Abstract:

According to historical accounts of the period, preaching in the Baroque world was meant to be a spectacular event carried out in a theatrical space. Music and stage props were used in order to reinforce the message of the sermon. It was a feast for the senses, with the audience surrounded by sculptures, paintings, and artistic stained glass depicting scenes from the Bible, while the scent of the incense combined with other sensorial stimuli were deployed to create a multilayered spectacle. At the center of this display of lights and shadows, of sounds and meanings, of perfumes and images, was the figure of the baroque preacher. In this essay, I study the connection between preaching and theatricality in the colonial Latin-American world. To that end, I analyze the treatise on Christian oratory entitled Arte de sermones para saber hacerlos y predicarlos (1677) written by Martín de Velasco, a Franciscan Creole born in Santa Fe de Bogotá. In the first part of the essay, I describe how Velasco creates his own figure of a lettered Creole through scenes that use a belligerent rhetoric. In the second part, I analyze Section XI of Arte, dedicated entirely to explain the role of the actio in the pulpit. In both instances, I found that Velasco's text echoes a larger discussion about the circulation and production of knowledge in the complex colonial Latin-American world.

摘要：

根据该时期的历史记载，在巴洛克世界宣讲本来是在戏剧界进行的壮观活动。音乐和舞台道具被用来加强布道的信息。这是一场感官盛宴，观众被雕塑，绘画和艺术彩绘玻璃所包围，描绘了圣经中的情景，而香气与其他感官刺激相结合，创造出了多层的景象。巴洛克传教士的身影在灯光和阴影，声音和含义，香水和图像的显示中处于中心位置。在本文中，我研究了在拉丁美洲殖民地世界中讲道与戏剧的关系。为此，我分析了有关基督教演讲的论文，题目是Arte de sermones para saber hacerlos y predicarlos（1677）由马丁·德·贝拉斯科（Martínde Velasco）撰写，这是方济各会的克里奥尔语，生于波哥大的圣达菲。在本文的第一部分中，我描述了Velasco如何通过使用好战的修辞的场景来创建他自己的带有克里奥尔语的人物形象。在第二部分中，我分析了Arte的XI节，该节完全致力于解释actio在讲坛上的作用。在这两种情况下，我都发现贝拉斯科的案文呼应了关于复杂的拉丁美洲殖民地世界中知识流通和生产的更大讨论。