A Dutch Republican Baroque: Theatricality, Dramatization, Moment And Event by Frans-willem KorstenA Dutch Republican Baroque: Theatricality, Dramatization, Moment And Event by Frans-willem Korsten

A Dutch Republican Baroque: Theatricality, Dramatization, Moment And Event

byFrans-willem Korsten

Hardcover | November 6, 2017

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In the Dutch Republic in the Baroque era, two aesthetic formal modes, theater and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterized by a fascination with this world regarded as one possibility out of a plurality of potential worlds. It is this fascination that explains the coincidence in the Dutch Republic, strange at first sight, of Baroque exuberance, irregularity, paradox, and vertigo with scientific rigor, regularity, mathematical logic, and rational distance. In giving a new historical perspective on the Baroque as a specifically Dutch republican one, this study also offers a new and systematic approach to the interactions among the notions of theatricality, dramatization, moment, and event.
Frans-Willem Korsten holds the Literature and Society chair at the Erasmus School of History, Culture and Communication and is associate professor at the department of Film and Literary Studies at the Leiden University Centre for the Arts in Society.  
Title:A Dutch Republican Baroque: Theatricality, Dramatization, Moment And EventFormat:HardcoverDimensions:248 pages, 9.2 × 6.1 × 0.8 inPublished:November 6, 2017Publisher:Amsterdam University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:9462982120

ISBN - 13:9789462982123

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Table of Contents

Acknowledgments1. Republican baroque: a thunderclap, a city hall and two executions1.1. Artifice: multiple worlds and one actualized1.2. Why a Dutch Republican baroque; and why not a Golden Age?1.3. City hall: affect - or what moves and what drives1.4. Thunderclap: moment and event1.5. Two executions: theatricality and dramatization1.6. Republican baroque and slavery2. The dramatic potential in history: Rome and the Republic - Grevius, Vondel, Knüpfer, and Job2.1. Two incompatible political models: transfer or disruption?2.2. Allegory tied into a knot: history's continuity dramatically disrupted2.3. Perverse powers, or how to make fun of the theater of torture2.4. Catholic Rome and the figure of Job: subjection to the only possible world3. The cruel death of worlds and political incompatibility - the brothers De Witt3.1. Foundations of law: the master/father of a political house3.2. The lynching of the De Witts: condensation and spectacle3.3. The ship of state and the cruel political choice between incompatible worlds3.4. Combat, the dramatic logic of cruelty, and the potential of difference4. A happy split of worlds or the comedic sublime - Hals4.1. Happiness, the comedic, and the sublime4.2. Steen and Vondel: comical and tragic counterpoints to the comedic4.3. The sublime intensity of the moment4.4. Freedom: necessity and contingency5. The seas or the world as scene - Focquenbroch and Grotius5.1. Pre-colonial mise-en-abyme: Focqenbroch and a non-republican baroque5.2. Moment of exchange and a non-existent 'proper'5.3. Juridical staging: commerce and the sea5.4. The precariousness of mise-en-scène5.5. Amsterdam: city and sea as world scene6. Not a frame but a lens: the touch of knowledge - Rumphius, Vossius, Spinoza6.1. Spectacle or theater: Rumphius as knowledge-trader6.2. Nature internalized: res cogitans reconsidered6.3. Sensing the world differently: the telescope6.4. Reading through a lens: intensity and texture before scripture7. Public theater, collective drama and the new - Van den Enden and Huygens7.1. Theatrum mundi, public acting and the plane of collective imagination7.2. Speaking for those who understand: a school drama in a theater7.3. Dramatization: theatrum mundi versus mundus dramaticus 7.4. Fluid borders between theatricality and dramatization: Huygens's Sunday8. Interrupting time for the sake of division: history and the tableau vivant - Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos8.1. Abraham and Isaac: the opening of history through the what-if8.2. The virtual: narrative versus dramatic interruption 8.3. A fool waiting for the political moment: tableau vivant between retrospection and anticipation8.4. The political potential in the tableau vivant and the nature of freedom8.5. Moment of closure: spectacle and a revolting tableau Bibliography