A new interest in the study of early modern ritual, ceremony, formations of personal and collective identities, social roles, and the production of meaning inside and outside the arts have made it possible to talk today about a performative turn in the humanities. In Performativity and Performance in Baroque Rome, scholars from different fields of research explore performative aspects of Baroque culture. With examples from the politics of diplomacy and everyday life, from theatre, music and ritual as well as from architecture, painting and sculpture the contributors demonstrate how broadly the concept of performativity has been adopted within different disciplines.
Table of Contents
Contents: Introduction: by the tomb of St Genesius, Peter Gillgren and Mårten Snickare; Part I A Performative Society: Varieties of performance in 17th-century Italy, Peter Burke; Diplomatic performances and the applied arts in 17th-century Europe, Martin Olin; CorpoReality: Queen Christina of Sweden and the embodiment of sovereignty, Camilla Kandare; How to do things with the piazza San Pietro: performativity and baroque architecture, Mårten Snickare. Part II Performances and Audiences: Transforming spectators into viri perculsi: Baroque theatre as machinery for producing affects, Erika Fischer-Lichte; Angels or sirens? Questions of performance and reception in Roman church music around 1650, Lars Berglund; The Quarant 'Ore: early modern ritual and performativity, Nils Holger Petersen. Part III Performativity and Interpretation: Allegories of Eros: Caravaggio's masque, Genevieve Warwick; Una dolcissima estasi: performing The Visitation by Frederico Barocci, Peter Gillgren; The apparition of faith: the performative meaning of Gian Lorenzo Bernini's decoration for the Cornaro chapel, Margarethe Rossholm Lagerlöf; Performativity in Michelangelo's Last Judgment, Giovanni Careri. Part IV Postscript: Baroque rhetoric: the methodology, David Carrier; Bibliography; Index.