Autour des années 1990, le mot baroque ressurgit dans certains discours sur l’architecture numérique naissante et sur les changements qu’induisent les nouveaux logiciels de conception et de production par ordinateur. Peut-on dire que certains architectes vont jusqu’à prolonger un élan baroque dans de nouveaux modes d'exploration de la forme architecturale par les outils numériques ? Cette thèse propose une approche croisant la philosophie, l’anthropologie et la linguistique pour analyser les discours de deux architectes pionniers dans le développement des technologies informatiques. Greg Lynn (USA, 1967*) aborde la conception par des algorithmes qui génèrent des formes dites complexes, alors que Bernard Cache (France, 1958*) explore et théorise le file-to-factory, c’est-à-dire une chaîne continue entre la conception et la production. Ils se rapprochent tous deux par leur interprétation de Le Pli, Leibniz et le Baroque, de Gilles Deleuze (1988), ouvrage dans lequel ils puisent de nombreux concepts pour approcher les thèmes de la continuité, de la variation infinie des formes, et du non standard. L’analyse se concentre sur l’implication du baroque dans les stratégies discursives en tant qu’homologie structurante de leur pensée, et soulève sa dimension fictionnelle. La notion, en plus de constituer un archétype fondateur de l’imaginaire architectural de ces architectes, constitue d’une part un outil opératoire utile à leurs productions théoriques et architecturales. Elle est d’autre part instrumentalisée pour répondre aux enjeux intellectuels de leur époque. / During the 1990s, the word baroque reappears in some discourses on emerging digital architecture and the changes induced by new design and production softwares. Can we say that some architects are extending a baroque impetus in new exploratory modes of architectural form by digital tools? This thesis proposes an approach that combines philosophy, anthropology and linguistics to analyze the speeches of two architects, pioneers in the development of digital technologies. Greg Lynn (USA, 1967*) approaches the design by algorithms that generate complex forms, while Bernard Cache (France, 1958*) explores and theorizes the file-to-factory, which is a continuous chain between design and production. They become closer in their respective interpretation of The Fold, Leibniz and the Baroque, Gilles Deleuze (1988), a philosophical work from which they pull out many concepts to theorize the themes of continuity, the infinite variety of forms, and the non-standard. The analysis focuses on the involvement of the baroque in the discursive strategies as an homology structuring their thoughts, and raises its fictional dimension. The concept, in addition to be a founding archetype of the imaginary of these architects, is a useful operating tool in their theoretical and architectural productions. However, it is adapted to answer the intellectual challenges of their time.

Le Roland furieux constitue un réservoir d'intrigues inépuisable pour l'opéra baroque. Nous prenons en compte un corpus de quatre-vingts livrets mais aussi pièces de théâtre et ballets, résumés dans l'Annexe et analysés au fil d'une réflexion qui vise à dégager des grandes lignes d'histoire de l'opéra pouvant justifier la disparition des personnages, qui coïncide avec le passage du texte source au second plan après le XVIIIe siècle. Le point de vue adopté dans la première partie nous permet de mettre en lumière la circulation des sujets et de démêler les différents filtres de réécritures intermédiaires en fonction des influences littéraires, mais aussi politiques et matérielles. La plasticité de l'Arioste qui le rend adaptable à tous les contextes, entraîne également une fortune sérieuse aussi bien qu'une fortune comique. Les épisodes de l'épopée privilégiés à l'opéra, au-delà des différences entre contextes de création et genres, sont ceux qui mettent en scène l'excès et le désir. Les deux personnages qui cristallisent ces thématiques suivent, dans l'histoire des réécritures opératiques, deux trajectoires inversées. Roland ébranle les conventions génériques et perd dans ses plus belles réalisations l'essentiel de sa charge comique tandis qu'Alcine, se fondant dans tous les genres, de sérieuse, devient comique. / Ariosto's Orlando furioso offers a countless multitude of plots for the baroque opera. Our corpus is composed of eighty librettos and also of some dramatic plays and ballets, presented in the appendix. This thesis intends to consider why Ariosto's heroes disappeared from European scenes, while they lost their aura, by taking in account the main lines of operatic history. Firstly, we would like to accent the circulation of the plots between cultural areas and to analyze the different literary, political and factual influences that can alter the original text. Then, our purpose is to examine the ariostan plasticity, which suits to all the contexts and explains the ambivalent generic posterity of the epic romance on operatic stages, either comic or serious. Finally, we want to highlight that the most adapted episodes are related to excess and desire. The both characters, that carry these themes, meet an opposite fate. Orlando's most achieved treatments subvert more and more the generic conventions, by reducing his comic aspect, whereas Alcina loses her serious nature and becomes a comic figure.

This masters’ treatise is named Baroque literature of Lithuania. It presents panorama of baroque literature in Lithuania in limits of present country. To reach this goal it analyses the literature from the three positions. Firstly, studies the political and historical backgrounds of the state from the early 16th century till the middle of 18th century. Secondly, shows the silhouettes and productions of the most famous and less known, or already forgotten writers, who wrote their compositions in Polish, Lithuanian and Latin languages. Thirdly, presents the most popular kinds of literature of this age. The dissertation consists of three chapters. The first chapter shows general background of baroque epoch development in West Europe. Explains the mining of baroque term and presents the historical and social circumstances of development of the stile in Lithuania. The development of literature of the trend appears on the last part of the chapter, which briefly describes the activity of Vilnius University – the place where was created baroque literature of Lithuania. The second chapter was divided for three parts with regard to languages’ situation of the country and includes by two representatives of everyone of it. Latin language represents M.K. Sarbiewski and Z. Lauksmin, Polish language – P. Skarga and Z. Morsztyn, Lithuanian language – M. Daukša and K. Širvydas. The last part of the chapter shows the first women in literature, who’s activity coincidenced with the baroque... [to full text]

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Inaug.-Diss.--Würzburg. / Vita. Bibliography: p. 78-81.

Habilitationsschrift--Technische Universität, Berlin. / Includes bibliographical references (p. 141-143).

Inaug.-Diss.--Würzburg. / Vita. Bibliography: p. 78-81.

Habilitationsschrift--Technische Universität, Berlin. / Includes bibliographical references (p. 141-143).

Le vingtième siècle a vu la montée du mouvement de renouveau de l’interprétation de la musique ancienne, notamment celle de la période baroque, appuyé sur une forme de socle théorique. La mise à jour et l’étude des textes contemporains a fourni un ensemble d’éléments permettant de construire des exécutions obéissant à des normes qui rompaient avec l’héritage du dix-neuvième siècle. La démarche appliquée aux modalités d’élocution de la musique s’est accompagnée d’un travail de restauration et de remise en service de l’instrumentarium ancien, qui est devenu un élément central de la pratique moderne de la musique ancienne. Nous nous intéressons particulièrement au répertoire pour clavier de l’époque du baroque tardif. L’instrument pratiqué aujourd’hui, le piano, occupe une place visible dans l’interprétation de ce répertoire. Or, ce répertoire a été conçu pour des instruments différents. Comment le piano a-t-il conquis son statut d’instrument propre à l’exécution de ces oeuvres ? Comment les pianistes ont-ils vécu le mouvement baroquiste ? qu’en est-il des aptitudes du piano à rendre justice à cette musique ? Quelles sont les philosophies interprétatives impliquées dans la problématique ? La recherche projetée se propose de répondre à ces questionnements, en choisissant pour terrain d’étude des oeuvres de Bach, Scarlatti et Rameau, compositeurs porteurs chacun de caractéristiques stylistiques particulières. L’étude analytique appliquée sera circonscrite aux enregistrements discographiques depuis l’époque du microsillon. / The second half of the twentieth century witnessed the development of the movement of renewal in the interpretation of old music, especially that of the Baroque period, depending on theoretical updating, reading and studying of contemporary works that provided musicians with a range of elements which have no relation with the traditional interpretation inherited from the nineteenth century.The approach applied in composing music was accompanied by a restoration and reopening of the former instruments, which became essential to the modern performance of old music. As a pianist, I am very much interested in the keyboard repertoire of the late Baroque, or the second half of the eighteenth century. The instrument played today, the modern piano, has a visible place in the landscape interpretation of baroque repertoire for keyboard. However, these works were designed for an entirely different instrument. How could the harpsichord play old works? How pianists interested in Baroque music experienced the movement "baroque"? What is really the piano skills do to this music? Beyond that, how are the philosophers of interpretation involved in this issue? What is their philosophy and how was it built? The proposed study aims to answer this set of questions, preferred the keyboard works String of Bach, Scarlatti and Rameau, composers representing distinct tradition of writing and Holders of each particular stylistic characteristics.The analytical study was applied in addition to recordings from the time of microstomia. / شهد النصف الثاني من القرن العشرين تطورا مشهودا لحركة تجديد أداء الموسيقا القديمة, خصوصا موسيقا الباروك,مستندة على قاعدة نظرية إن إعادة النظر قراءة و دراسة الأعمال الحديثة قدمت للموسيقيين مجموعة عناصر سمحت لهم ببناء أداءات موسيقية تقطع صلتها تماما مع تقاليد أداء القرن التاسع عشر إن المنهجية المطبقة على كيفية الصياغة الموسيقية, ترافقت مع عملية ترميم و إعادة بناء معتمدين على ا لعودة إلى الآلة القديمة التي أصبحت بدورها عنصرا أساسيا في عملية الأداء المعاصر للموسيقا المؤلفة ماقبل ١٨٠٠كوني عازفة بيانو أعير اهتماما خاصا لمجموعة الأعمال المكتوبة لآلات الكلافيه في فترة الباروك المتأخرةأو الجزء الثاني من القرن الثامن عشر. الآلة الممارسة اليوم البيانو المعاصر يشغل مكانا مركزيا في أداء مجموعة هذه الأعمال. لكن هذه الأعمال كانت مكتوبة و مخصصة لآلات مختلفة كيف استطاعت آلة المطارق (البيانو) أن تحتل مكانها كآلة قادرة بدورها على أداء الأعمال القديمة؟ كيف نظرعازفو البيانو المهتمون بموسيقا الباروك الى ظاهرة حركة الباروكيين؟ ماهي صلاحيات آلتهم لاعطاء هذه الموسيقا حقها الكامل؟ ماهي الفلسفات التي تتضمنها هذه الإشكالية, ما هو تاريخ هذه الفلسفات وعلى أي أساس بنيت؟ إن البحث الآتي يقترح الإجابة على مجموعة هذه الأسئلة بالاستناد إلى دراسة خاصة لأعمال آلات الكلافيه للمؤلفين باخ, رامو وسكارلاتي، الذين يمثل كل منهم مدرسة قائمة بحد ذاتها, و تتميزمؤلفات كل منهم بخصائص أسلوبية واضحة. الدراسة التحليلية المطبقة, معززة أيضا بتسجيلات صوتية لأداءات مختلفة على آلة البيانو منذ عام ١٩٥٠ حتى يومنا الحاضر

Made available in DSpace on 2017-07-10T18:56:07Z (GMT). No. of bitstreams: 1 Andreia_ Souza.pdf: 1918871 bytes, checksum: 8040530ecf3ecb949eb384c2e9b7b62c (MD5) Previous issue date: 2017-12-02 / The research presented here was centered on reflections on the permanence of the baroque and the fictional representation of time in the novels Memorial of the Convent and The Intermittents of Death by José Saramago and The Bells of Agony and Opera of the Dead by Autran Dourado. From the reading of the novels of these authors, the following questions emerged that guided the study: how do we record the time in the novels mentioned above? What traces from the baroque remain in the memorial of the convent and The flashes of death and in The bells of agony and Opera of the dead? What characteristics approximate and distance the style of José Saramago and that of Autran Dourado? In order to find answers to such questions, a comparison was made between the novels Memorial of the Convent and The Intermittents of Death and The Bells of Agony and the Opera of the Dead, in order to: point out the characteristics of each novel and establish the Approximations and distances between the texts of the two authors; To understand the baroque characteristics present in the mentioned works and the treatment given to the fictional representation of the time. In order to reach the proposed objectives, the reflections of St. Augustine (1984), Paul Ricoeur (1994, 1995 and 1997), Philippe Ariès (2012), Edgar Morin, (1997), Alfredo Bosi (1977) Ana Paula Arnaut (2011), Flávio Kothe (1986), Aguiar e Silva (1976), Irlemar Chiampi (1980 and 1998), Omar Calabrese (1987), among others. It is, therefore, a bibliographical research that made it possible to conclude that both the Memorial of the Convent and The Intermittents of Death and the Bells of Agony and the Opera of the Dead, through the reappropriation of the stylistic resources or thematic approach, promote the permanence of the Baroque in contemporary times. And also because José Saramago and Autran Dourado retake the baroque as a new cultural object, whose innovations are built from the permanence of the style of the eighteenth century, with the purpose of promoting social criticism through the exposition of social problems And the internal conflicts of the characters, it can be said that the authors approach the neo-baroque tendency. / A pesquisa ora apresentada centrou-se em reflexões sobre a permanência do barroco e a representação ficcional do tempo nos romances Memorial do convento e As intermitências da morte, de José Saramago, e Os sinos da agonia e Ópera dos mortos, de Autran Dourado. A partir da leitura de romances dos referidos autores, surgiram os seguintes questionamentos que nortearam o estudo: como se dá o registro do tempo nos romances supracitados? Quais traços advindos do barroco subsistem em Memorial do convento e As intermitências da morte e em Os sinos da agonia e Ópera dos mortos? Quais características aproximam e distanciam o estilo de José Saramago e o de Autran Dourado? Com o propósito de encontrar respostas para tais questionamentos, objetivou-se estabelecer uma comparação entre os romances Memorial do convento, As intermitências da morte, Os sinos da agonia e Ópera dos mortos, com vistas a: apontar as características de cada romance e estabelecer as aproximações e os distanciamentos entre os textos dos dois autores; compreender as características barrocas presentes nas referidas obras e o tratamento dado à representação ficcional do tempo. Para atingir os objetivos propostos, utilizou-se como suporte teórico as reflexões de Santo Agostinho (1984), Paul Ricoeur (1994, 1995 e 1997), Philippe Ariès (2012), Edgar Morin, (1997), Alfredo Bosi (1977), Ana Paula Arnaut (2011), Flávio Kothe (1986), Aguiar e Silva (1976), Irlemar Chiampi (1980 e 1998), Omar Calabrese (1987), dentre outros. Trata-se, portanto, de uma pesquisa bibliográfica que possibilitou concluir que, tanto Memorial do convento e As intermitências da morte quanto Os sinos da agonia e Ópera dos mortos, por meio da apropriação dos recursos estilísticos ou da abordagem temática, promovem a permanência do barroco na contemporaneidade. E, ainda, pelo fato de José Saramago e Autran Dourado retomarem o barroco como um novo objeto cultural, cujas inovações se constroem a partir da permanência do estilo do século XVIII, com a finalidade de promover a crítica social por meio da exposição dos problemas sociais e dos conflitos interiores das personagens, pode-se afirmar que os autores se aproximam da tendência neobarroca.