This thesis project explores the connection between Cuban identity and the twentieth-century Neobaroque. The paper approaches the Neobaroque as a concept that reoriginates or "refracts" culture, implying a relationship between Baroque forms and post-colonial Latin America that creates a transformation of cultural expression. Furthermore, the Neobaroque is seen relating to questions of cultural identity, post-colonialism, transculturation, mestizaje, and Latin American modernity. The Neobaroque's relevancy with Cuba is stipulated in twentieth-century writings of three Cuban authors known as the Cuban triumvirate: José Lezama Lima, Alejo Carpentier, and Severo Sarduy. Similar themes of these writers concerning the Neobaroque's connection with the urban environment of Havana as well as connections to José Martí's writing Nuestra América are highlighted as key components connecting the Neobaroque with Cuban culture. / Graduate / 0336 / 0626 / scruiksh@uvic.ca

This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

El objetivo principal de esta investigación es analizar la influencia de los códigos gráficos del estilo neobarroco andino en ropa peruana contemporánea, con la siguiente hipótesis que plantea la existencia de una influencia artística del neobarroco andino en la construcción de elementos visuales presentes en indumentaria de Perú creada en los últimos 10 años. Esta influencia es examinada en la gráfica creada por marcas de indumentaria peruana actual, que son Yirko Sivirich, Ikarus y Genaro Rivas. Para ello, se propone identificar características gráficas del arte neobarroco, elementos artísticos recurrentes del estilo andino y examinar los elementos visuales de la gráfica contemporánea. El enfoque teórico de la investigación busca generar una metodología de análisis que se incorpora al diseño gráfico peruano al realizar una investigación basada en la comunicación visual del arte en el país. Para llegar a ello, se realizó una revisión de fuentes académicas sobre el tema, las cuales llevaron al descubrimiento del término transculturación, el cual es la apropiación parcial de un estilo de arte a otro. Además de definir los fenómenos del contexto del tema a investigar, como el barroco andino, el neobarroco, la indumentaria peruana contemporánea y los códigos visuales. Por otro lado, se realizó una examinación cualitativa de la gráfica en indumentaria utilizando como medio la ficha de análisis y entrevistas a expertos para encontrar similitudes con las peculiaridades gráficas del neobarroco, el estilo andino y de conocer los elementos visuales de las prendas creadas en el rango de tiempo ya mencionado. / The main objective of this research is to analyze the influence of the graphic codes of the Andean neo-baroque style on contemporary Peruvian clothing, with the following hypothesis that raises the existence of an artistic influence of the Andean neo-baroque in the construction of visual elements present in Peruvian clothing created in the last 10 years. This influence will be examined in the graph created by current Peruvian clothing brands, which are Yirko Sivirich, Ikarus and Genaro Rivas. To do this, it is proposed to identify graphic characteristics of neo-baroque art, recurring artistic elements of the Andean style and to examine the visual elements of contemporary graphics. The theoretical focus of the research seeks to generate an analysis methodology that is incorporated into Peruvian graphic design by conducting research based on the visual communication of art in the country. To achieve this, a review of academic sources on the subject was carried out, which led to the discovery of a new term such as transculturation, which is the partial appropriation of one art style to another; in addition to defining the phenomena of the context of the subject to be investigated, such as the Andean baroque, the neo-baroque, contemporary Peruvian clothing and visual codes. On the other hand, a qualitative examination of the clothing graphic was carried out, using the analysis sheet and interviews with experts as a means, to find similarities with the graphic peculiarities of the neo-baroque, the Andean style, and to know the visual elements of the garments. created in the aforementioned time range. / Trabajo de investigación

Paul Schoenfeld (b. 1947) is considered one of the major American composers of the present day to have incorporated many different styles in his music. Although Schoenfeld primarily uses a combination of folk, popular music, klezmer, and jazz in most of his compositions, he has also incorporated other distinctive musical styles in his works, such as neo-Baroque, particularly in his Partita for Violin and Piano (2002). The purpose of this dissertation is to explore the eclectic combination of neo-Baroque and klezmer elements found in Schoenfeld's Partita. This research provides a detailed comparative analysis of his work with Johann Sebastian Bach's Clavier-Übung I, BWV 825–830, and 6 Sei Solo a Violino senza Basso accompagnato, BWV 1001–1006, primarily to see how Schoenfeld made use of Baroque forms, imitative passages, rhythms, and other stylistic features, then fused them with klezmer elements. Klezmer is a genre of music stemming from the Eastern European Jewish tradition; its distinctive characteristics are modal scales and Hasidic vocal ornaments. Knowing the mixture of Baroque and klezmer stylistic influences should help performers to interpret the piece.