SESSION 1: The Age of Theater

Blaise Pascal, Pensées, Brunschvicg edition, no.11 (Paris: Classiques Garnier, 1958); translation by the author.

John Dunbar, The Combat at the Barrier (Pasadena, Calif.: Grant Dahlstromm 1967).

Norbert Elias, The Civilizing Process, trans. Edmund Jephcott (Cambridge, Mass., and Oxford: Blackwell, 1994).

SESSION 2: The Art of the Infinite

Blaise Pascal, Pensées, trans. W. F. Trotter (New York: Modern Library, 1948), quoted in John Rupert Martin, Baroque.

Bernard le Bovier de Fontenelle, Entretiens sur la pluralité des mondes (1742; Paris: Marcel Didier, 1966); Conversations on the Plurality of Worlds, trans. H. A. Hargreaves (Berkeley: University of California Press, 1990), trans. mod. by author.

Heinrich Wölfflin, Renaissance and Baroque, trans. Kathrin Simon (Ithaca, N.Y.: Cornell University Press, 1966).

John Rupert Martin, Baroque (New York: Harper & Row, 1977).

SESSION 3: Theater of the World

All quotations from Shakespeare in this session are from The Complete Works of William Shakespeare, ed. David Bevington, updated fourth ed. (New York: Longman, 1997).

Rensselaer W. Lee, Ut Pictura Poesis: The Humanistic Theory of Painting (New York: W.W. Norton & Company, 1967).

Jeffrey Denton, Orders and Hierarchies in Late Medieval Europe (Toronto: University of Toronto Press, 2000), and E.M.W. Tillyard, The Elizabethan World Picture (New York: Random House, 1946).

Ernst Robert Curtius, European Literature of the Latin Middle Ages, trans. Willard R. Trask (New York: Pantheon, 1953).

SESSION 4: Social Performance

Larry F. Norman, The Public Mirror: Molière and the Social Commerce of Depiction (Chicago: University of Chicago Press, 1999); Averroes’ Middle Commentary on Aristotle’s Poetics, trans. Charles E. Butterworth (Princeton, N.J.: Princeton University Press, 1986); Pierre Pasquier, La Mimèsis dans l'esthétique théâtrale du XVIIe siècle: Histoire d'une réflexion (Paris: Klincksieck, 1995); and Emmanuel Bury, "Comédie et science des moeurs: le modèle de Terence aux XVIe and XVIIe siècles," Littératures classiques 27 (1996).

André Félibien, Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes (Paris: D. Mariette, 1696); L’Idée du peintre parfait, pour servir de règle aux jugemens que l’on doit porter sur les ouvrages des peintres (London: David Mortier, 1696); Roger de Piles, Cours de peinture par principles (Paris: Gallimard, 1989); and Jean Donneau de Visé, Zélinde, comedie; ou la véritable Critique de "L’Ecole des Femmes" et la critique de la critique, in Georges Mongrédien, ed., La Querelle de "L’Ecole des femmes," 2 vols. (Paris: Societé des Textes Français Modernes, 1971).

Donneau de Visé, quoted in Molière, Oeuvres completes, ed. Georges Couton (Paris: Gallimard, Bibliothèque de la Pléiade, 1971).

Pierre Nicole, Essais de morale (Paris, 1675).

Translation by Nicholas Hammond in Creative Tensions: An Introduction to Seventeenth-Century French Literature (London: Duckworth, 1997); see letter dated May 21, 1676 in Lettres nouvelles de Madame la Marquise de Sévigné à Madame la Comtesse de Grignan, sa fille (Paris: Rollin, 1754).

SESSION 5: The Art of Fragile Harmony

Luba Freedman, The Classical Pastoral in the Visual Arts (New York: Lang, 1989); Robert Cafritz, Lawrence Gowing, and David Rosand, Places of Delight: The Pastoral Landscape (New York: Crown Publishers, 1988); and Paul Alpers, What is Pastoral? (Chicago: University of Chicago Press, 1996). Jean-Pierre Van Eslande provides an excellent study of pastoral aesthetics in L’Imaginaire pastoral du XVIIe siècle: 1600-1650 (Paris: PUF, 1999).

For an excellent analysis of this tension and enlightening examples, see Erwin Panofsky, "What is Baroque?" in Three Essays on Style (Cambridge: MIT Press, 1994). For a broader discussion on the baroque, see John Rupert Martin, Baroque (New York: Harper & Row, 1977).

Roger De Piles, Cours de peinture par principles (1709); The Principles of Painting, trans. Sir William Soames, rev. trans. John Dryden (London: J. Osborn, 1743).

Jonathan Unglaub, "The Concert Champêtre: The Crises of History and the Limits of Pastoral," Arion, A Journal of Humanities and Classics, 3rd series, 5 (1997).

For a precise account of the debt that French opera owes to pastorals, see Catherine Kintzler, Poétique de l’opéra français de Corneille à Rousseau (Paris: Minerve, 1991).