Baroque, Venice, Theatre, Philosophy

CONSTELLATORY THINKING: BAROQUE, VENICE, THEATRE, PhilosophyPerformance of ThoughtShape of the StudyNotesI Baroque PastoralGarden Thinking and Baroque PastoralGardensGarden ThinkingValsanzibio: “Ivi e l’Inferno e qui il Paradiso”Bomarzo: “Fatte Per Inganno O Pur Per Arte”From Pastoral Gardens to Pastoral LiteratureColonna: Pastoral in ExcessTasso: Pastoral DisciplineBaroque Pastoral: Ground as “Infinite Work in Process”NotesPastoral Askew and Aslant: Ruzzante’s Historico-Theatrical ConsciousnessRuzzante Takes the StageSituating the PastoralPastoral as Critique within Critique within CritiqueRuzzante’s Baroque PastoralNotesJesuit Pastoral Theatre: The Case of Father Pietro Leon da ValcamonicaDella Ragion di stato: An Act of JusticePastoral Power: An Act of SalvationFrom Pastoral Power to Pastoral TheatreJesuit Baroque Allegorical DramaturgyThe Case of ValcamonicaNotesII Discipline and ExcessRuzzante Takes PlacePrelude: Baroque Scenography and Beolco’s SCENOGARDENINGAct I, in which Ruzzante Tries to take Venice but FailsAct II, In Which Ruzzante Tries to Take Back PaduaInterlude: Taking Place as TerritorializationFinale: The Radical, the Uprooted, and Art that BaroquesNotesThe Enscenement of Self and the Jesuit Teatro del MondoCritical ModelsActualizing the Jesuit Teatro del MondoCultivating AffectivityInternal Difference and the Practice of Non-IdentityNotesBaroque Diarchic SelfBeolco’s Aesthetic ConsignmentThe Jesuit Mass Production of a Mystical SelfRuzzante: A Secular Mystic?Becoming-BaroqueNotesBibliography
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