Toronto Iberic

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Figures ix
4. Acknowledgments xiii
5. Introduction: The Ibero-American Baroque as the First Global Culture 1
6. Part 1. Painting, Sculpture, and Other Arts
7. 1. Transfers, Encounters, Innovations: The Church of the Third Order of Saint Francis of Penance in Ouro Preto 25
8. 2. The Elevation of the Genre of “Shrine Paintings” in Peru 52
9. 3. Baroque Reliquaries and Automata as Representations of Eternal Life 77
10. 4. Marian Sculpture in Baroque Portuguese America 95
11. Part 2. Architecture
12. 5. Presence and Absence: The Holy House of Loreto in Ibero-America 113
13. 6. From Intimate to Infinite Presence: The Camarín at Tepotzotlán 139
14. 7. Passion in Motion: The Way of the Cross as Performance in New Spain 159
15. Part 3. Music
16. 8. Music in Processions at the Jesuit Reducciones of Moxos and Chiquitos in Bolivia 183
17. 9. Neapolitan Technology and Galant Style in a Novohispano Context: Eight Concerted Responsories by Ignacio Jerusalem 210
18. 10. The Resonance of Sor Juana’s Villancicos in Spanish Cathedral Archives 225
19. Part 4. Textual Continuities and Change
20. 11. Emblems and Wit in the Hispanic Baroque according to Baltasar Gracián 247
21. 12. The Baroque as Paradox: Novelty and Printed Courtly Sermons in Seventeenthand Eighteenth-Century New Spain 273
22. 13. The Literary Dream in Querétaro: A Baroque Genre and Enlightenment Ideals in New Spain 296
23. Contributors 323
24. Index 329
25. Toronto Iberic 337