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Notes

  • 1. See Jorge Luis Borges, Historia Universal de la Infamia (Madrid: Alianza, 1954) n.p.
  • 2. See Omar Calabrese, Neo-Baroque: A Sign of the Times, trans. Charles Lambert (Princeton: Princeton University Press, 1992) 47-48.
  • 3. See Alejo Carprentier, “The Baroque and the Marvelous Real” (originally published 1975), trans. Tanya Huntington and Lois Parkinson Zamora, Magical Realism: Theory, History, Community, eds, Lois Parkinson Zamora and Wendy Faris (Durham, N.C.: Duke University Press, 1995) 89-108; Eugenio d’Ors, Lo barroco, eds. Angel d’Ors and Alicia Garcia Navarro de d’Ors (Madrid: Tecnos, 2002 (originally published 1935)).
  • 4. See Jose Lezama Lima, “La curiosidad barroca,” La expresion americana, ed. Irlemar Chiampi (Mexico City: Fondo de Cultura Economica, 1993) 79-106.
  • 5. See Carlos Fuentes, “El barroquismo de William Faulkner,” Revista de la Universidad de Mexico 24.1 (1969): 3.
  • 6. Michel Foucault discusses “alethurgy” in the first hour of his lecture at the College de France from 1984: “Etymologically, alethurgy would be the production of truth, the act by which truth is manifested.” This lecture has been published in The Courage of Truth (The Government of Self and Others II). Lectures at the College de France, 1983-1984, trans. Graham Burchell, ed. Frederic Gros (London: Palgrave Macmillan, 2011).
  • 7. See, for example, Margarete Baur-Heinhold, Baroque Theatre (London: Thames and Hudson, 1967); Per. Bjurstrom, Giacomo Torelli and Baroque Stage Design (Stockholm: University of Uppsala, 1961); Philip Freund, Laughter and Grandeur: Theatre in the Age of Baroque (London: Peter Owen Publishers, 2006); Dunbar H. Ogden, The Italian Baroque Stage: Documents by Giulio Troili, Andrea Pozzo, Ferdinando Galli-Bibiena, Baldassare Orsini (Berkeley: University of California Press, 1978).
  • 8. See, as representative examples of this scholarship, Mario Baratto “L’esordio di Ruzante,” Tre studi sul teatro (Venezia: Neri Pozza, 1968); Emilio Lovarini, Studi sul Ruzzante e la letteratura pavana, ed. G. Folena (Padova: Editrice Antenore, 1965); Giorgio Padoan, “Angelo Beolco da Ruzante a Perduofimo,” Momenti del Renascimento veneto (Padova: Antentore, 1978), 96-98.
  • 9. See, for example, William J. Bouwsma, Venice and the Defense of Republican Liberty: Renaissance Values in the Age of the Counter Reformation (Berkeley: University of California Press, 1968); Gaetano Cozzi, “Appunti sul teatro e i teatri a Venezia agli inizi del Seicento,” Bollettino dell’Istituto di Storia della Societa e dello Stato Veneziano vol.1 (1959): 187-193; Pompeo Molmenti, Venice, its Individual Growth from the Earliest Beginnings to the Fall of the Republic, trans. Horation F. Brown (Chicago: A. C. McClurg & Co., 19061908).
 
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