Electronic reproduction. Ann Arbor, MI Available via World Wide Web.
Frontmatter -- Contents -- Figures -- Acknowledgments -- Introduction: The Ibero-American Baroque as the First Global Culture -- Part 1. Painting, Sculpture, and Other Arts -- 1. Transfers, Encounters, Innovations: The Church of the Third Order of Saint Francis of Penance in Ouro Preto -- 2. The Elevation of the Genre of "Shrine Paintings" in Peru -- 3. Baroque Reliquaries and Automata as Representations of Eternal Life -- 4. Marian Sculpture in Baroque Portuguese America -- Part 2. Architecture -- 5. Presence and Absence: The Holy House of Loreto in Ibero-America -- 6. From Intimate to Infinite Presence: The Camarín at Tepotzotlán -- 7. Passion in Motion: The Way of the Cross as Performance in New Spain -- Part 3. Music -- 8. Music in Processions at the Jesuit Reducciones of Moxos and Chiquitos in Bolivia -- 9. Neapolitan Technology and Galant Style in a Novohispano Context: Eight Concerted Responsories by Ignacio Jerusalem -- 10. The Resonance of Sor Juana's Villancicos in Spanish Cathedral Archives -- Part 4. Textual Continuities and Change -- 11. Emblems and Wit in the Hispanic Baroque according to Baltasar Gracián -- 12. The Baroque as Paradox: Novelty and Printed Courtly Sermons in Seventeenthand Eighteenth-Century New Spain -- 13. The Literary Dream in Querétaro: A Baroque Genre and Enlightenment Ideals in New Spain -- Contributors -- Index -- Toronto Iberic