NtheBraziliancasewehaveacomplicatedhouse,where apparentlysingularandevenmutuallyexclusivestylesseemto coexistinanintimaterelationship.I amafraidthatwhatwas conventionallycalledtheBaroquewasnotexhaustedinthepast, butitconstitutesaBrazilianarttotheextentthatitsstylisticsis preciselythis:Onewiththecapacitytorelate(ortointendtounite withforce,suggestivityandanincomparabledesire)thehighwith thelow theskywiththeearth thesaintwiththesinner theinterior withtheexterior theweakwiththepowerful thehumanwiththe divine,andthepastwiththepresent.
HolyVirgin,thouwhodefendtheBrightCze˛stochowa AndshineinOstraBrama! - Adam Mickiewicz (Ĭultureisadiscourse,alanguage,andassuchithasnobeginning orendandisalwaysintransformation,sinceitisalwayslooking forthewaytosignifywhatitcannotmanagetosignify. Tomyfather,whotaughtmeaboutdifferentcultures, ( Tomygrandfather,whotaughtmeaboutfreedom, ( Includes bibliographical references and index. Library of congress cataloging-in-publication data Oleszkiewicz-Peralba, Małgorzata, 1954 – The Black Madonna in Latin America and Europe : tradition and transformation / Małgorzata Oleszkiewicz-Peralba. Published 2007 Printed in China by Four Colour Imports, Ltd.
© 2007 by the University of New Mexico Press All rights reserved. Małgorzata Oleszkiewicz-Peralba Oleszkiewicz -Peralba THE BLACK M ADONNA in LATIN AMERICA and EUROPE The Black Madonna in Latin America and Europe
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