Baroque, Venice, Theatre, Philosophy; Acknowledgements; Contents; 1 Introduction; Constellatory Thinking: Baroque, Venice, Theatre, Philosophy; Performance of Thought; Shape of the Study; Notes; Part I Baroque Pastoral; Note; 2 Garden Thinking and Baroque Pastoral; Gardens; Garden Thinking; Valsanzibio: "Ivi è l'Inferno e qui il Paradiso"; Bomarzo: "Fatte Per Inganno O Pur Per Arte"; From Pastoral Gardens to Pastoral Literature; Colonna: Pastoral in Excess; Tasso: Pastoral Discipline; Baroque Pastoral: Ground as "Infinite Work in Process"; Notes

3 Pastoral Askew and Aslant: Ruzzante's Historico-Theatrical ConsciousnessRuzzante Takes the Stage; Situating the Pastoral; Pastoral as Critique within Critique within Critique; Ruzzante's Baroque Pastoral; Notes; 4 Jesuit Pastoral Theatre: The Case of Father Pietro Leon da Valcamonica; Della Ragion di stato: An Act of Justice; Pastoral Power: An Act of Salvation; From Pastoral Power to Pastoral Theatre; Jesuit Baroque Allegorical Dramaturgy; The Case of Valcamonica; Notes; PartII Discipline and Excess; Note; 5 Ruzzante Takes Place; Prelude: Baroque Scenography and Beolco's Scenogardening

Act I, in which Ruzzante Tries to take Venice but FailsAct II, In Which Ruzzante Tries to Take Back Padua; Interlude: Taking Place as Territorialization; Finale: The Radical, the Uprooted, and Art that Baroques; Notes; 6 The Enscenement of Self and the Jesuit Teatro del Mondo; Critical Models; Actualizing the Jesuit Teatro del Mondo; Cultivating Affectivity; Internal Difference and the Practice of Non-Identity; Notes; 7 Baroque Diarchic Self; Beolco's Aesthetic Consignment; The Jesuit Mass Production of a Mystical Self; Ruzzante: A Secular Mystic?; Becoming-Baroque; Notes; Bibliography; Index