A Dutch republican baroque : : theatricality, dramatization, moment, and event / / Frans-Willem Korsten.
In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised by a fascination with this world regarded as one possibility out of a plurality o...
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Superior document: | Amsterdam studies in the Dutch Golden Age |
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Place / Publishing House: | Amsterdam : : Amsterdam University Press,, 2017. |
Year of Publication: | 2017 |
Edition: | 1st ed. |
Language: | English |
Series: | Amsterdam studies in the Dutch golden age.
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Physical Description: | 1 online resource (231 pages) :; digital, PDF file(s). |
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Korsten, Frans-Willem, author. A Dutch republican baroque : theatricality, dramatization, moment, and event / Frans-Willem Korsten. 1st ed. Amsterdam : Amsterdam University Press, 2017. 1 online resource (231 pages) : digital, PDF file(s). text txt rdacontent computer c rdamedia online resource cr rdacarrier Amsterdam studies in the Dutch Golden Age Includes bibliographical references and index. In English. Open access Unrestricted online access star Issued also in print. Title from publisher's bibliographic system (viewed on 22 Feb 2021). 1. Republican baroque: a thunderclap, a city hall and two executions -- 1.1. Artifice: multiple worlds and one actualized -- 1.2. Why a Dutch republican baroque; and why not a Golden Age? -- 1.3. City hall: affect -- or what moves and what drives -- 1.4. Thunderclap: moment and event -- 1.5. Two executions: theatricality and dramatization -- 1.6. Republican baroque and slavery -- 2. The dramatic potential in history: Rome and the Republic -- Grevius, Vondel, Knupfer, and Job -- 2.1. Two incompatible political models: transfer or disruption? -- 2.2. Allegory tied into a knot: history's continuity dramatically disrupted -- 2.3. Perverse powers, or how to make fun of the theater of torture -- 2.4. Catholic Rome and the figure of Job: subjection to the only possible world -- 3. The cruel death of worlds and political incompatibility -- the brothers De Witt -- 3.1. Foundations of law: the master/father of a political house -- 3.2. The lynching of the De Witts: condensation and spectacle -- 3.3. The ship of state and the cruel political choice between incompatible worlds -- 3.4. Combat, the dramatic logic of cruelty, and the potential of difference -- 4. A Happy Split of Worlds or the Comedic Sublime -- Frans Hals -- 4.1. Happiness, the comedic, and the sublime -- 4.2. From Steen to Vondel: comical and tragic counterpoints to the comedic -- 4.3. The sublime intensity of the moment -- 4.4. Freedom: necessity and contingency -- 5. The seas or the world as scene -- Focquenbroch and Grotius -- 5.1. Pre-colonial mise-en-abyme: Focquenbroch and a non-republican baroque -- 5.2. Moment of exchange and the non-existent 'proper' -- 5.3. Juridical staging: commerce and the seas -- 5.4. The precariousness of mise-en-scene -- 5.5. Amsterdam: city and sea as world scene -- 6. Not a frame but a lens: the touch of knowledge -- Rumphius, Vossius, Spinoza -- 6.1. Spectacle or theater: Rumphius as knowledge-trader -- 6.2. Nature internalized: res cogitans reconsidered -- 6.3. Sensing the world differently: the telescope -- 6.4. Reading through a lens: intensity and texture before scripture -- 7. Public theater, collective drama and the new -- Van den Enden and Huygens -- 7.1. Theatrum mundi, public acting and the plane of collective imagination -- 7.2. Speaking for those who understand: a school drama in a theater -- 7.3. Dramatization: Theatrum mundi versus mundus dramaticus -- 7.4. Fluid borders between theatricality and dramatization: Huygens' 'Sunday' -- 8. Interrupting time for the sake of division: history and the tableau vivant -- Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos -- 8.1. Abraham and Isaac: the opening of history through the what-if -- 8.2. The virtual: narrative versus interruption -- 8.3. A Fool Waiting for the Political Moment: Tableau Vivant Between Retrospection and Anticipation -- 8.4. The political potential in the tableau and the nature of freedom -- 8.5. Moment of closure: spectacle and a revolting tableau. In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised 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 towards the interactions among the notions of theatricality, dramatisation, moment, and event: concepts that are currently at the centre of philosophical and political debates but the modern articulation of which can best be considered in the explorations of history and world in the Dutch Republic. Our idea of Dutch history will never recover from reading this book. As in Korsten's conception of the Baroque Art, Baroque Netherlands Themes, motives. Art, Dutch 17th century Themes, motives. Art, Dutch 16th century Themes, motives. Netherlands Politics and government 1648-1714. 94-6298-212-0 Amsterdam studies in the Dutch golden age. |
language |
English |
format |
eBook |
author |
Korsten, Frans-Willem, |
spellingShingle |
Korsten, Frans-Willem, A Dutch republican baroque : theatricality, dramatization, moment, and event / Amsterdam studies in the Dutch Golden Age Republican baroque: a thunderclap, a city hall and two executions -- Artifice: multiple worlds and one actualized -- Why a Dutch republican baroque; and why not a Golden Age? -- City hall: affect -- or what moves and what drives -- Thunderclap: moment and event -- Two executions: theatricality and dramatization -- Republican baroque and slavery -- The dramatic potential in history: Rome and the Republic -- Grevius, Vondel, Knupfer, and Job -- Two incompatible political models: transfer or disruption? -- Allegory tied into a knot: history's continuity dramatically disrupted -- Perverse powers, or how to make fun of the theater of torture -- Catholic Rome and the figure of Job: subjection to the only possible world -- The cruel death of worlds and political incompatibility -- the brothers De Witt -- Foundations of law: the master/father of a political house -- The lynching of the De Witts: condensation and spectacle -- The ship of state and the cruel political choice between incompatible worlds -- Combat, the dramatic logic of cruelty, and the potential of difference -- A Happy Split of Worlds or the Comedic Sublime -- Frans Hals -- Happiness, the comedic, and the sublime -- From Steen to Vondel: comical and tragic counterpoints to the comedic -- The sublime intensity of the moment -- Freedom: necessity and contingency -- The seas or the world as scene -- Focquenbroch and Grotius -- Pre-colonial mise-en-abyme: Focquenbroch and a non-republican baroque -- Moment of exchange and the non-existent 'proper' -- Juridical staging: commerce and the seas -- The precariousness of mise-en-scene -- Amsterdam: city and sea as world scene -- Not a frame but a lens: the touch of knowledge -- Rumphius, Vossius, Spinoza -- Spectacle or theater: Rumphius as knowledge-trader -- Nature internalized: res cogitans reconsidered -- Sensing the world differently: the telescope -- Reading through a lens: intensity and texture before scripture -- Public theater, collective drama and the new -- Van den Enden and Huygens -- Theatrum mundi, public acting and the plane of collective imagination -- Speaking for those who understand: a school drama in a theater -- Dramatization: Theatrum mundi versus mundus dramaticus -- Fluid borders between theatricality and dramatization: Huygens' 'Sunday' -- Interrupting time for the sake of division: history and the tableau vivant -- Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos -- Abraham and Isaac: the opening of history through the what-if -- The virtual: narrative versus interruption -- A Fool Waiting for the Political Moment: Tableau Vivant Between Retrospection and Anticipation -- The political potential in the tableau and the nature of freedom -- Moment of closure: spectacle and a revolting tableau. |
author_facet |
Korsten, Frans-Willem, |
author_variant |
f w k fwk |
author_role |
VerfasserIn |
author_sort |
Korsten, Frans-Willem, |
title |
A Dutch republican baroque : theatricality, dramatization, moment, and event / |
title_sub |
theatricality, dramatization, moment, and event / |
title_full |
A Dutch republican baroque : theatricality, dramatization, moment, and event / Frans-Willem Korsten. |
title_fullStr |
A Dutch republican baroque : theatricality, dramatization, moment, and event / Frans-Willem Korsten. |
title_full_unstemmed |
A Dutch republican baroque : theatricality, dramatization, moment, and event / Frans-Willem Korsten. |
title_auth |
A Dutch republican baroque : theatricality, dramatization, moment, and event / |
title_alt |
Republican baroque: a thunderclap, a city hall and two executions -- Artifice: multiple worlds and one actualized -- Why a Dutch republican baroque; and why not a Golden Age? -- City hall: affect -- or what moves and what drives -- Thunderclap: moment and event -- Two executions: theatricality and dramatization -- Republican baroque and slavery -- The dramatic potential in history: Rome and the Republic -- Grevius, Vondel, Knupfer, and Job -- Two incompatible political models: transfer or disruption? -- Allegory tied into a knot: history's continuity dramatically disrupted -- Perverse powers, or how to make fun of the theater of torture -- Catholic Rome and the figure of Job: subjection to the only possible world -- The cruel death of worlds and political incompatibility -- the brothers De Witt -- Foundations of law: the master/father of a political house -- The lynching of the De Witts: condensation and spectacle -- The ship of state and the cruel political choice between incompatible worlds -- Combat, the dramatic logic of cruelty, and the potential of difference -- A Happy Split of Worlds or the Comedic Sublime -- Frans Hals -- Happiness, the comedic, and the sublime -- From Steen to Vondel: comical and tragic counterpoints to the comedic -- The sublime intensity of the moment -- Freedom: necessity and contingency -- The seas or the world as scene -- Focquenbroch and Grotius -- Pre-colonial mise-en-abyme: Focquenbroch and a non-republican baroque -- Moment of exchange and the non-existent 'proper' -- Juridical staging: commerce and the seas -- The precariousness of mise-en-scene -- Amsterdam: city and sea as world scene -- Not a frame but a lens: the touch of knowledge -- Rumphius, Vossius, Spinoza -- Spectacle or theater: Rumphius as knowledge-trader -- Nature internalized: res cogitans reconsidered -- Sensing the world differently: the telescope -- Reading through a lens: intensity and texture before scripture -- Public theater, collective drama and the new -- Van den Enden and Huygens -- Theatrum mundi, public acting and the plane of collective imagination -- Speaking for those who understand: a school drama in a theater -- Dramatization: Theatrum mundi versus mundus dramaticus -- Fluid borders between theatricality and dramatization: Huygens' 'Sunday' -- Interrupting time for the sake of division: history and the tableau vivant -- Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos -- Abraham and Isaac: the opening of history through the what-if -- The virtual: narrative versus interruption -- A Fool Waiting for the Political Moment: Tableau Vivant Between Retrospection and Anticipation -- The political potential in the tableau and the nature of freedom -- Moment of closure: spectacle and a revolting tableau. |
title_new |
A Dutch republican baroque : |
title_sort |
a dutch republican baroque : theatricality, dramatization, moment, and event / |
series |
Amsterdam studies in the Dutch Golden Age |
series2 |
Amsterdam studies in the Dutch Golden Age |
publisher |
Amsterdam University Press, |
publishDate |
2017 |
physical |
1 online resource (231 pages) : digital, PDF file(s). Issued also in print. |
edition |
1st ed. |
contents |
Republican baroque: a thunderclap, a city hall and two executions -- Artifice: multiple worlds and one actualized -- Why a Dutch republican baroque; and why not a Golden Age? -- City hall: affect -- or what moves and what drives -- Thunderclap: moment and event -- Two executions: theatricality and dramatization -- Republican baroque and slavery -- The dramatic potential in history: Rome and the Republic -- Grevius, Vondel, Knupfer, and Job -- Two incompatible political models: transfer or disruption? -- Allegory tied into a knot: history's continuity dramatically disrupted -- Perverse powers, or how to make fun of the theater of torture -- Catholic Rome and the figure of Job: subjection to the only possible world -- The cruel death of worlds and political incompatibility -- the brothers De Witt -- Foundations of law: the master/father of a political house -- The lynching of the De Witts: condensation and spectacle -- The ship of state and the cruel political choice between incompatible worlds -- Combat, the dramatic logic of cruelty, and the potential of difference -- A Happy Split of Worlds or the Comedic Sublime -- Frans Hals -- Happiness, the comedic, and the sublime -- From Steen to Vondel: comical and tragic counterpoints to the comedic -- The sublime intensity of the moment -- Freedom: necessity and contingency -- The seas or the world as scene -- Focquenbroch and Grotius -- Pre-colonial mise-en-abyme: Focquenbroch and a non-republican baroque -- Moment of exchange and the non-existent 'proper' -- Juridical staging: commerce and the seas -- The precariousness of mise-en-scene -- Amsterdam: city and sea as world scene -- Not a frame but a lens: the touch of knowledge -- Rumphius, Vossius, Spinoza -- Spectacle or theater: Rumphius as knowledge-trader -- Nature internalized: res cogitans reconsidered -- Sensing the world differently: the telescope -- Reading through a lens: intensity and texture before scripture -- Public theater, collective drama and the new -- Van den Enden and Huygens -- Theatrum mundi, public acting and the plane of collective imagination -- Speaking for those who understand: a school drama in a theater -- Dramatization: Theatrum mundi versus mundus dramaticus -- Fluid borders between theatricality and dramatization: Huygens' 'Sunday' -- Interrupting time for the sake of division: history and the tableau vivant -- Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos -- Abraham and Isaac: the opening of history through the what-if -- The virtual: narrative versus interruption -- A Fool Waiting for the Political Moment: Tableau Vivant Between Retrospection and Anticipation -- The political potential in the tableau and the nature of freedom -- Moment of closure: spectacle and a revolting tableau. |
isbn |
90-485-3205-1 94-6298-212-0 |
callnumber-first |
N - Fine Arts |
callnumber-subject |
N - Visual Arts |
callnumber-label |
N6415 |
callnumber-sort |
N 46415 B3 K67 42017 |
geographic |
Netherlands Politics and government 1648-1714. |
geographic_facet |
Netherlands |
era_facet |
17th century 16th century 1648-1714. |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
790 - Sports, games & entertainment |
dewey-ones |
792 - Stage presentations |
dewey-full |
792.0949209/032 |
dewey-sort |
3792.0949209 232 |
dewey-raw |
792.0949209/032 |
dewey-search |
792.0949209/032 |
oclc_num |
1059284167 |
work_keys_str_mv |
AT korstenfranswillem adutchrepublicanbaroquetheatricalitydramatizationmomentandevent AT korstenfranswillem dutchrepublicanbaroquetheatricalitydramatizationmomentandevent |
status_str |
n |
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carrierType_str_mv |
cr |
hierarchy_parent_title |
Amsterdam studies in the Dutch Golden Age |
is_hierarchy_title |
A Dutch republican baroque : theatricality, dramatization, moment, and event / |
container_title |
Amsterdam studies in the Dutch Golden Age |
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theatricality and dramatization: Huygens' 'Sunday' --</subfield><subfield code="g">8.</subfield><subfield code="t">Interrupting time for the sake of division: history and the tableau vivant -- Rembrandt (Abraham and Isaac), Quast, Vondel, and Vos --</subfield><subfield code="g">8.1.</subfield><subfield code="t">Abraham and Isaac: the opening of history through the what-if --</subfield><subfield code="g">8.2.</subfield><subfield code="t">The virtual: narrative versus interruption --</subfield><subfield code="g">8.3.</subfield><subfield code="t">A Fool Waiting for the Political Moment: Tableau Vivant Between Retrospection and Anticipation --</subfield><subfield code="g">8.4.</subfield><subfield code="t">The political potential in the tableau and the nature of freedom --</subfield><subfield code="g">8.5.</subfield><subfield code="t">Moment of closure: spectacle and a revolting tableau.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">In the Dutch Republic, in its Baroque forms of art, two aesthetic formal modes, theatre and drama, were dynamically related to two political concepts, event and moment. The Dutch version of the Baroque is characterised 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 towards the interactions among the notions of theatricality, dramatisation, moment, and event: concepts that are currently at the centre of philosophical and political debates but the modern articulation of which can best be considered in the explorations of history and world in the Dutch Republic. Our idea of Dutch history will never recover from reading this book. 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