Desktop version
Home
Sociology
>>
Baroque, Venice, Theatre, Philosophy
CONSTELLATORY THINKING: BAROQUE, VENICE, THEATRE, Philosophy
Performance of Thought
Shape of the Study
Notes
I Baroque Pastoral
Garden Thinking and Baroque Pastoral
Gardens
Garden Thinking
Valsanzibio: “Ivi e l’Inferno e qui il Paradiso”
Bomarzo: “Fatte Per Inganno O Pur Per Arte”
From Pastoral Gardens to Pastoral Literature
Colonna: Pastoral in Excess
Tasso: Pastoral Discipline
Baroque Pastoral: Ground as “Infinite Work in Process”
Notes
Pastoral Askew and Aslant: Ruzzante’s Historico-Theatrical Consciousness
Ruzzante Takes the Stage
Situating the Pastoral
Pastoral as Critique within Critique within Critique
Ruzzante’s Baroque Pastoral
Notes
Jesuit Pastoral Theatre: The Case of Father Pietro Leon da Valcamonica
Della Ragion di stato: An Act of Justice
Pastoral Power: An Act of Salvation
From Pastoral Power to Pastoral Theatre
Jesuit Baroque Allegorical Dramaturgy
The Case of Valcamonica
Notes
II Discipline and Excess
Ruzzante Takes Place
Prelude: Baroque Scenography and Beolco’s SCENOGARDENING
Act I, in which Ruzzante Tries to take Venice but Fails
Act II, In Which Ruzzante Tries to Take Back Padua
Interlude: Taking Place as Territorialization
Finale: The Radical, the Uprooted, and Art that Baroques
Notes
The Enscenement of Self and the Jesuit Teatro del Mondo
Critical Models
Actualizing the Jesuit Teatro del Mondo
Cultivating Affectivity
Internal Difference and the Practice of Non-Identity
Notes
Baroque Diarchic Self
Beolco’s Aesthetic Consignment
The Jesuit Mass Production of a Mystical Self
Ruzzante: A Secular Mystic?
Becoming-Baroque
Notes
Bibliography
>>
Related topics
Academic library - free online college e textbooks - info{at}ebrary.net - © 2014 - 2023