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This article is a reflection on the concept of the writer in the work of Alejo Carpentier, based on his chronicles and essays. After giving a tentative outline of the limitations of the traditional historical discourse from which Carpentier draws, I will show how a paradoxical image of the author forms in his essays that is related to Carpentier's idea of language, his preconceptions about Latin America, and the construction of an essentialist perspective. [ABSTRACT FROM AUTHOR]

In Baroque Modernity: An Aesthetics of Theater, Joseph Cermatori returns to and reinvents the perennial figure of excess and opulence. Examining the works of Friedrich Nietzsche, Stéphane Mallarmé, Walter Benjamin, and Gertrude Stein, he discovers some latent and manifest strands of seventeenth-century aesthetics and in so doing reformulates a new genealogy of modernism through its recursion to this early modern meta-discourse. Cermatori's generative book thus opens up new paths of thinking into the entanglements of secularity, theatricality, and periodization. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article shines light on the interconnectedness of reproductive labour and Latin American literature through two Chilean novels that explore the relationship between peripheral capitalism and domestic servitude: José Donoso's The Obscene Bird of Night and Diamela Eltit's Mano de Obra. The study of these texts allows for a periodisation of the reproductive sphere under different phases of capitalist accumulation, and exposes an association between the literary treatment of domestic service and the achievement of highly experimental narratives in Latin America. My reading of Obscene goes beyond viewing this novel as postmodernist fiction, by showing how its nightmarish poetics are a consequence of the transformation of the oligarchic household vis-a-vis the collapse of systems of bonded labour in the 1960s. Whereas the prose of Obscene provides a harrowing descent into the intimate connections between master and servant at the moment of their decline, Mano de Obra unveils a surgical prose capable of expressing the new impersonality of social reproduction in the subsequent neoliberal period. Of special interest to this analysis is how Eltit suggests that even the proletariat household can recreate exploitative patterns of domestic servitude to guard against complete immiseration. Three main conclusions result from this reading. First, Latin American fiction is an important literary archive from which capitalism's exploitation of the reproductive sphere can be excavated. Second, Latin American literature shows formal uniqueness when representing domestic service in the periphery. Lastly, fictional representations of domestic service help us understand the institution not as remnant of previous modes of production, but as capitalist strategy for the reproduction of social forces that underpay the cost of life-making processes. [ABSTRACT FROM AUTHOR]

When, in 1779, the nuns of the convent of Louriçal addressed to the Real Mesa Censória a request to print the sixty-two letters that the Poor Clare nun Joana do Louriçal had written to her confessor, they might not have expected their project to be frustrated. Among the problems pointed out, gender bias and a new religious sensibility are among the most striking: bloody penance provokes horror, stigmata arouse mistrust and are considered not suitable for a woman. Furthermore, some aspects of the relation between the nun and her confessor are subject to scandal. I will argue that the political context had changed and with it religious and aesthetic sensibility too. From 1750, an «enlightened» king, D. José I, reigned. Devotion now has to be «regulated», not only in terms of what is heterodoxy, but also in terms of its verbal expression and of another sensibility it conveys.

At the beginning of the XX century harpsichord went through a major revival. The builders', performers', and composers' approach to reconstruction of this instrument and its sound characteristics have created a whole new system of artistic allusions. That system was unexpected in the context of the instrument's history, yet logical, considering the aesthetic of the time. Original harpsichord pieces of the early-20th-century composers commonly embody mechanical or automatic movements, imitate life of a big industrial city, show evil underworld forces and at the same time allude to baroque aesthetics, the interest to which triggered the revival of the instrument. Paradoxically, the harpsichord in the beginning of XX century is seen as something new and fresh, something able to replace piano, which had already passed its high point. Yet, the harpsichord revival started thanks to the new generation's interest to the music of XVII-XVIII century. Poulenc's harpsichord concerto, known also as Concert champêtre, written for Wanda Landowska and her unique Pleyel harpsichord, is treated here as one of the brightest examples of the multiplicity of meanings of the harpsichord sound in early 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie IV, Historia Moderna is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tiempos Modernos is the property of Tiempos Modernos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay works within a transatlantic framework to excavate an early modern sensitivity to form and formal arrangement from practices of compositionally reconfiguring printed compositions. Tracing such operations generates a reappraisal of foundational conceptions of Baroque aesthetics and of the very notion of the Baroque as a style. The essay begins in colonial Latin America, where artists were frequently tasked with using European prints to produce works of art, but it then tacks in the opposite direction to argue that exploring Latin American compositional modes allows better seeing them in Europe as well - both in commonplace visual culture and in the highest echelons of artistic production. The Baroque comes to be defined as a compositional mode of artistic practice centered on form and its potential for syntactical recombination - a mode conditioned by the medium of print. This essay thus advocates for the ways that working across once-interconnected geographies can (and should) shift key historiographic concepts and aesthetic frameworks: here of Baroque compositional practice, the Baroque as a historiographic construct, and print's unmined place within both. [ABSTRACT FROM AUTHOR]

Interest in musical treatises of past epochs is part of the interpretive process of performing early music according to the methodology of historically informed performance. We find in them information about performance practice and music theory of a certain historical time. The presentation of language in treatises also triggers our interest, especially in view of a comprehensive perception of aesthetics and worldview of artists of the baroque time. A feature of the baroque art is its division into high and low styles (high and low baroque). The expressive means of the lower baroque works contain elements of humour, irony and hyperbole. However, the same means can be seen in the works of high style. The object of coverage in the paper is a conscious use of elements of lower style by artists, in particular, the emphasis on the role of humour in musical-didactic treatises of the baroque period. This combination reflects the polarity and contrast of the baroque aesthetics. A take on music theory and performance practice through the prism of laughter and irony will help to identify another spectre of expressive means in the serious genres of baroque music and embody it in interpretation. [ABSTRACT FROM AUTHOR]

Copyright of Matica Srpska Journal for Fine Arts / Zbornik Matice Srpske za Likovne Umetnosti is the property of Matica Srpska, Department of Visual Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we set out to briefly present Leopold Mozart's Violinschule (Violin Method), taking into consideration three versions of the work. The first is the German-language version originally edited by Johann Jakob Lotter in 1756, the same year Leopold's son Wolfgang Amadeus Mozart was born in Augsburg. The second is the French-Language version edited in Paris in 1770, translated by Valentin Roeser, while the third is a Hungarian-language translation of the 1787 third edition (once again edited by Johann Jakob Lotter, in Augsburg, this time with his son) which was published in Budapest by the Mágus publishing house in 1998. The aim of this presentation is to draw attention to the importance of the Baroque and Classical stylistic principles elaborated by Leopold Mozart, as our knowledge of them is essential to the performing art of our day, even if executed on modern instruments. We hope that by looking at the way the Violinschule is structured, specifying the problems each chapter approaches, and by underlining certain technical and performing problems which we considered to be the most important (ensuring a better perception through musical examples), we will manage to awaken young violin players' interest in the historic approach of the Baroque and Classical repertoire and, at the same time, to facilitate reading the Violinschule according to one's area of interest. [ABSTRACT FROM AUTHOR]

Copyright of Internationales Archiv für Sozialgeschichte der deutschen Literatur is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In almost all historical periods, the key ideas of building statehood in Ukraine were the ideas of social and national liberation, building a financially and culturally independent state, because for a long period of time Ukraine was under the oppression of other states. The proclamation of the state independence of Ukraine on August 24, 1991 significantly actualized the problem of state formation of the young independent country and raised the issue of state, economic, political and spiritual development of Ukraine in a fundamentally new way. But a successful and productive solution to this problem is impossible without historical and cultural discourse, which aptly demonstrates the defeats and victories along the way. It is known that the potential for successful state formation for many historical reasons, primarily due to the colonization of Ukraine by the Russian Empire, has not been fully realized. However, they show that these lost opportunities can become a source of state-building development at the present stage of Ukraine's development. Target setting. To realize the possibilities of successful development and prosperity of modern Ukrainian society, it is necessary to thoroughly analyze the phenomenon of state formation at the crucial stages of the country's development. Analysis of this process has not only theoretical but also practical significance. After all, it testifies to those important examples of successful state-building process, which were embodied in the real life of Ukrainian society, and can serve as an example for the successful development of our country. Actual scientific researches and issues analysis. The process of state formation, the study of which is extremely relevant today, is presented in the scientific literature from different angles. S. Grabovsky, Y. Rymarenko, Y. Shemshuchenko, S. Kulchytsky, A. Fortushny, N. Gedikova, A. Shklyar and other scholars are currently studying the legal, political, economic, historical and philosophical aspects of state formation. Recently, Ukrainian experts in the field of public administration, such as N. Kolosovska, V. Khodakovsky, O. Kuts, Y. Kun, V. Semenov and others analyze various aspects of this phenomenon, highlighting the main tasks of state formation, ethno-national factors of state formation and its regional features, etc. The problem of consolidation of the Ukrainian society of transitional type and the corresponding social changes is raised in the works by M. Mikhalchenko, V. Andrushchenko, L. Gubersky, V. Gorsky, V. Kremen, G. Kasyanov, M. Popovych, M. Rozumny, G. Gorak, M. Ryabchuk, M. Stepyko, A. Shevtsova and other scientists. A large number of works have recently been devoted to the disclosure and interpretation of the concept of "state formation" in the scientific literature, but in these studies the phenomenon of state formation is interpreted from the standpoint of culture, history, law, political science, economics and public administration. From our point of view, all these studies are important, but to solve a number of problems at the present stage of development of Ukraine it is necessary to turn to the analysis of the genesis of state formation of Ukrainian society at the crucial stages of its history. The research objective. To analyze the genesis of state formation of Ukrainian society at the crucial stages of its history. Investigate the process of formation of the state and law in the days of Kievan Rus. To analyze the specifics of Ukrainian state formation in the era of Ukrainian Baroque, during which the Ukrainian nation was formed and the subjectivity of the Ukrainian state was formed. To reveal the crucial significance of 1917-1920 in the intensification of the national liberation movement among Ukrainians and the process of finding a state-building path. To analyze the main problems of modern state-building practice in Independent Ukraine and the specifics of formulating the national idea as an effective mechanism for consolidating the Ukrainian people on the basis of solidarity, morality, law, democracy and political stability. The statement of basic materials. The article analyzes the process of state formation in the days of Kievan Rus, associated with two traditions of law: the rules of customary law and the rules of written law. This grand process was contradictory: on the one hand, there was democracy (people's assembly (chamber), as a powerful institution of democracy, the meeting of the military, meetings of citizens in the cities), and, on the other hand, there was authoritarianism (inherited power of the prince, as the sole owner of the state, in whose hands were concentrated the judiciary and the army). An analysis of the specifics of the process of state formation in the days of Kievan Rus, made by M. Hrushevsky, who pointed to the low socio-political activity of the people, compared with the western space of the same period. It was the Baroque era that became decisive in the formation of the national liberation ideas of the Ukrainian people - the Zaporizhzhya Sich became a symbol of national character, strength, will and freedom for the Cossacks. The importance of the Constitution of Pylyp Orlyk in the statebuilding process of the Ukrainian Hetmanate is revealed, the key ideas of which were quite clear to all segments of the population. The crucial significance of 1917-1920 in the intensification of the national liberation movement among Ukrainians and the process of finding a state-building path was revealed. The current problems of modern statebuilding practice in Independent Ukraine and the specifics of formulating the national idea as an effective mechanism for consolidating the Ukrainian people on the basis of democracy, solidarity and political stability are analyzed. Conclusions. The decisive stages in the development of Ukrainian statehood are the embodiment of the main achievements of Ukrainian society in this area. Thus, the peculiarities of the formation of statehood in the days of Kievan Rus were influenced by several circumstances, first of all, the adoption of Christianity, which proclaimed the prince as God's messenger on Earth, and the lack of Roman law inherent in Western European feudal society. That is why the legal basis of state formation in this day became two rules of law: the rules of customary law and the rules of written law. The next decisive stage in the development of Ukrainian statehood took place in the era of Ukrainian Baroque. It was during this period that the Ukrainian state became a feudal statehood of the republican type. Philip Orlyk's Constitution proclaimed the basic principles of the existence of this state. In difficult historical crisis moments of state formation, the national idea begins to play a consolidating role in building a new system of spiritual and moral guidelines that help the nation to organize itself and move forward. In the XXI century, clear moral and spiritual guidelines and appropriate conditions for the formation and development of national consciousness, traditions and cultural identity will be able to unite the Ukrainian nation to build a strong welfare state. In this context, the national elite, as the main capable force of democratic change and reform, together with the Ukrainian people must draw wise conclusions from previous lessons of history, which will be the basis for the formation of a modern independent state [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including investigates cases of baroque laterite, attempting to unravel the complexity of the early modern Italian mind.

Las hijas de Felipe , a podcast devoted to early modern gossip, baroque dramas, and forgotten lives from the sixteenth and seventeenth centuries, launched in 2020. With the insights gained after publishing eighteen episodes and achieving a loyal and diverse audience, we contemplate how the podcast format can foment new kinds of scholarly collaborations, inspire more creative academic work, and expand the public impact of humanities research. [ABSTRACT FROM AUTHOR]

The article reports numerous baroque epitaphs with and without figures, altars and other works of art are described in the art-historical descriptions of churches in the Harz region all the way to Magdeburg, but there is only rarely correct information about the material used by the sculptor and its origin. Topics include examines that several art historians are unfamiliar with the difference between marble and alabaster.

"Physical premotions" are a concept associated with Baroque Catholic theological debates concerning grace and freedom. In this paper, I present an argument that the entities identified in this debate, physical premotions, are necessary for any classical theist's account of divine causality. A "classical theist" is a theist who holds both that God is simple, that is, without inhering properties, and that humans and God are both free in the incompatibilist sense. In fact, not only does the acceptance of physical premotions not entail determinism, physical premotions are the only way for classical theists to preserve the aforementioned two commitments. Nevertheless, the theory of premotions (by itself) cannot help theologians resolve questions of how God causes human free acts without violating their freedom. [ABSTRACT FROM AUTHOR]

Spinoza says very little about art or literature in his work; a fact which partly explains the absence of references to him by the German initiators of aesthetics in the eighteenth century, including Baumgarten, Kant and Hegel. Spinoza's resolute opposition to teleology, however, provides an even more compelling reason for his absence, given the teleological conception of literary and artistic form common to the notion of aesthetics at the time of its emergence. Is it possible to fashion a counter-aesthetics from the materials provided by Spinoza's philosophy? I argue that his reading of the great Spanish Baroque writers, especially Luis de Góngora and Baltasar Gracián (whose works were found in his library), provided him with an alternative conception of literary form based on a rejection of formal coherence and closure in favor of constitutive incompleteness and an opening to the infinite. [ABSTRACT FROM AUTHOR]

Chicanx literary production has been a respected field of scholarly critique since the early twentieth century, constituting a site of cultural rupture and new articulations of the national. Though frequently associated with Ethnic Studies or English department canons due to the use of the English language, Mexican-American author John Rechy and his breakout novel City of Night (1963) must be conceptualized as a vital link connecting Latin American and U.S.-based literature canons. In order to do so, City of Night should be read as a major contribution to, and historical extension of, the Neo-Baroque aesthetic and cultural tradition. By looking principally to the theories of Mabel Moraña, César Salgado, and Angela Ndalianis, the Neo-Baroque is shown to be a postmodern movement-cum-trope of resistance popularly practiced in Latin America that includes the use of inventive language tricks, emphasizes the role of the performative, taboo, and sexualized body, and is a tactic oft incorporated by "out" gay writers who critically observe from society's margins. Neo-Baroque traits can be seen in City of Night's foray into politico-linguistics, such as the use of neologisms, arbitrary capital letters, lack of apostrophes, and the particular use of colons and em-dashes, but also in the use of narrative fragmentation, abject decadence, and the Bakhtinian nonhierarchical "ordered chaos" of the carnivalesque. Lastly, when read through the lens of Gloria Anzaldúa's concept of mestiza consciousness, City of Night exemplifies how Chicanx identity politics may factor into literature of the Neo-Baroque in the mid to late twentieth century. [ABSTRACT FROM AUTHOR]

This article takes a trans-historical approach to the notion of a baroque aesthetic as the expression of a particular set of societal and cultural circumstances. Drawing on the works of French philosophers, Michel Foucault, Jacques Derrida, and Christine BuciGlucksman, a baroque épistèmè is characterized in terms of the suspension of reason or reality through various representational ambiguities, highlighting the tension between being and appearing (être et paraître). Concluding with an invocation of Guy Debord’s La Société du spectacle, the above outlined perspective contributes to an understanding of contemporary representational practices in order to elucidate a sublime baroque madness that results from the suspension of certainties. [ABSTRACT FROM AUTHOR]

This article discusses Paul Celan's conception of the image through a close reading of his poem "Wortaufschüttung." It reveals Celan's engagement with allegory and baroque notions of the image as a sign which can only signify the absence of that which it presents. Yet Celan does not confine himself to such a negative, apophatic mode of expression. Thus, for Celan, poetry can testify to an originary speech that goes beyond mere negative signification. While the article concentrates on the image in Celan's "Wortaufschüttung," the introduction and conclusion suggest that the notion of the image discussed extends beyond the poem's boundaries and informs Celan's poetry and poetics more generally. [ABSTRACT FROM AUTHOR]

Copyright of Ad Limina. Revista de investigacion del Camino de Santiag y las peregrinaciones is the property of AD LIMINA Turismo de Galicia SA de Xestion do Plan Xacobeo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lusitania Sacra is the property of Universidade Catolica Portuguesa, Centro de Estudos de Historia Religiosa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reports on the Diemelmühle site in the baroque. It notes that the landgrave planned a canal from Bad Karlshafen to the 50 km away Kassel to build customs in Hann. It adds that the sewer construction project was canceled for cost reasons hired after a few years. It adds that the energetic use of the pent up Diemel still exists today, with power generation having begun in 1905.

The essay aims to overcome the contradiction between the theory of Wölfflin and that of D’Ors, trying to reconcile the history of art and aesthetics. The contrast between the rigor of a formal principle and the sensitivity of a material principle is overcome by means by a principle that is specifically marine and its ambivalence (source of life and death; instrument of connection and dissociation; principle of gentleness and aggression). Finally, the essay mentions the art of modeling, in which the clay is formed through the deformation and in which a rich vegetation develops from the formless. Through Bachelard, the essay develops a paradoxical analogy with the art of the blacksmith; this analogy is unexpectedly confirmed in the curves caressing the exuberant iron decoration, typical of Sicilian Baroque.

The essay aims at reappraising the role of Augusto Telluccini (1876-1930), a roman official at the Ministry of the Royal House, who became an art historian, and later Superintendent of the Piedmont historical monuments. In that position, from 1921 to 1928 he coordinated all the operations concerning two of the most relevant museum restorations and outfitting: Palazzo Madama and Stupinigi. The paper reinterprets Telluccini’s story under a practical perspective and considers him both as the main modern reviewer of Juvarra’s works and a valuable museologist: the first to understand the relevance of the Royal Residences network, which are now included in the Unesco World Heritage List. [ABSTRACT FROM AUTHOR]

John Donne (1572-1631) was accepted as one of the most remarkable English poets of elegiac poetry. Russian poet Joseph Brodsky (1940-1996) was inspired by Donne and wrote in 1963 Great Elegy to John Donne under the influence of his metaphysical approach. Traces of popular metaphysical charasteristics of John Donne's poetry on the works of Joseph Brodsky constitute the main subject of this study. Baroque influence under socialist realist Soviet literary rule as an anti-mainstream instrument of expression in Brodsky's poetry was also discussed. The aim of the study is questioning why new artistic trends take a stand against previous genres or justify themselves referring to earlier periods in the context of intertextuality. [ABSTRACT FROM AUTHOR]

Our objective of the study"Representation of the Pope in Western Art" is to present a few specific features of the typology of the portrait for the sovereign pontiff. The article is structured in two parts, the introductive one which treats problems related to the iconography of the papal portrait, a short presentation of the clothes and papal signs, while the second one contains a description of a few representative papers for the history of art, starting with the papal portrait from the Middle Ages, reaching the contemporary period. The history of the papal portrait has been a long one, reaching its peak during the Renaissance and Baroque, when various artists have approached this theme, creating works which have become historical documents of that time. The works in which the figures of the sovereigns pontiff were represented have continued up to contemporary times, under different forms and mediums of artistic representation, some of them being more controversial, others, in return, less usual such as the works of Maurizio Cattelan - La Nona Ora and Mark Wallinger - I am Innocent. Being very appreciated by contemporary people, the papal portrait has enjoyed a real success, between 2004-2005 there was an exhibition suggestively called Papi in Posa (Papal Portraiture). The exhibition reunited a real gallery of portraits of sovereigns pontiff1, a sort of journey through history and art, materialized in a volume dedicated to this event. [ABSTRACT FROM AUTHOR]

Alejo Carpentier’s 1949 novel The Kingdom of This World appropriates aesthetic principles of the Baroque and surrealism to re-narrativize the Haitian Revolution from the perspectives of minor figures, thus challenging the reader to recognize not only the limits of epistemological perspective to organize reality, but the capacity to escape those limits. For Carpentier, lo real maravilloso both reveals and moves beyond European narrative structures. This article suggests that The Kingdom of This World demonstrates the minoritarian potential of lo real maravilloso when the narrative facilitates a recognition of the disjunctive quality of Enlightenment- and modernity-coded reality, which is the first step towards producing alternative realities and narratives. [ABSTRACT FROM AUTHOR]

This paper arises from a wider research project focussed on Portuguese gilded altarpieces and sculptures of the Baroque period, which also involved research into contemporary documents and into historical context, as well as into the history of use of materials and practices in gilding technology. It focuses on the results from analyses of historical samples and samples from archaeological reconstructions ofgessoesand gilded surfaces. Analytical and experimental research shed light on diverse aspects of the technology of gilding grounds, such as range and composition of materials within historical objects, methods of production of gilding materials, gilding practices, actual performance of materials and gilded surfaces, and the science underlying the artists’ empirical choice of materials and practices. The documentary research (discussed in Part 1) elucidated the analytical and experimental research presented here, andvice-versa, resulting in a richer and more balanced understanding of thegessoesand of the motives of the people involved in their production. It is hoped that the results will inform future technological studies and conservation decisions. [ABSTRACT FROM AUTHOR]

Jean-Féry Rebel's Caractères de la Danse (c.1715) has played a prominent role in the revival of French Baroque dance; a contemporaneous poetic parody supplements the work's potential value as a guide to understanding 18th-century choreography. Presenting new evidence on the identity of the poet and the parody's purpose, this article proposes that, rather describing the original choreography, the poem tells another story: that of the character of Françoise Prévost, the dancer who premiered the work. This in turn has important implications for the incorporation of pantomime in Baroque choreography. [ABSTRACT FROM AUTHOR]