Ce travail met en relief une relecture du Baroque, en particulier du courant culterano, qui a eu lieu au Mexique au début du 20e siècle. La génération d'écrivains réunis autour de la revue Contemporaneos joue un rôle central dans un mouvement de fond de récupération du lien avec la tradition de la Nouvelle Espagne, dont notamment la figure centrale de Sor Juana Inés de la Cruz. Cette vision ample de l'histoire de la littérature du Mexique se centre plus précisément sur le rôle de deux poèmes, qui constituent des paradigmes des enjeux qu'un tel passage culturel implique, "Muerte sin fin" de José Gorostiza et "Primero Sueno" de Sor Juana Inés de la Cruz. / This work highlights the rediscovery of Gongora's Baroque that took place in Mexico at the beginning of the 20th century. The writers of the generation united around the literary revieuw Contemporaneos play a key role in a movement focused on rebuilding cultural ties to New Spain. A principal leader of this period was Sor Juana Inés de la Cruz. This broad overview of Mexico's literary history specifically focuses on the role of two poems - "Muerte sin fin", by José Gorostiza, and "Primero Sueno"by Sor Juana Inés de la Cruz - which constitute paradigms of the era's cultural shift.

Some of Jiří Kylián’s later works reveal a distinct detectable baroque influence. They also manifest a baroque quality that resists precise explanation. This partly derives from extensive references to the baroque style and period. However, not all references are the same, and some are more easily recognisable than others. Costumes, music and props openly reference the Baroque, whereas less obvious allusions can be found in lighting design or in the way a performance ‘addresses’ the audience. This thesis thus sets out to offer a terminology to describe these phenomena and provide a framework for analysing Kylián’s reworking of baroque sources. The analysis first addresses what is understood by ‘baroque’, then moves to describe various referencing practices, before applying the newly found framework to three of Kylián’s works that take the Baroque as a source of inspiration. Central to my discussion of the Baroque and its contemporary reappearance is the work of cultural theorists and art critics Omar Calabrese and Mieke Bal. Particularly important to my argument is Bal’s emphasis on the tendency in baroque art to involve the viewer’s physical presence in the experience of art. My discussion of referencing is, on the other hand, centred on ideas developed by the literary theorists Gérard Genette, Andreas Böhn, Irina Rajewski and Werner Wolf. Genette’s intertextual model is expanded to include a more precise understanding of the nature of quotation as developed by Böhn. The plurimedial nature of dance, or the co-presence in dance of more than one medium, is addressed by introducing Rajewski’s and Wolf’s notion of Intermediality. As well as analysing how referencing functions in dance and how it participates in meaning-making, this thesis also highlights the evolution of Kylián’s referencing practice over time and explains the function of the Baroque in Kylián’s oeuvre.

La peinture de Rubens est hantée par la mythologie, et parmi les légendes les plus récurrentes figurent celles qui mêlent l'œil au désir, à la jouissance. Alors la peinture propose au spectateur, avec la puissance de l'esthétique baroque et les reliquats de la renaissance italienne, une image qui relève de la pulsion scopique, c'est-à-dire une image forte et séductrice, dans laquelle le regard du peintre et celui du spectateur sont habilement mis en abîme par les récits, et absorbés par les dispositifs picturaux. Les regards, dont il est question dans le mythe comme face au tableau, se posent toujours sur des corps nus ou interdits, comme attirés sans pouvoir résister à l'appel érotique. Et cet appel érotique du corps joue dans les sphères baroques, oscillant toujours entre la jouissance de voir l'interdit et le prix à payer pour cette transgression cannibale. Tous les tableaux mythologiques de Rubens parlent de cette ambivalence du regard: Narcisse, Vénus, Méduse, Orphée, Psyché, Actéon entre autres, métaphorisent la pulsion scopique dans ses différentes modalités, pulsion ressentie par tout être fait de chair et de sang dont font partie, bien sûr, Rubens et le spectateur de son œuvre. C'est le principe de sa peinture: montrer, voiler, métamorphoser et susciter la curiosité érotico-esthétique. Alors les pôles du baroque se définissent entre Eros et Thanatos, entre pulsion de vie et de mort: tout concourt à exalter la puissance du regard désirant, la force érotique et picturale d'un corps, ses effluves funèbres ou lumineux, à l'image d'Apollon et Dionysos. L'analyse esthétique de ces questions se fait sous l'éclairage de l'observation plastique des toiles de Rubens, de l'apport littéraire, poétique, psychanalytique, sous le regard d'auteurs, d'artistes classiques et contemporains qui portent ou préfigurent les traces subtiles de la peinture scopique de Rubens. / The Rubens’s paintings are haunted by myths and allegories linked with the eye and the urge. In all these fantastical stories, the male desiring eye is a recurrent motif ; the woman’s nudity is most of the time the main actress, exuberant or hidden, made of light or dark side. Authorized women or forbidden fantasy, sister of Apollon or Dionysos. The baroque eye fathers that kind of look, between these two poles, two twin visions, hesitating between an extreme pleasure to see and an extreme pain to have seen. Yes the erotic is often a secret body, sweet, quiet or a forbidden sight which teach us that the death is prowling around the voyeurs. Narcissus and his reflection ; Orpheus in the darkness of the underworld, desperatly looking for Eurydice ; Venus, Diana or Bethseba and their cohort of lovers ; Acteon, his erotic vision and his macabre metamorphosis ; Medusa, the horrifying goddess and her petrifying eye ; Pan, Cyclope and their cannibal look ; the satyr and his eye full of concupiscence ; Psyche and her sweet vision ; the quiet and nude nymph, watched by her timid lover… All those myths incarnate the ambivalence of the eye, the metamorphosis of the artist’s look, the ambiguity of your own eye, of course, in front of the painted image. The aesthetic analysis of the desiring eye in Rubens’s works needs differents approaches, like complementary visions : pictorial, historic, poetic, literary, psychoanalytical, with, when it is powerfull and fertile, the intrusions of others painters and poets, from the italian renaissance to the modern and contemporary aesthetic.

This dissertation is the first study of François Campion’s (1686-1747) Avantures Pastorales Op.3 (1719), a collection of airs, interspersed within a connecting narrative. The story is a retelling of the myth of Damon and Philis, while the fifty-two interspersed airs are typical for the genre in the early-eighteenth century and provide emotional depth and commentary on the protagonists’ relationship. The dissertation features a critical analysis of the music, context and plot, alongside a critical edition. I will argue that although the Ballard firm held monopoly over the air publishing business, Campion found a market niche in the wealthy Parisian salons by publishing Avantures Pastorales in an innovative and creative format. He repackaged a very familiar product by adding a continuous, connecting narrative based on an ancient love myth to a collection of airs. In my guide for staging and performance, I argue that this collection would have had great appeal and most likely could have been performed at one of the Parisian salons, or in another intimate domestic context. The air had a central place during salon gatherings, as its performance allowed participants to express emotions of passionate love and courting that were socially prohibited in conversation. I also provide incipits and annotations that reveal the airs to be stylistically generic. Analyzing the expressed affects, however, showed that a rich representation of emotions complement and enhance the story, while also compensating for the overall quality of the music. I argue that the collection takes approximately three hours to perform and can be staged with a minimum of four singers, one narrator, and a harpsichord. In the Appendices, I provide a transcription, translation and a critical performing edition of Avantures Pastorales. This dissertation fills an important gap in the literature on François Campion and contributes to a complete picture of the history of the French air. / Graduate

Dietrich Buxtehude (ca. 1637-1707) was a North German composer of the mid-Baroque period. He lived in a time and place in which classical rhetoric, the study of oratory, influenced education, religion, and music. Applying the definition of rhetoric as the art of persuasion, this study surveys the different persuasive strategies employed by Buxtehude in his various keyboard genres. The elements considered in this inquiry include the affects of keys and modes, rhetorical figures, and structures of speeches as applied to music. The style and setting (ethos), intellectual content (logos), and emotional effect (pathos) are explored in each genre as elements of rhetorical persuasion. This study reveals that different genres of Buxtehude's keyboard music utilize different rhetorical strategies and techniques. These strategies vary according to the purpose of the music (i.e., secular or sacred), the presence or absence of an associated text, and the form of the composition. The chorale preludes, since they are driven by texts, use figures such as hypotyposis, assimilatio, anabasis and catabasis, to musically highlight important words in the text, or to amplify the text's underlying meaning. The suites, and parts of the variations, reflect the affects of the various dance movements as described by Johann Mattheson, Gregory Butler, and Patricia Ranum. The rhetorical nature of contrapuntal works is considered in terms of solving a musical issue through musical proofs, as described by Daniel Harrison. Finally, the praeludia embody the rhetorical form of the classical dispositio, or form of a forensic speech. These sectional works are arranged in such a way as to advantageously present both emotional and intellectual facets of a musical oration.The study also asserts that it is stylistically appropriate, given the audience-centered values of rhetorical persuasion, to perform Buxtehude's manualiter works at the piano, providing that they are played in a manner consistent with the style and structure of the music. This view is fortified by evidence that Baroque musicians, compared to modern musicians, were far less specific about instrumentation and musical details. An appendix offers specific performance suggestions for pianists in each of the works discussed in the study.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of ancient cultures to the baroque trumpet on which were performed the astounding parts composed by the culminating figures of that period, Bach and Handel.

The poetry of Eduardo Espina and Nestor Perlongher is one of the most transcendental of Hispanic neo-baroque, emerging in the eighties and persisting in the new millennium as one of the most influential literary tendencies in the latest Latin- American generations. This dissertation explores neo-baroque as defined by Omar Calabrese: aesthetics of repetition; aesthetic of monstrosity; the importance of imprecision; predominance of labyrinth within a preference for enigma, occult, or the weight of nonlinearly reading of artistic fragmented texts and eroticism as defined by Georges Bataille in the poetry of Espina and Nestor Perlongher. Both poets emphasize the problematic figure of the transvestite and the homosexual transgressive subject and propose a new perspective of linguistic artifice as an artistic and discursive technique and employ eroticism as a mask that unveils the conventionality of the categories, which govern the patriarchal, masculine-heterosexual Western civilization.

No description available.

Texte remanié de: Diss.--Hamburg, 1985. / Bibliogr. p.397-407. Table des ill.