Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource (560 p.) : , 24 halftones, 3 tables, 5 line drawings

ISBN: 9780812298512 , 9783110993899

Series Statement: The Middle Ages Series

Content: What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as "lyrics," the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa.As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors' introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of "play," in several senses of that word. The book ends with eight "new Middle English lyrics" by seven contemporary poets.

Note: Frontmatter -- , Contents -- , Preface -- , Conventions -- , List of Abbreviations -- , Introduction. Why stonde we? why go we noȝt? -- , Chapter 1. Lyric Editing -- , Chapter 2. Wondering Through Middle English Lyric -- , Chapter 3. Lyric Romance -- , Chapter 4. Language and Meter -- , Chapter 5. Lyric Value -- , Chapter 6. Cognitive Poetics of Middle English Lyric Poetry -- , Chapter 7. Lyric Vessels -- , Chapter 8. The Sound of Rollean Lyric -- , Chapter 9. The Lyric Christ -- , Chapter 10. The Religious Lyric in Medieval England (1150-1400): Three Disciplines and a Question -- , Chapter 11. Theory of the Fourteenth-Century English Lyric -- , Chapter 12. Response: Old Lyric Things -- , Chapter 13. Response: Hevy Hameres -- , New Medieval Lyrics: A Chapbook -- , Notes -- , References -- , List of Contributors -- , Index -- , Acknowledgments , Mode of access: Internet via World Wide Web. , In English.

In: EBOOK PACKAGE COMPLETE 2022 English, De Gruyter, 9783110993899

In: EBOOK PACKAGE COMPLETE 2022, De Gruyter, 9783110994810

In: EBOOK PACKAGE Literary, Cultural, Area Studies 2022 English, De Gruyter, 9783110993752

In: EBOOK PACKAGE Literary, Cultural, Area Studies 2022, De Gruyter, 9783110993738

In: University of Pennsylvania Complete eBook-Package 2022, De Gruyter, 9783110767674

Language: English

Keywords: Aufsatzsammlung

DOI: 10.9783/9780812298512

URL: https://doi.org/10.9783/9780812298512?locatt=mode:legacy

URL: https://www.degruyter.com/isbn/9780812298512

URL: Cover

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

URL: Inhaltsverzeichnis

UID:

Format: 308 Seiten , Illustrationen

Edition: First Edition

ISBN: 9780823285563

Series Statement: Fordham series in medieval studies

Additional Edition: Erscheint auch als Online-Ausgabe Whose Middle Ages? New York : Fordham University Press, 2019 ISBN 9780823285594

Language: English

Keywords: Mittelalter ; Geschichte 500-1500 ; Mediävistik ; Mittelalter ; Rezeption ; Einführung ; Aufsatzsammlung

URL: Inhaltsverzeichnis

UID:

Format: 1 Online-Ressource (308 Seiten) : , Illustrationen, Karte.

Edition: First edition

ISBN: 978-0-8232-8559-4

Series Statement: Fordham series in medieval studies

Content: "Whose Middle Ages?" is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths.Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms.Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge

Additional Edition: Erscheint auch als Druck-Ausgabe, Hardcover ISBN 978-0-8232-8557-0

Additional Edition: Erscheint auch als Druck-Ausgabe, Paperback ISBN 978-0-8232-8556-3

Language: English

Keywords: Mittelalter ; Rezeption ; Mediävistik

DOI: 10.1515/9780823285594

URL: Volltext  (URL des Erstveröffentlichers)

URL: Volltext  (URL des Erstveröffentlichers)

URL: Volltext  (URL des Erstveröffentlichers)

UID:

Format: 1 online resource (256 p.) : , 2

ISBN: 9780823289783

Content: Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

Note: Frontmatter -- , Contents -- , I. INTRODUCTION -- , 1. Arvo Pärt and the Art of Embodiment -- , 2. The Sound—and Hearing—of Arvo Pärt -- , II. HISTORY AND CONTEXT -- , 3. Sounding Structure, Structured Sound -- , 4. Colorful Dreams: Exploring Pärt’s Soviet Film Music -- , 5. Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground -- , III. PERFORMANCE -- , 6. The Pärt Sound -- , 7. The Rest Is Silence -- , IV. MATERIALITY AND PHENOMENOLOGY -- , 8. Vibrating, and Silent: Listening to the Material Acoustics of Tintinnabulation -- , 9. Medieval Pärt -- , 10. The Piano and the Performing Body in the Music of Arvo Pärt: Phenomenological Perspectives -- , V. THEOLOGY -- , 11. Presence, Absence, and the Ambiguities of Ambiance: Theological Discourse and the Move to Sound in Pärt Studies -- , 12. The Materiality of Sound and the Theology of the Incarnation in the Music of Arvo Pärt -- , 13. Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt -- , 14. In the Beginning There Was Sound: Hearing, Tintinnabuli, and Musical Meaning in Sufi -- , List of Contributors -- , Index of Terms -- , Index of Persons -- , Works by Other Composers -- , Works by Arvo Pärt , In English.

Language: English

DOI: 10.1515/9780823289783

URL: https://doi.org/10.1515/9780823289783

URL: https://www.degruyter.com/isbn/9780823289783

URL: https://doi.org/10.1515/9780823289783

URL: https://www.degruyter.com/isbn/9780823289783

UID:

Format: 1 online resource (240 p.) : , 35

ISBN: 9780823285594

Series Statement: Fordham Series in Medieval Studies

Content: Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths.Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms.Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.

Note: Frontmatter -- , Contents -- , Introduction -- , Introduction -- , The Invisible Peasantry -- , The Hidden Narratives of Medieval Art -- , Modern Intolerance and the Medieval Crusades -- , Blood Libel, a Lie and Its Legacies -- , Who’s Afraid of Shari‘a Law? -- , How Do We Find Out About Immigrants in Later Medieval England? -- , The Middle Ages in the Harlem Renaissance -- , Introduction -- , Three Ways of Misreading Thomas Jefferson’s Qur’an -- , The Nazi Middle Ages -- , What Would Benedict Do? -- , No, People in the Middle East Haven’t Been Fighting Since the Beginning of Time -- , Ivory and the Ties That Bind -- , Blackness, Whiteness, and the Idea of Race in Medieval European Art -- , England Between Empire and Nation in “The Battle of Brunanburh” -- , Whose Spain Is It, Anyway? -- , Introduction -- , Modern Knights, Medieval Snails, and Naughty Nuns -- , Charting Sexuality and Stopping Sin -- , “Celtic” Crosses and the Myth of Whiteness -- , Whitewashing the “Real” Middle Ages in Popular Media -- , Real Men of the Viking Age -- , #DeusVult -- , Own Your Heresy -- , Afterword: Medievalists and the Education of Desire -- , Appendix I: Possibilities for Teaching—By Genre -- , Appendix II: Possibilities for Teaching— by Course Theme -- , List of Contributors -- , About the Editors , In English.

Language: English

DOI: 10.1515/9780823285594

URL: https://doi.org/10.1515/9780823285594

URL: https://www.degruyter.com/isbn/9780823285594

URL: https://doi.org/10.1515/9780823285594

URL: https://www.degruyter.com/isbn/9780823285594

UID:

Format: 1 Online-Ressource (256 p) , 2

Edition: [Online-Ausgabe]

ISBN: 9780823289783

Content: Frontmatter -- Contents -- I. INTRODUCTION -- 1. Arvo Pärt and the Art of Embodiment -- 2. The Sound—and Hearing—of Arvo Pärt -- II. HISTORY AND CONTEXT -- 3. Sounding Structure, Structured Sound -- 4. Colorful Dreams: Exploring Pärt’s Soviet Film Music -- 5. Arvo Pärt’s Tintinnabuli and the 1970s Soviet Underground -- III. PERFORMANCE -- 6. The Pärt Sound -- 7. The Rest Is Silence -- IV. MATERIALITY AND PHENOMENOLOGY -- 8. Vibrating, and Silent: Listening to the Material Acoustics of Tintinnabulation -- 9. Medieval Pärt -- 10. The Piano and the Performing Body in the Music of Arvo Pärt: Phenomenological Perspectives -- V. THEOLOGY -- 11. Presence, Absence, and the Ambiguities of Ambiance: Theological Discourse and the Move to Sound in Pärt Studies -- 12. The Materiality of Sound and the Theology of the Incarnation in the Music of Arvo Pärt -- 13. Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt -- 14. In the Beginning There Was Sound: Hearing, Tintinnabuli, and Musical Meaning in Sufi -- List of Contributors -- Index of Terms -- Index of Persons -- Works by Other Composers -- Works by Arvo Pärt

Content: Scholarly writing on the music of Arvo Pärt is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Pärt: Sounding the Sacred focuses on the representational dimensions of Pärt’s music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Pärt studies? In taking up these questions, the book “de-Platonizes” Pärt studies by demystifying the notion of a single “Pärt sound.” It offers innovative, critical analyses of the historical contexts of Pärt’s experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Pärt’s music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Pärt’s music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Pärt studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces

Note: Mode of access: Internet via World Wide Web. , In English

Language: English

DOI: 10.1515/9780823289783

URL: lizenzpflichtig

URL: lizenzpflichtig

URL: Cover

URL: Cover