is being developed for the Programa de Pós-graduação em Estudos da Linguagem (Program of post graduation in language studies), in the area of Literatura Comparada (comparative literature) CCHLA/UFRN. The main aim of the research is to show the reading of Primero sueño by sor Juana Inés de la Cruz, in the middle of the contemporary age, through an eclectic analysis which elucidates the baroque in its most recent concept; the social context and the life as a nun of sor Juana and the analysis of the poetry starting from the glance to the literary text. The perception of the baroque eon universal as a constant artistic movement from its appearance to the present time thus highlighted based on the most modern studies by the baroque specialists: Eugênio d Ors, O barroco (s/d), Severo Sarduy, Barroco (s/d) and Gilles Deleuze, A dobra: Leibniz e o barroco (1991). In that research, it will be presented the translation/transcreation of the study object corpus still guided by the translatological theories of Haroldo de Campos (2004), Da tradução como criação e como crítica, Walter Benjamin (1971), A tarefa do tradutor and Jacques Derrida (2006), Torres de Babel

O sertanejo e o sevilhano nos poemas de João Cabral de Melo Neto: o lusco-fusco barroco

The aim of this research is, starting from a Baroque reading, unfold the understanding of the poems by João Cabral de Melo Neto in the axis Pernambuco-Spain. From this perspective, the reading of poet s Obra Completa allows the appearance of two persons, one from Seville and other from the Brazilian countryside, whom curiously pulsate and reveal themselves from their homelands, Brazilian northeastern dry lands and Seville, to a labyrinthy meeting establishing a close and exciting relationship of cities apart but which mark a contiguous dialogue between both cultures. The theorical effort of this investigation permeates, approaches and contrasts the directions of, among others, Severo Sarduy (1999), Gilles Deleuze (2012) and Eugenio D Ors (unknown). Not traveling an anthropological bias, this study observes the Spanish space and the Brazilian northeastern dry lands space, joining the regional to the universal and analyzes the baroque game in the (re) construction of the both men s cultures. These elements fuse, approach and move away, causing a game of allusions to Pernambuco and Spain that show itself through a similar cultural bias and different at the same time. From this apprehension it is possible to understand the synthesis of the Brazilian arid northeast-Seville men as a update of seventeenth century Baroque coming from indexes that are shown over the particular written by João Cabral de Melo Neto, in the Iberian Baroque scenario and in the American one s

Gregório de Matos: do barroco à antropofagia

The exponential figure of Gregório de Matos e Guerra has been subject of many theoretical discussions through the years, since his apparition in a public place, in the 19th century, and even more, during the 20th century, when he was salvaged by the modernist vanguard. As a result, there are yet two antagonist points of view linked to Gregório de Matos, on one side, there some researchers who defend him, on the other, some of them attack him. The first ones say this poet from Bahia was the first literary voice in Brazil, from the Baroque basis, while the last ones say he is a merely plagiarist of the Spanish poets from the 17th century, without a real contribution to the development of Brazilian Literature. With this in mind, this thesis follows the perspective this poet is an anthropophagus-baroque, devouring cultures, with an active participation in the process of our cultural and literary identity. For that reason, it was made a literature review about the biography of this poet trying to break romantic descriptions, emphasizing some scientific facts that can contribute to present the baroque profile of this poet. In this sense, it was discussed the History of Literature focused on this creole poet, mainly based on the historians point of view about the Gregorian poetry in the formation of Brazilian Literature scenery. In the defense of the hypothesis that Gregório de Matos was our first anthropophagus, this work aims to analyze how his poetry reveals the intrinsic characteristics of Baroque and Anthropophagy, focusing its carnivalesque aspect, showing to the world, with a satiric tone, the idiosyncrasies of human life. In this way, analyzing this corpus in Spanish is the strength of this thesis because, besides it is previously unpublished, it contributes to the comprehension of the anthropophagy as a theoretical mechanism that explains the process of formation of our cultural literary identity. Then, we have Augusto de Campos (1968; 1978; 1984; 1986; 1988), Haroldo de Campos (1976; 2010a; 2010b; 2011), Severo Sarduy ([1988?]), Oswald de Andrade (1945; 1978; 2006), Mikhail Bakhtin (2010), Octavio Paz (1979), Segismundo Spina (1980; 1995; 2008), Afrânio Coutinho (1986a; 1986b; 1994), Affonso Ávila (1994; 1997; 2004; 2008), among others, to constitute this theoretical scenery. The Gregorian poetry, in this way, have contributed to the formation of baroque-anthropophagic scenery in Brazilian boundaries, with a special attention to the transition of time, because he is not only from the 17th century, established by the historiography, but his work is present nowadays due to the contemporaneously of his themes, centered to the eternal doubts of baroque man

A literatura latino-americana e as alegorias nacionais de concierto Barroco

The problematical identity of Latin America is reflected on the recurrence of the theme in the literature created in this part of the continent. The images of Caliban and anthropophagy and the attribution of a Baroque meaning to the Latin American experience characterize an expressive part of such literature. By means of the character Amo, Carpentier's Concierto Barroco exemplifies the difficulties of the Creole elite in finding a nobleorigin for themselves in their ancestors' Europe, and in identifying themselves with it. The slave musician Filomeno and Amo naturalizes narrative, whereas Filomeno provocativelytransits between the hierarchies, turning the Baroque meaning of identity into an allegory. Jazz is a Creole, anthropophagic and Baroque product whose erased origin was replaced by the fabled narrative in the Spirituals that renewed modern music. It is important to emphasize that Carpentier created, by means of Filomeno, the unity of the American experience whose frontier is Mexico.

(Des)concerto: o realismo maravilhoso em Concierto Barroco

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Repertório barroco e suas possibilidades ao violão: aspectos teóricos e métodos transcritivos a partir das cordas dedilhadas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A literatura carpentieriana e a história: aspectos metaficcionais historiográficos em concerto barroco

This work is set in the context of the Hispanic-American literature of the twentieth century (in particular, Alejo Carpentier) viewed in a historical perspective. For this task, we focus on a specific writer’s work: the novel Baroque Concert (1974). The text is divided into three parts: the first deals with some topics concerning the intersection between sui generis Literature and History. Next, we focus on the Hispanic-American literary context, discussing it in an analytical perspective, with regard to its connections with the historical discourse. Finally, we analyze the novel Baroque Concert, by means of the basic concepts of the theory of historiographic metafiction.

Relógios e óculos no barroco italiano

This essay aims to analyse the temporal dimension and the temporal instruments which the baroques poets utilized in Italy. We intend to demonstrate that the “minor poets” of that period made several references to the transitoriety of human life, and did not restrict their observations to a simple collectionism.

Barroco paulista: novas possibilidades de documentação

Pós-graduação em Artes - IA