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Full-Text Articles in Arts and Humanities
Performance And The Middle English Romance, Linda Zaerr
Performance And The Middle English Romance, Linda Zaerr
Linda Marie Zaerr
No abstract provided.
The Weddynge Of Sir Gawen And Dame Ragnell: Performance And Intertextuality In Middle English Popular Romance, Linda Marie Zaerr
The Weddynge Of Sir Gawen And Dame Ragnell: Performance And Intertextuality In Middle English Popular Romance, Linda Marie Zaerr
Linda Marie Zaerr
Actual performance by a particular voice and body for a physically present audience can provide information that validates and redirects theoretical understanding of textual variation. Paul Zumthor's concept of mouvance, a graphic representation of intertextuality in which virtual models function as the vertical axis and actual variations the horizontal axis,1 has provided a vehicle for addressing the variation so characteristic of Middle English verse romances. The term mouvance may also be used to describe the degree and quality of variation of a performance event from the text on which it is based.2 The mouvance recorded in a memorized performance of …
Psycholinguistic Theory And Modern Performance: Memory As A Key To Variants In Medieval Texts, Mary Ellen Ryder, Linda Marie Zaerr
Psycholinguistic Theory And Modern Performance: Memory As A Key To Variants In Medieval Texts, Mary Ellen Ryder, Linda Marie Zaerr
Linda Marie Zaerr
The study of learning and memory has greatly expanded during the last two decades. Instead of limiting themselves to highly constrained, rather artificial laboratory experiments, cognitive psychologists have begun studying tasks more closely related to daily life, such as memory for places, names and faces, testimony of eye-witnesses, and memorization of songs, poems and stories. They have found that many, if not most, such activities involve the construction and storage of complex structures in memory. For example, the evidence suggests that we store in our memories not only individual words, but also an inventory of longer expressions, which are used …
When Silence Plays Vielle: The Metaperformance Scenes Of Le Roman De Silence In Performance, Linda Marie Zaerr
When Silence Plays Vielle: The Metaperformance Scenes Of Le Roman De Silence In Performance, Linda Marie Zaerr
Linda Marie Zaerr
Performance-based exploration of the thirteenth-century Le Roman de Silence can extend discussions of ambiguity by clarifying the experience of the sound of the poem. Homonymic terminology breaks down the boundary between performer and text, while metaperformance elements impose identities of characters on performer and audience.
Songs Of Love And Love Of Songs: Music And Magic In Medieval Romance, Linda Marie Zaerr
Songs Of Love And Love Of Songs: Music And Magic In Medieval Romance, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
Medieval And Modern Deletions Of Repellent Passages In Medieval Texts, Linda Marie Zaerr
Medieval And Modern Deletions Of Repellent Passages In Medieval Texts, Linda Marie Zaerr
Linda Marie Zaerr
The Middle English popular romances provide some of the most intriguing variants among medieval texts. Deletions in the Middle English manuscripts of Sir Beues of Hamtoun evince characteristics that cannot be entirely explained by scribal activity. The most significant omissions follow two patterns, both of which operate to diminish Princess Josian's active role in the plot. My personal performance experience with another Middle English text may provide insight into the purpose and motivation for these changes and the process which may have engendered them.
Mystical Meaning: The Bell Founder’S Window At York Minster, Linda Marie Zaerr
Mystical Meaning: The Bell Founder’S Window At York Minster, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
A Stylistic Analysis Of Le Roman De Silence, Mary Ellen Ryder, Linda Marie Zaerr
A Stylistic Analysis Of Le Roman De Silence, Mary Ellen Ryder, Linda Marie Zaerr
Linda Marie Zaerr
Stylistic analysis can demonstrate how the Roman de Silence incorporates deceleration, acceleration, generic expressions, and deaths in non-realized space to diminish perception of Silence’s agency.
Jerome Of Moravia's First Fiddle Tuning As An Individualized Modal Framework, Linda Marie Zaerr
Jerome Of Moravia's First Fiddle Tuning As An Individualized Modal Framework, Linda Marie Zaerr
Linda Marie Zaerr
Only two descriptions of fiddle tuning survive from before the fifteenth century: one by Jerome of Moravia, Paris, ca. 1280; and the other by Jean Vaillant (?), Paris, fourteenth century. Both treatises have been edited by Christopher Page. The tunings in the Jean Vaillant (?) treatise are probably designed for plucked stringed instruments (Remnant 67), especially since the tunings would be inappropriate for a flat-bridged instrument and inconvenient for a curved-bridged instrument.
Cil D'Aval Et Cil D'Amont: Borderlands And The Woman Jogleor In Aucassin Et Nicolette, Linda Marie Zaerr
Cil D'Aval Et Cil D'Amont: Borderlands And The Woman Jogleor In Aucassin Et Nicolette, Linda Marie Zaerr
Linda Marie Zaerr
A modern performance of Aucassin et Nicolette which takes into consideration reasonable options for performance in thirteenth‐century France reveals certain propensities which are invisible when the text is treated strictly as a literary work. Aucassin et Nicolette is fraught with reversal, yet each reversal, empowered in a border realm through the agency of performance, leads to union. Thus this work which has survived only as a literary text, when embodied in modem performance by a woman jogleor, conveys reversals not evident in the text alone and reflects postmodern ethnographic principles of cultural flexibility in performance.
Harp In The Hall: Performance As An Aid To Teaching Romance Literature, Linda Marie Zaerr
Harp In The Hall: Performance As An Aid To Teaching Romance Literature, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
Experimenting With The Performance Of Medieval Narrative, Evelyn Vitz, Linda Marie Zaerr
Experimenting With The Performance Of Medieval Narrative, Evelyn Vitz, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
A Nonsynchronous Model For The Performance Of The Middle English Tail-Rhyme Stanza With Vielle, Linda Marie Zaerr
A Nonsynchronous Model For The Performance Of The Middle English Tail-Rhyme Stanza With Vielle, Linda Marie Zaerr
Linda Marie Zaerr
Since historical performance of Middle English tail-rhyme romances with instrumental accompaniment is a theoretical possibility, then understanding of the parameters within which such a performance might have existed is fundamental to our understanding of the form. The binary character of a bowed stringed instrument facilitates a two-stroke performance of the three-stress line, in which the stronger down bow coincides with the third metrical stress and continues into the fourth, unrealized beat. Empirical performance of a passage from Lybeaus Desconus led to offsetting bow changes from stressed syllables in a rhythmic performance of Middle English tail-rhyme stanzas. Two pragmatic advantages result …
Sir Launfal: Performance As Interpretation Of Late Medieval English Romance, Linda Marie Zaerr
Sir Launfal: Performance As Interpretation Of Late Medieval English Romance, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
"The Tournament Of Tottenham": Music As Enhancement Of The Prosody, Linda Marie Zaerr, Joseph Baldassarre
"The Tournament Of Tottenham": Music As Enhancement Of The Prosody, Linda Marie Zaerr, Joseph Baldassarre
Linda Marie Zaerr
No abstract provided.
Duke Or Duck: Reading The Stories In John Gower’S Confessio Amantis, Linda Marie Zaerr
Duke Or Duck: Reading The Stories In John Gower’S Confessio Amantis, Linda Marie Zaerr
Linda Marie Zaerr
No abstract provided.
Music And Magic In Le Bel Inconnu And Lybeaus Desconus, Linda Marie Zaerr
Music And Magic In Le Bel Inconnu And Lybeaus Desconus, Linda Marie Zaerr
Linda Marie Zaerr
The thirteenth-century Old French Le Bel Inconnu and its fifteenth-century Middle English analog Lybeaus Desconus demonstrate a startling transformation that may reflect thinking about performance. Le Bel Inconnu expresses ambiguity about the moral valence of both music performance and enchantment, while Lybeaus Desconus intensifies the association of music with magic and expresses disapprobation of practitioners of both. Approaching these romances as performance texts and considering their performativity can illuminate self-referential comments on music and magic and explain motivation for revision of the story.