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The Age of Wonder and Entertainment: An Introduction to Intermedial Networks in Baroque Culture
Mattia Petricola
Massimo Fusillo
2023, The Palgrave Handbook of Intermediality
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Abstract
In its broadest sense, the notion of “baroque” is used today to define the period in the history of European culture going from the end of the Renaissance to the dawn of the Enlightenment. This chapter attempts to trace some paths through the baroque mediascape in order to give the reader an idea of how it can be investigated from the perspective of intermedial studies. More specifically, this chapter’s aim is
twofold. On the one hand, it interrogates artistic phenomena, media products, performances, and intermedial relations that are speci"c to the baroque mediascape; on the other hand, it shows how these products contributed to a significant extent to shaping the mediascape in which we ourselves are immersed.
Section “Framing Baroque Culture” investigates how baroque culture
emerged in Europe and what its defining elements are. Section “Understanding Baroque Aesthetics across Media” explores the main tenets of baroque aesthetics (excess, wonder, ornamentation, self-reflexivity, artifice, and theatricality) and the emotional responses that baroque media products strived to elicit. Section “Painting and Architecture: Two Roman Ceilings” focuses on the relation between painting and architecture in two painted ceilings – Pietro da Cortona’s Allegory of Divine Providence and Barberini Power and Giovan Battista Gaulli’s Triumph of the Name of Jesus. Section “The Courtly Feast and the Birth of Modern Entertainment” analyzes courtly feasts and festivals as the quintessential form of entertainment of the baroque age. Section “Theatre and the Rise of the Opera” is centered on intermediality in baroque theater, with a specific focus on opera, tragicomedy, and metadrama. The conclusion asks the question: how does one investigate the survival, reemergence, citations, and echoes of the Baroque from the half of the eighteenth century onwards?
Key takeaways
AI
The chapter explores intermedial studies within the baroque mediascape, tracing artistic and media phenomena.
Baroque culture spans from the late Renaissance to the Enlightenment, characterized by excess and theatricality.
Key elements of baroque aesthetics include ornamentation, self-reflexivity, and emotional engagement.
Courtly feasts exemplify baroque entertainment, shaping social and cultural practices of the period.
The work investigates the persistence and influence of baroque elements from the 18th century onwards.
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Performativity and Performance in Baroque Rome. Edited by Peter Gillgren and Mårten Snickare. Farnham, Surrey, UK: Ashgate, 2012; pp. xi + 257, 68 illustrations. $119.95 cloth
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From Heinrich Wölfflin's epochal Renaissance und Barock (1888) onward, the baroque style has been linked to notions of becoming, dynamism, and change, as well as to a sense of theatricality. Thus, an edited volume on the relationship between performance and the arts of baroque Rome may seem a rather predictable prospect. The foregrounding of performativity in the title of Peter Gillgren and Mårten Snickare's collection, however, immediately suggests that their project has ambitions beyond the affirmation of scholarly consensus. Though David Carrier remarks in his postscript that "John Austin's ordinary language philosophy is the most unlikely source imaginable for a theory of Baroque visual art" (220), Gillgren and Snickare's volume strives to apply Austin's concepts and those of his followers not only to visual art narrowly defined, but also to theatre, architecture, music, and sacred and secular ritual. As much for its ability to bring together such a wide range of material as for the new light it sheds on the baroque, the volume's emphasis on performativity proves highly productive. The attractive resulting publication, inspired by a 2006 workshop at the Swedish Institute in Rome, should appeal to scholars and teachers in a range of fields as diverse as those it covers. In their introduction, Gillgren and Snickare note that they "have deliberately chosen not to fix the meaning of [their] conceptual tools, performance and performativity" (10, original emphasis), hoping that their book will instead explore the "fruitful plurality of the concepts" (10). The volume's contributors appeal to many definitions of the terms; Peter Burke treats them almost as synonyms, whereas Margaretha Rossholm Lagerlöf distinguishes sharply between performance, which she associates with "[t]he spectacle of a drama actualized on stage" (185), and performativity, which she understands in terms of speech-acts that cause "real changes (of behaviour, state of affairs and belief)" (186). All the selected essays, however, view baroque performativity as a process in which the artwork or performer shapes a viewer's identity and is reshaped in turn by the viewer's gaze. The collection begins with a series of essays that examine the broad social implications of such performative exchanges. Burke sets the scene for the contributions that follow by considering the power of performance both as tool and as metaphor in baroque Rome. The "'performative turn'" (15) in contemporary
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Law, Opera, and the Baroque Mentality Contradictions, Paradoxes, and Dialogues
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Politics and Aesthetics in European Baroque and Classicist Tragedy ed. by Jan Bloemendal and Nigel Smith
S. Miong
Bulletin of the Comediantes, 2017
and Hotei Publishing. Koninklijke Brill nv reserves the right to protect the publication against unauthorized use and to authorize dissemination by means of offprints, legitimate photocopies, microform editions, reprints, translations, and secondary information sources, such as abstracting and indexing services including databases. Requests for commercial re-use, use of parts of the publication, and/or translations must be addressed to Koninklijke Brill nv. This book is printed on acid-free paper and produced in a sustainable manner. Contents List of Illustrations vii About the Authors viii Introduction 1 Jan Bloemendal and Nigel Smith part 1 Sovereignty 1 What Roman Paradigm for the Dutch Republic? Baroque Tragedies and Ambiguities Concerning Dominium and Torture 43 Frans-Willem Korsten 2 Grotius among the Dagonists: Joost van den Vondel's Samson, of Heilige Wraeck, Revenge and the Ius Gentium 75 Russ Leo 3 Performing the Medieval Past: Vondel's Gysbreght van Aemstel (1637) 103 Freya Sierhuis part 2 Religion 4 Political Martyrdom at the English College in Rome 135 Howard B. Norland 5 Historical Tragedy and the End of Christian Humanism: Nicolaus Vernulaeus (1583-1649) 152 James A. Parente, Jr. 6 The Baroque Tragedy of the Roman Jesuits: Flavia and Beyond 182 Blair Hoxby vi contents part 3 Ethics 7 Mortal Knowledge: Akrasia in English Renaissance Tragedy 221 Emily Vasiliauskas 8 A fabulis ad veritatem: Latin Tragedy, Truth and Education in Early Modern England 239 Sarah Knight 9 The Political Theater and Theatrical Politics of Andrea Giacinto Cicognini: Il Don Gastone di Moncada (1641) 260 Tatiana Korneeva 10 French Tragedy during the Seventeenth Century: From Cruelty on a Scaffold to Poetic Distance on Stage 294 Christian Biet part 4 Mobility 11 German Trauerspiel and Its International Nexus: On the Migration of Poetic Forms 319 Joel B. Lande 12 The Politics of Mobility: Shakespeare's Titus Andronicus, Jan Vos's Aran en Titus and the Poetics of Empire 344 Helmer Helmers 13 French Classicism in Jesuit Theater Poetics of the Eighteenth Century 373 Nienke Tjoelker 14 Scenario of Terror: Royal Violence and the Origins of Russian Tragic Drama 398 Kirill Ospovat Index 429
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The Concept of the Baroque/Italy, iii: 1600–1640
Tim Carter
European Music 1520–1640, 2006
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The Palgrave Handbook of Intermediality pp 1–26

Home The Palgrave Handbook of Intermediality Living reference work entry
The Age of Wonder and
Entertainment: An Introduction to
Intermedial Networks in Baroque
Culture
Massimo Fusillo & Mattia Petricola
Living reference work entry First Online: 09 May 2023

Abstract

In its broadest sense, the notion of “baroque” is
used today to define the period in the history of
European culture going from the end of the
Renaissance to the dawn of the Enlightenment.
This chapter attempts to trace some paths through
the baroque mediascape in order to give the reader
an idea of how it can be investigated from the
perspective of intermedial studies. More
specifically, this chapter’s aim is twofold. On the
one hand, it interrogates artistic phenomena, media
products, performances, and intermedial relations

10/05/2023, 23:49 The Age of Wonder and Entertainment: An Introduction to Intermedial Networks in Baroque Culture | SpringerLink

that are specific to the baroque mediascape; on the
other hand, it shows how these products
contributed to a significant extent to shaping the
mediascape in which we ourselves are immersed.
Section “Framing Baroque Culture” investigates
how baroque culture emerged in Europe and what
its defining elements are. Section “Understanding
Baroque Aesthetics across Media” explores the
main tenets of baroque aesthetics (excess, wonder,
ornamentation, self-reflexivity, artifice, and
theatricality) and the emotional responses that
baroque media products strived to elicit. Section
“Painting and Architecture: Two Roman Ceilings”
focuses on the relation between painting and
architecture in two painted ceilings – Pietro da
Cortona’s Allegory of Divine Providence and
Barberini Power and Giovan Battista Gaulli’s
Triumph of the Name of Jesus. Section “The
Courtly Feast and the Birth of Modern
Entertainment” analyzes courtly feasts and festivals
as the quintessential form of entertainment of the
baroque age. Section “Theatre and the Rise of the
Opera” is centered on intermediality in baroque
theater, with a specific focus on opera,
tragicomedy, and metadrama. The conclusion asks
the question: how does one investigate the survival,
reemergence, citations, and echoes of the Baroque
from the half of the eighteenth century onwards?
Keywords
Intermediality Baroque Scopic regime

10/05/2023, 23:49 The Age of Wonder and Entertainment: An Introduction to Intermedial Networks in Baroque Culture | SpringerLink

Entertainment Performativity

The authors discussed, planned, and structured
this chapter together. Massimo Fusillo then focused
on writing sections “A Double Marriage in Mantua”
and “Theater and the Rise of the Opera” and Mattia
Petricola focused on the other sections.

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your institution.
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Author information

Authors and Affiliations
Department of Human Sciences, University of
L’Aquila, L’Aquila, Italy
Massimo Fusillo & Mattia Petricola
Corresponding author
Correspondence to Massimo Fusillo .
Editor information

Editors and Affiliations
Linnaeus University, Växjö, Sweden
Jørgen Bruhn
Complutense University of Madrid, Madrid,
Spain
Asunción López-Varela
Federal University of São João del-Rei, São João
del Rei, Brazil
Miriam de Paiva Vieira
Section Editor information

Linnaeus University, Växjö, Sweden
Jorgen Bruhn
English Studies, Comparative Literature,
Complutense University of Madrid, Madrid,
Spain

10/05/2023, 23:49 The Age of Wonder and Entertainment: An Introduction to Intermedial Networks in Baroque Culture | SpringerLink

Asun López-Varela Azcárate
Federal University of São João del-Rei, São João
del-Rei, Brazil
Miriam de Paiva Vieira
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Cite this entry
Fusillo, M., Petricola, M. (2023). The Age of Wonder and
Entertainment: An Introduction to Intermedial Networks
in Baroque Culture. In: Bruhn, J., López-Varela, A., de
Paiva Vieira, M. (eds) The Palgrave Handbook of
Intermediality. Palgrave Macmillan, Cham.
.RIS .ENW .BIB
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Received Accepted Published
03 October 2022 08 November 09 May 2023
2022
Publisher Name Print ISBN Online ISBN
Palgrave 978-3-030- 978-3-030-
Macmillan, Cham 91263-5 91263-5
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References (50)
Andreini, Giovanni Battista. 1997. Amor nello specchio. Ed. Salvatore Maira and Anna Michela Borracci. Rome: Bulzoni.
-. 2003. Don Giovanni, o, Lʼestrema avventura del teatro: il nuovo risarcito convitato di pietra di Giovan Battista Andreini: studi e edizione critica. Ed. Silvia Carandini and Luciano Mariti. Rome: Bulzoni. Apostolidès, Jean-Marie. 1981. Le roi-machine: spectacle et politique au temps de Louis XIV. Paris: Editions de Minuit. 10/05/2023, 23:49 The Age of Wonder and Entertainment: An Introduction to Intermedial Networks in Baroque Culture | SpringerLink https://link.springer.com/referenceworkentry/10.1007/978-3-030-91263-5_27-1 4/14
Auerbach, Erich. 2013. Mimesis: The representation of reality in Western literature. Trans. Willard R. Trask. Princeton: Princeton University Press.
Benjamin, Walter. 2009. The origin of German tragic drama. Trans. John Osborne. London: Verso. Buci-Glucksmann, Christine. 2013. The madness of vision: On baroque aesthetics. Trans. Dorothy Zayatz Baker. Athens: Ohio University Press.
Calabrese, Omar. 2017. Neo-baroque: A sign of the times. Trans. Charles Lambert. Princeton: Princeton University Press.
Calloway, Stephen. 2000. Baroque baroque: The culture of excess. London: Phaidon.
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Mattia Petricola
University of L'Aquila, Post-Doc
Massimo Fusillo
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Architectures of the Senses: Neo-Baroque Entertainment Spectacles
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The Oxford Handbook of the Baroque. John D. Lyons, ed. Oxford: Oxford University Press, 2019. xviii + 888 pp. $175.
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I have several impressions from the ambitious content and large scope of this book. One is that in one hundred years the Baroque has become an asset for European, Latin American, and Asian traditions beyond Iberian literature and art. The second is that this handbook of the Baroque à la française complements many impressive studies, touching on topics such as Baroque and German studies, Baroque and Romantic liter- ature, Baroque and neo-rhetoric, neo-Baroque, and poetry, theater, and prose from Iberia and Latin America. Third is that any aspect of inquiry can be associated with the epistemologically enlarged concept of the Baroque. Fourth, the bibliography accu- mulated in the volume is impressive and overwhelming. For all of these reasons, the handbook is a necessary reference in the library of any scholar in fields related to the seventeenth, twentieth, and twenty-first centuries.
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DE LUCCA, Denis. The Baroque Mind. University of Malta : International Institute for Baroque Studies, 2018, xvii+1128 p. ISBN 978-99957-856-3-5.
Lino Bianco
Kultúrne dejiny / Cultural History, 2019
The Baroque age is an emotionally intense period in the history of Europe. The Catholic Church and other despots, all convinced of their divine right to rule, re-alised the significance of manifesting their grandeur through secular enterprises. They became patrons of architecture, including urban planning and fortifications, and the arts, ranging from painting to sculpture to theatre. Baroque was a period characterised by a yearning for power wielded through violence in the context of ideological and religious intolerance notably towards scientific theories which challenged Biblical notions. Further to the extravagant designs of buildings, both sacred and secular, and the pursuit of art and life within, the theatrical expressions favoured by autocratic rulers varied from dancing with lavish costumes in popular festivals to religious ceremonies relating to life and death and included sadism expressed through the staging of the public execution of individuals who had dared to challenge the status quo. This insight proves that the optimal method to discern the Baroque age is by adopting a holistic study of the period. A multidisciplinary approach is essential to understand and comprehend complex scenarios. Its adoption for the study of the Baroque age is a palpable case in point. The Baroque Mind is a compendium authored by Dennis De Lucca, the Director of the International Institute for Baroque Studies at the University of Malta and the former dean of the Faculty of Architecture and Civil Engineering at the same university. The publication contains a collection of concise, detailed and informative texts including a compilation of selected extracts of evidence provided by witnesses at the time. It can be read as an annotated anthology of primary sources supporting the diverse themes being discussed. The book comprises ten chapters and four appendices. The first chapter (1-53) addresses the emergence of the Baroque period, an age characterised by a crave for power and control, the revival of interest in Roman antiquity and a passion for splendour, grandeur and the theatrical. The chapter makes reference to the fall of Constantinople and includes letters from the Ottoman spy Mahmut the Arabian to the Divan of Constantinople together with a letter from Suleiman the Magnificent to the Grand Master of the Hospitaller Knights of Rhodes regarding the ceding of the island to the Ottomans. Extracts from original documents relating to the Reformation and Counter Reformation include Martin Luther's address to the Habsburg Emperor Charles V and letters by Mahmut outlining his perceptions regarding the unfolding events within the Christian world. This chapter concludes by presenting extracts written by numerous personalities varying from aristocrats to scientists to high officials. The second chapter (54-121) focuses on religious reform and
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Baroque architecture and the system of the arts
John Macarthur
2008
This paper discusses the aims and one of the issues of a larger study of the 20 th century historiography of baroque architecture. The larger project will study the different investments in the baroque as a corpus of exemplary buildings, and as a problem in the development of architecture. With this aim, the changing concept of architecture between the 17 th and 20 th centuries becomes significant, and the present paper offers a sketch of the context of architecture within the system of the arts. It argues that one cannot understand changing concepts of architecture entirely in terms of the internal development of its problematic. The idea of art, and of the arts, and of architecture's place in the arts has changed drastically over the period. Understanding this historical variation of the concepts is not merely a methodological issue of the larger study; rather it can tell us something of why 20 th century architects were so interested in the baroque, and why the baroque has remained a point of conflict between architects and architectural historians. The architecture of the baroque in 17 th century Italy has had a particular, and productive uptake in modern times. Proponents of modern architecture, notably Sigfried Giedion and Bruno Zevi, used baroque buildings as exemplifications of qualities such as movement and spatial expression, which they sought in modern architecture. 1 The work of more recent scholars, including Joseph Connors and Christoph Thoenes, has, however, shown how anachronistic it is to understand 17 th century buildings in this way. 2 There was nothing that answered to the modern concept of space in the 17 th century, and nor can we easily assume that the word architecture has described a common task across time.
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Renaissance, Mannerism, Baroque/The Search for Musical Meaning/Mask and Illusion: Italian Opera after 1637
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Reframing the Baroque: On Idolatry and the Threshold of Humanity
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Baroque-Style in the Age of Magnificence 1620–1800
Nikos Vandoros
Baroque: Style in the Age of Magnificence is a groundbreaking addition to the study of a many-faceted stylistic phenomenon. It takes a broader view than has been traditional, demonstrating for the first time how the style engendered developments in art, design and the applied arts, not only throughout Europe but over a vast geographical range from Goa and the Philippines in the east to Central and South America in the west. The complexity and sophistication of the Baroque art of the seventeenth and early eighteenth centuries could be understood as appealing to the viewer's emotional, aesthetic and religious sensibilities. Taking examples from all media and genres, this book offers a comprehensive exploration of the style, tracing its development from Rome, centre of papal and princely power. Carefully selected and rarely seen objects from public and private collections illustrate traditions of ornament, performance and visual art, while attractive feature spreads explore a variety of topics such as opera, fireworks and religious rituals, and investigate churches and palaces as showcases for the pomp and splendour of Baroque art. Published to accompany a major V&A and touring exhibition, stylishly designed, heavily illustrated and international in its outlook, Baroque: Style in the Age of Magnificence will prove an indispensable work of reference and a source of enlightenment about the nature and significance of an important phase of Western art.
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Reflections on the Link between Baroque and Time
Vizureanu Viorel
Ingenium. Revista Electrónica de Pensamiento Moderno y Metodología en Historia de las Ideas, 2021
The general aim of the present paper is to set out the characteristics of what I call the (or a) baroque time, trying as such to reveal how baroque is linked with this category, in opposition both with the current, «popular» perception of it or with powerful theoretical interpretations, which are permeated by a spatio-visual kind of lecture. I sketchily present then three significant analyses (of Benjamin, Maravall and Bal) where we find an attempt, more or less vigorous, to establish a link of this sort, in counterflow to this mainstream spatio-visual conception of baroque. Trying to reveal the specificity of the temporality for baroque, inside modernity as a whole, we will see that these analyses failed in offering a positive starting point, but for different reasons.
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