Late Elizabethan and Early Jacobean Poetry

2019 ◽  
pp. 285-310
Author(s):  
Derek Attridge
Keyword(s):  
Public Performance ◽  
The Public ◽  
Commonplace Books ◽  
Speaking Voice ◽  
Shepheardes Calender

Chapters 12 and 13 examine the experience of poetry in the late Elizabethan and early Jacobean period, and assess the claim that the public performance of poetry was common in England at this time. The publication of Spenser’s Shepheardes Calender in 1579 shows a concern for the reader of the printed page, while Sidney’s influential Astrophil and Stella, written around the same time, exploits the tones of the speaking voice. Manuscript circulation continued, and several poets avoided print; others, however, including Shakespeare, made use of the new opportunities provided by the printed book. Popular verse was also widely disseminated through printed sheets. The publication of Jonson’s 1616 Workes definitively marks the establishment of the modern print poet. Several anthologies were published, though individuals also kept manuscript miscellanies; in favour, too, were commonplace books, both printed and handwritten. Paratexts and marginalia furnish further evidence for readers’ experience of poetry.

Inscribed in the Book of Life

2020 ◽  
pp. 1011-1030
Author(s):  
Els Rose
Keyword(s):  
Great Change ◽  
Public Performance ◽  
Christian Community ◽  
Complex Time ◽  
The Public

The present chapter discusses the ritual of reciting names in the public performance of the Merovingian mass and studies the prayers accompanying this ritual based on sources dating to the late seventh and early eighth centuries. This study focuses on how membership of the Christian community was defined and, more specifically, on the composition of the liturgical assembly that gathered on Sundays and feasts for the public celebration of mass. The effort to create and strengthen the idea of membership in and belonging to the Christian community in this complex time of great change was not marked by the development and consequent use of an entirely new vocabulary, but rather by the reuse of existing terminology, derived from ancient and biblical discourse concerned with citizenship and belonging. The public celebration of the cult is one of the loci in which this vocabulary was filled with new, sometimes radically changed, meanings.

Emotions in performance: Poetry and preaching

2017 ◽  
Vol 54 (1) ◽  
pp. 67-102
Author(s):  
Carla Petievich ◽  
Max Stille
Keyword(s):  
Cultural History ◽  
Rhetorical Analysis ◽  
Cultural Tradition ◽  
Public Performance ◽  
The Public ◽  
Collective Emotions ◽  
Performance Poetry ◽  
Performance Traditions ◽  
History Of ◽  
Modern Nation State

Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.

RELIGIOUS CHANGE AND THE TIMING OF BAPTISM IN ENGLAND, 1538–1750

2009 ◽  
Vol 52 (2) ◽  
pp. 269-294 ◽  
Author(s):  
P. M. KITSON
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
Religious Change ◽  
Public Performance ◽  
The Public ◽  
Modern Period ◽  
Medieval Church ◽  
Large Numbers ◽  
Common Prayer

ABSTRACTThe religious reforms of the sixteenth century exerted a profound impact upon the liturgy of baptism in England. While historians' attention has been drawn to the theological debates concerning the making of the sign of the cross, the new baptism liturgy contained within the Book of common prayer also placed an innovative importance on the public performance of the rite in the presence of the whole congregation on Sundays and other holy days. Both religious radicals and conservatives contested this stress on ceremony and publicity throughout the early modern period. Through the collection of large numbers of baptism dates from parish registers, it is possible to measure adherence to these new requirements across both space and time. Before the introduction of the first prayer book in 1549, there was considerable uniformity among communities in terms of the timing of baptism, and the observed patterns are suggestive of conformity to the requirements of the late medieval church. After the mid-sixteenth century, parishes exhibited a range of responses, ranging from enthusiastic adoption by many communities to complete disregard in religiously conservative parts of Lancashire and Cheshire. Additionally, the popularity of saints' festivals as popular days for baptism fell markedly after 1660, suggesting a decline in the observance of these feasts.

On Hearing the Daughters’ Call

2021 ◽  
Vol 1 (1) ◽  
pp. 123-155
Author(s):  
Elva Orozco Mendoza ◽  
Keyword(s):  
Political Participation ◽  
Human Condition ◽  
The Political ◽  
Public Performance ◽  
The Public ◽  
Northern Mexico ◽  
Political Theories ◽  
The Relationship ◽  
Maternal Activism ◽  
The Human Condition

This article offers an interpretation of anti-feminicide maternal activism as political in northern Mexico by analyzing it alongside Hannah Arendt’s concepts of freedom, natality, and the child in The Human Condition. While feminist theorists often debate whether maternalism strengthens or undermines women’s political participation, the author offers an unconventional interpretation of Arendt’s categories to illustrate that the meaning and practice of maternalism radically changes through the public performance of motherhood. While Arendt does not seem the best candidate to navigate this debate, her concepts of freedom and the child provide a productive perspective to rethink the relationship between maternalism and citizenship. In making this claim, this article challenges feminist political theories that depict motherhood as the chief source of women’s subordination. In the case of northern Mexico, anti-feminicide maternal activism illustrates how the political is also a personal endeavor, thereby complementing the famous feminist motto.

Sexual Harassment in School: The Public Performance of Gendered Violence

1995 ◽  
Vol 65 (2) ◽  
pp. 145-163 ◽  
Author(s):  
Nan Stein
Keyword(s):  
Civil Rights ◽  
Sexual Harassment ◽  
Public Awareness ◽  
Peer To Peer ◽  
Peer Sexual Harassment ◽  
Public Performance ◽  
Gendered Violence ◽  
Court Records ◽  
The Public ◽  
Mixed Messages

In this article, Nan Stein argues that sexual harassment in schools is a form of gendered violence that often happens in the public arena. She presents the narratives of girls and boys about their experience of sexual harassment in schools and finds parallels with cases documented in court records and depositions. While highly publicized lawsuits and civil rights cases may have increased public awareness of the issue, inconsistent findings have sent educators mixed messages about ways of dealing with peer-to-peer sexual harassment. The antecedents of harassment, she suggests, are found in teasing and bullying, behaviors tacitly accepted by parents and teachers. Stein makes a case for deliberate adult intervention and the inclusion of a curriculum in schools that builds awareness of these issues.

Performing the ‘lifeworld’ in public education campaigns

2010 ◽  
Vol 1 (2) ◽  
pp. 284-310 ◽  
Author(s):  
Michelle M. Lazar
Keyword(s):  
Public Education ◽  
Rap Music ◽  
Dual Processes ◽  
Public Performance ◽  
New Approach ◽  
The Public ◽  
Local Television ◽  
The Media ◽  
Education Campaigns ◽  
Real Person

In Singapore, top down public education campaigns have long been a mode of governance by which the conduct of citizens is constantly regulated. This article examines how in two fairly recent campaigns, a new approach to campaign communication is used that involves media interdiscursivity, viz., the mixing of discourses and genres in which the media constitute a significant element. The present approach involves the appropriation of a popular local television character, ‘Phua Chu Kang’, in order to address the public through educational rap music videos. Media interdiscursivity is based on an attempt to engage the public via a discourse of the ‘lifeworld’. The present article analyzes the ‘lifeworld’ discourse in terms of a combination of two processes, ‘informalization’ (the use of informal and conversational modes of address) and ‘communitization’ (the semiotic construction of a community of people). The dual processes are examined and discussed in relation to the choice of Phua Chu Kang as an ‘ordinary’ and almost ‘real’ person, including his informal register and speech style; his use of Singlish; and his construction of ‘community.’ The presence of Singlish, in particular, is interesting because (despite the official disdain for the language) it is included as part of PCK’s public performance of the lifeworld. The article concludes by considering this form of media interdiscursivity as the government’s shrewd way of achieving its social governance goals.

Wilhelm Georg Berger’s Music: Elements of compositional style and instrumental techniques necessary for the public performance

2021 ◽  
Vol 14 (63) (1) ◽  
pp. 97-108
Author(s):  
Leona VARVARICHI ◽  
◽  
Alina-Maria NAUNCEF ◽  
Keyword(s):  
Compositional Style ◽  
Moral Duty ◽  
Musical Language ◽  
Public Performance ◽  
Philosophical Thinking ◽  
The Public ◽  
The Road ◽  
Compositional Technique ◽  
On The Road

The present paper approaches a part of the vast creation of a musician of certain value, to whom generations of players have a moral duty. The analyses of Wilhelm Berger’s sonatas for viola come to the help of those set on the road of an interpretative effort projected over these opuses. The purpose of this brief research is to investigate several elements of the metamorphosis of the compositional phenomenon in two of Wilhelm Georg Berger’s works: The Sonata for viola and piano op. 3 (1957) and the Sonata for solo viola op. 35 (1968). The particular way of processing the musical material originates from his analytical and philosophical thinking. Berger’s compositional technique preserves the principles of the sonata genre structure in both works, using a totally different musical language in the Sonata Solo, 11 years later. The ethos of the music changes, therefore a series of instrumental techniques corresponding to musical expressions encountered in the text are proposed for a better understanding and performing Berger’s music.

The Public Performance

2005 ◽  
pp. 144-166
Author(s):  
Florence Faucher-King
Keyword(s):  
Public Performance ◽  
The Public

Early Tudor Poetry: Courtliness and Print

2019 ◽  
pp. 257-284
Author(s):  
Derek Attridge
Keyword(s):  
Fifteenth Century ◽  
Henry Viii ◽  
English Poetry ◽  
Public Performance ◽  
The Public ◽  
The Past ◽  
Late Fifteenth ◽  
The Impact

After noting the evidence for the public performance of poetry in Continental Europe, this chapter turns to the impact of print on English poetry: from the late fifteenth century, the printers Caxton and de Worde gave readers a new way to experience poems. At the court of Henry VIII, Skelton exploited both manuscript and print. The Devonshire manuscript, which circulated around Henry’s courtiers, is discussed, as is Tottel’s 1557 Songes and Sonettes, whose cachet lay partly in its making the private poetry of the elite available to a large public. Another popular collection was A Mirror for Magistrates, in which a gathering of poets impersonating famous tragic victims of the past was staged. Although there were signs of a suppler use of metre, the 1560s and 1570s were characterized by highly regular verse. The most skilled poet of this period, Gascoigne, was also responsible for a pathbreaking treatise on poetry.

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