Thursday, March 23, 2017

Diplomacia europea y artes escénicas



Ellen R. Welch
A Theater of Diplomacy International Relations and the Performing Arts in Early Modern France
Philadelphia: University of Pennsylvania Press, 2016, 352 pp.
ISBN: 9780812249002

The seventeenth-century French diplomat François de Callières once wrote that "an ambassador resembles in some way an actor exposed on the stage to the eyes of the public in order to play great roles." The comparison of the diplomat to an actor became commonplace as the practice of diplomacy took hold in early modern Europe. More than an abstract metaphor, it reflected the rich culture of spectacular entertainment that was a backdrop to emissaries' day-to-day lives. Royal courts routinely honored visiting diplomats or celebrated treaty negotiations by staging grandiose performances incorporating dance, music, theater, poetry, and pageantry. These entertainments—allegorical ballets, masquerade balls, chivalric tournaments, operas, and comedies—often addressed pertinent themes such as war, peace, and international unity in their subject matter. In both practice and content, the extravagant exhibitions were fully intertwined with the culture of diplomacy. But exactly what kind of diplomatic work did these spectacles perform?

Ellen R. Welch contends that the theatrical and performing arts had a profound influence on the development of modern diplomatic practices in early modern Europe. Using France as a case study, Welch explores the interconnected histories of international relations and the theatrical and performing arts. Her book argues that theater served not merely as a decorative accompaniment to negotiations, but rather underpinned the practices of embodied representation, performance, and spectatorship that constituted the culture of diplomacy in this period. Through its examination of the early modern precursors to today's cultural diplomacy initiatives, her book investigates the various ways in which performance structures international politics still.

 

Table of Contents

Introduction
Chapter 1. Orchestrating Dissonant Concord in the Bayonne Entertainments (1565)
Chapter 2. The Ambassador's Point of View, from London to Paris (1608-9)
Chapter 3. National Actors on the Ballet Stage (1620s-30s)
Chapter 4. Richelieu's Allegories of War (1639-42)
Chapter 5. Ballet Diplomacy at the Congress of Westphalia (1645-49)
Chapter 6. Entertaining Personalities at Louis XIV's Court (1653-69)
Chapter 7. Exotic Audiences (1668-1715)
Chapter 8. Diplomacy on the Public Stage (1697-1714)
Conclusion

Notes
Bibliography
Index
Acknowledgments

 

Ellen R. Welch is Associate Professor of French and Francophone Studies at the University of North Carolina at Chapel Hill. She is author of A Taste for the Foreign: Worldly Knowledge and Literary Pleasure in Early Modern French Fiction.

 
XXXxXXX

Sumo la presente entrada dos anteriores, respectivamente:

 

-        Timothy Hampton
Fictions of embassy: literature and diplomacy in early modern Europe
Ithaca, N. Y.: Cornell University Press, 2009, 256 pp.

ISBN: 978-0-8014-4775-4



-        Nathalie Rivère de Carles (ed.)
Early Modern Diplomacy, Theatre and Soft Power: The Making of Peace
London: Palgrave Macmillan, 2016, 239 pp.
ISBN: 9781137436931



Y a éstas una referencia más:

 


Rebekah Ahrendt, Giulia Giovani, Damien Mahiet, Arne Spohr & Ellen R. Welch
Music and Diplomacy from the Early Modern Era to the Present
New York: Palgrave Macmillan, 2014, 291 pp.
ISBN: 978-1137468321

How does music shape the exercise of diplomacy, the pursuit of power, and the conduct of international relations? Drawing together international scholars with backgrounds in musicology, ethnomusicology, political science, cultural history, and communication, this volume interweaves historical, theoretical, and practical perspectives. 

Rebekah Ahrendt, Yale University, USA Melvin L. Butler, University of Chicago, USA Mario Dunkel, TU Dortmund University, Germany Mark Ferraguto, Pennsylvania State University, USA Danielle Fosler-Lussier, Ohio State University, USA
Giulia Giovani, German Historical Institute, Rome, Italy Anne-Madeleine Goulet, CNRS/Center for Baroque Music, Versailles, France Harm Langenkamp, Utrecht University, The Netherlands
Damien Mahiet, Independent Scholar, USA Frédéric Ramel, Sciences Po Paris, France Kendra Salois, University of Maryland, College Park, USA
Arne Spohr, Bowling Green State University, USA M. Paula Survilla, Wartburg College, USA
Ellen R. Welch, University of North Carolina, Chapel Hill, USA Willow F. Williamson, American University, USA Jonathan Yaeger, Juilliard School, USA

No comments: