Introduction: Baroques

Hampton, Timothy

doi:10.2307/2930258

“…In recent work, Terry Eagleton has reflected on the possible 'religiosity' of his own thinking (2009; 2010). 7 Next to the famous (if rather impenetrable) discussions of the baroque by Walter Benjamin (2003) and Gilles Deleuze (1993) -also discussed by Hills ( 2007) -I have consulted Brown 2003;Buci-Glucksman 1992;Calabrese 1992;Chiampi 1998;Deleuze 1993;Hampton 1991;Lambert 2004;Ndalianis 2004;Owens 1980a, and other authors mentioned in the text. 8 Art historians might point out that much of what I call Bahian 'baroque' is in fact 'rococo' .…”

Section: Mattijs Van Dementioning

confidence: 99%

Ecstatic Encounters : Bahian Candomblé and the Quest for the Really Real

Port¹

2011

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recording or otherwise) without the written permission of both the copyright owner and the author of the book.eCstatIC enCounters • 8 the symbolic order. Yet they also gave themselves over to the debauchery of their Gypsy bars and to the ecstasies of war, in a desperate attempt to access a 'really real' beyond all narration and daydreaming.I have never been back to Serbia -but I still listen to the music and hum those deeply melancholic songs. Moreover, the research themes that Serbia held in store for me have remained at the top of my research agenda. The confrontation with people being 'chased out of the stories they lived by' was such a powerful, painful and overwhelming experience that two decades later I still find most of my research questions 'Serbianized' . Wherever my research activities have taken me -to the Dutch underworld (van de Port 2001), to the Lisbon fado (van de Port 1999) or to the Candomblé temples in Brazil -I ended up studying the same issue over and over again: what happens when people have to face up to the fact that their understandings of what is 'real' are dependent on a particular, and ultimately contingent narration of what life is like? And how do they, once they are lucid about the contingency of their reality definitions, produce a sense of the really real?So if my decision to accept the invitation, in 2001,

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“…In recent work, Terry Eagleton has reflected on the possible 'religiosity' of his own thinking (2009; 2010). 7 Next to the famous (if rather impenetrable) discussions of the baroque by Walter Benjamin (2003) and Gilles Deleuze (1993) -also discussed by Hills ( 2007) -I have consulted Brown 2003;Buci-Glucksman 1992;Calabrese 1992;Chiampi 1998;Deleuze 1993;Hampton 1991;Lambert 2004;Ndalianis 2004;Owens 1980a, and other authors mentioned in the text. 8 Art historians might point out that much of what I call Bahian 'baroque' is in fact 'rococo' .…”

Section: Mattijs Van De Port Is An Anthropologist and Work At The Uni...mentioning

confidence: 99%

Ecstatic Encounters

Port¹

2011

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recording or otherwise) without the written permission of both the copyright owner and the author of the book.eCstatIC enCounters • 8 the symbolic order. Yet they also gave themselves over to the debauchery of their Gypsy bars and to the ecstasies of war, in a desperate attempt to access a 'really real' beyond all narration and daydreaming.I have never been back to Serbia -but I still listen to the music and hum those deeply melancholic songs. Moreover, the research themes that Serbia held in store for me have remained at the top of my research agenda. The confrontation with people being 'chased out of the stories they lived by' was such a powerful, painful and overwhelming experience that two decades later I still find most of my research questions 'Serbianized' . Wherever my research activities have taken me -to the Dutch underworld (van de Port 2001), to the Lisbon fado (van de Port 1999) or to the Candomblé temples in Brazil -I ended up studying the same issue over and over again: what happens when people have to face up to the fact that their understandings of what is 'real' are dependent on a particular, and ultimately contingent narration of what life is like? And how do they, once they are lucid about the contingency of their reality definitions, produce a sense of the really real?So if my decision to accept the invitation, in 2001,

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“…As Hampton (1991) argues, such periodizations are themselves somewhat paradoxical, in that they are predicated on the baroque as a set of representational motifs that, in their expression, reflect attention back onto the very conditions of their making. (Mustn't all marginalia, like all main texts, be forever infused with both context and recontext?)…”

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Baroque Geographies: Marginal Preoccupations

Dixon

¹

2014

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Baroque geographies: marginal preoccupations" The baroque signifier proliferates beyond everything signified, placing language in excess of corporality. At the risk of appearing still more paradoxical, we might say that baroque reason brings into play the infinite materiality of images and bodies." Christine Buci-Glucksmann (1994, page 139, emphasis in original)The baroque is a term that has hovered on the margins of geographic inquiry, barely mentioned in the vast swathes of geographic literature. Our intent in this theme issue is not to respond to this by bringing the baroque into the centre of our field, such that it becomes yet another correction to our spatial imagination (though, like the 'postmodern', the baroque is said to reappear at the end of every major stylistic transition). Nor do we wish to pin down the meaning of the baroque by scoping its key characteristics and posing these against other ideas, such as the topological (Allen, 2011;Dixon and Jones, 2015), even though one of the thematics proffered by the baroque is a twisting and turning of centres and margins, interiors and exteriors, insides and outsides. We hold, instead, that there is productive value in placing sustained attention upon the baroque's occupation of, and preoccupation with, the marginalia: that is, those sites where embellishments, flourishes, doodles, and side-notes bear a sometimes critical, sometimes tenuous relationship with the main text, but nonetheless an illuminating one. Our intent, then, is not so much to ask what a baroque geography is, or should be, but what a baroque geography can do.In the following we first provide a brief exegesis of the baroque that, whilst noting its emergence within particular times and spaces, yet emphasizes the fraught and questioning relationship between event and time, context and content, and reality and representationall of which the baroque has come to indicate. It is with this fraught lineage in mind that the subsequent papers that make up this themed section, from diverse areas of geographic inquiry, can be read. Certainly, there is a great deal written in the arts and humanities on the emergence and development of the baroque as both a form wherein, for example, nature exceeds formal conventions-as with the malshaped pearls (les perles baroques) of 16th-century France, or the bizzarerie of 17th-century Italian architecture-and as an attitude denoting an unrestrained eccentricity and a perverse quest for novelty. Whilst in the 18th century such an attitude was understood as pertaining to the strange and the unusual, by the 19th century the baroque taste came to be allied with decadence and decline as religion collapsed into politics, and the superabundant detail of the Counter-Reformation, which both pleasured and stupefied the senses, became a tool of policy (Hills,

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Introduction: Baroques

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Ecstatic Encounters : Bahian Candomblé and the Quest for the Really Real

Ecstatic Encounters : Bahian Candomblé and the Quest for the Really Real

Ecstatic Encounters

Baroque Geographies: Marginal Preoccupations

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