Arts and Humanities Commons^™

Musical Formalism And Political Performances, Jonathan A. Neufeld

Contemporary Aesthetics (Journal Archive)

Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type of thing any description of the music can tell us, is inconsistent with Kivy's quite compelling account of performance. This shows the difficulty …

Dancing In The Shadows: Ritual, Drama And The Performance Of Baptisms In The Digby Conversion Of St. Paul And Philip Massinger’S The Renegado., Matthew C. Hansen

Quidditas

The anonymous Digby Conversion of St. Paul aims at historical verisimilitude in order to distance the on-stage baptism the play contains from the rite as performed in early sixteenth-century English churches. Philip Massinger’s The Renegado (published 1624), presenting the conversion and baptism of a Muslim woman, employs specific details to establish the baptism performed on stage as a rite that, while efficacious within the contexts of the play, is markedly different in substantive performance than the form of baptism presented in the 1559 Book of Common Prayer. Both plays frame the dramatically significant and sensitive performance of the religious rite …

The Italian, Spanish, And English Fencing Schools In Shakespeare’S England, Stewart Hawley

Quidditas

Three styles of fencing are were taught in England during the Elizabethan era: Italian, Spanish, and English. Non-historical plays of the Elizabethan period are examined to consider what style of fencing was used on stage, and perhaps taught to the actors in plays such as Romeo and Juliet, Hamlet, and others. Historically, scholars have chosen to argue that actors of this period were taught an Italian or Spanish style of fencing, often glossing over the English style. I argue that the unique English style of fencing was probably taught to Elizabethan actors. Showing that these three fencing styles have distinct …

Works, Recordings, Performances: Classical, Rock, Jazz, Andrew Kania

Philosophy Faculty Research

In this essay, I undertake a comparative study of the ontologies of three quite distinct Western musical traditions – classical, rock, and jazz – approached from the unusual angle of their recordings. By the ‘ontology’ of a tradition I mean simply the kinds of things there are in that tradition and the relations that hold between them. A study of this scope is bound to leave many questions unanswered when restricted to this length. The ontology of classical music has been debated in the analytic tradition for close to half a century, and there has been a growing interest in …

Making Tracks: The Ontology Of Rock Music, Andrew Kania

Philosophy Faculty Research

Philosophers of music have traditionally been concerned with the problems Western classical music raises, but recently there has been growing interest both in non-Western music and in Western musical traditions other than classical. Motivated by questions of the relative merits of classical and rock music, philosophers have addressed the ontology of rock music, asking if the reason it is held in lower esteem by some is that its artworks have been misunderstood to be of the same kind as classical musical works. In classical music, the production of the sound event to which the audience listens is the result of …

Meter Change As A Relic Of Performance In The Middle English Romance Sir Beues, Linda Marie Zaerr

Quidditas

Despite the paucity of direct evidence of performance, some form of public representation of the Middle English popular verse romances remains a possibility, and that possibility has been reached by extrapolation from a number of directions. The convergence of evidence, though indirect, has become convincing, and a new approach strengthens that likelihood even further. In an attempt to understand if and how the romances were performed, scholars have considered internal references to performance, historical documents of performance and audience, physical evidence from the manuscripts, cognitive theory, theory of orality and “mouvance,” and evidence from textual variants.

Making Motions: The Embodiment Of Law In Gestures, Bernard J. Hibbitts

Articles

In contemporary America, the locus of legal meaning is habitually deemed to be the written word. This article pushes our conception of law’s “text” beyond its traditional inscripted bounds by focusing on physical gesture as a legal instrumentality. The few studies of legal gesture undertaken to date have explained its prominence in various legal systems and cultural environments, the significance of specific legal gestures in specific historic contexts, and the depiction of legal gestures in particular manuscripts or other specific physical settings, but no one has considered the general functions of legal gesture as a modality.

In an effort to …

Hermeneutical Phenomenology And The Philosophy Of Science, Patrick A. Heelan

Research Resources

Continental philosophy from the start sees science as an institution in a cultural, historical, and hermeneutical setting. The domain of its discourse is values, subjectivity, Life Worlds, history, and society, as these affect the constitution of scientific knowledge. Its notion of truth is that which pertains to history, political power, and culture. Its concern with science is to interpret its historical conditions within human society -- usually in Western culture. Science, from this perspective, is a human, social -- and fallible -- enterprise. A concern of continental philosophy of science will include social failure as a possible indictment of scientific …