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European Medieval Drama最新文献

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Baum, Holz, Kreuz: Dingliche Akteure im Heiligkreuzspiel des Wilhelm Stapfer (1598) 树木、木材、十字架:1598年威廉·史坦费尔作圣十字架游戏的主角
European Medieval Drama Pub Date : 2018-01-01 DOI: 10.1484/j.emd.5.119437
Elke Ukena-Best
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引用次数: 0
Clovis beyond Clovis: Individuality, Filiation, and Miraculous Intervention in the Miracle de Clovis 超越克洛维的克洛维:个性、血统和克洛维奇迹中的奇迹般的介入
European Medieval Drama Pub Date : 2018-01-01 DOI: 10.1484/j.emd.5.119439
Sarah Olivier
{"title":"Clovis beyond Clovis: Individuality, Filiation, and Miraculous Intervention in the Miracle de Clovis","authors":"Sarah Olivier","doi":"10.1484/j.emd.5.119439","DOIUrl":"https://doi.org/10.1484/j.emd.5.119439","url":null,"abstract":"This article focuses on the Miracle de Clovis, which belongs to the group of texts known as Les Miracles de Nostre Dame par personnages. This collection contains forty plays, each featuring a mirac...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"127-148"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Lokale Religiosität im Theater. Die Verehrung des Heiligen Niklaus von Flüe im Sarner Bruderklausenspiel 当地的基督教在剧院。在萨纳兄弟的游戏中尊崇圣尼克劳斯
European Medieval Drama Pub Date : 2018-01-01 DOI: 10.1484/j.emd.5.119438
E. Huwiler
{"title":"Lokale Religiosität im Theater. Die Verehrung des Heiligen Niklaus von Flüe im Sarner Bruderklausenspiel","authors":"E. Huwiler","doi":"10.1484/j.emd.5.119438","DOIUrl":"https://doi.org/10.1484/j.emd.5.119438","url":null,"abstract":"The article examines the alleged duality of the piety of ‘the people’ on the one hand and the official religiousness of clerical elites on the other during the time of the Counter-Reformation in th...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"111-126"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Modulating Tone in the Early English Slaughter of the Innocents Plays: Between Grief, Vengeance, and Humour 早期英国《屠杀无辜者》剧作的调调:在悲伤、复仇与幽默之间
European Medieval Drama Pub Date : 2018-01-01 DOI: 10.1484/j.emd.5.119434
S. Brazil
{"title":"Modulating Tone in the Early English Slaughter of the Innocents Plays: Between Grief, Vengeance, and Humour","authors":"S. Brazil","doi":"10.1484/j.emd.5.119434","DOIUrl":"https://doi.org/10.1484/j.emd.5.119434","url":null,"abstract":"This article was written with the generous support of the Swiss National Science Foundation, who funded an eighteen-month research sabbatical at the University of Edinburgh. It offers a different s...","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"11-35"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Max Harris, Christ on a Donkey: Palm Sunday, Triumphal Entries, and Blasphemous Pageants, Early Social Performance 《骑在驴上的基督:棕枝主日，凯旋入场，亵渎神明的游行，早期社会表现》
European Medieval Drama Pub Date : 2018-01-01 DOI: 10.1484/j.emd.5.119443
Cora Dietl
{"title":"Max Harris, Christ on a Donkey: Palm Sunday, Triumphal Entries, and Blasphemous Pageants, Early Social Performance","authors":"Cora Dietl","doi":"10.1484/j.emd.5.119443","DOIUrl":"https://doi.org/10.1484/j.emd.5.119443","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"22 1","pages":"213-215"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Let Me Have the First Drink’. Two Meals and One Table in the Prague Ludus de cena domini “让我先喝一杯”。布拉格竞技场的两餐一桌
European Medieval Drama Pub Date : 2017-01-01 DOI: 10.1484/j.emd.5.116044
Cora Dietl
{"title":"‘Let Me Have the First Drink’. Two Meals and One Table in the Prague Ludus de cena domini","authors":"Cora Dietl","doi":"10.1484/j.emd.5.116044","DOIUrl":"https://doi.org/10.1484/j.emd.5.116044","url":null,"abstract":"The Prague Ludus de cena domini, the only independent German play of the Last Supper, parallels the scene in Bethany with the Last Supper. Perhaps it was performed at Wroclaw’s city church St Mary Magdalene. In its first part, the plot clearly follows the hymn Laus tibi Christe, which is a troparium of Mary Magdalene. The hymn also explains the connection between the two scenes: Mary’s healing signals Christ’s triumph over death and sin, and the transubstantiation of bread and wine embodies the triumph. Simon and Judas represent heresy and lack of faith. They cannot be saved by the blood and body of Christ, and the Christian convivium is prepared to fight comparable heretics.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"1-19"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Hans Sachs, Die Irrfart Ulissi mit den Werbern und seiner Gemahel Penelope (1555) 汉斯·萨克斯，以及弗拉迪米尔、沃特·乌丽茜和妻子潘妮洛普(1555)
European Medieval Drama Pub Date : 2017-01-01 DOI: 10.1484/J.EMD.5.116052
Cora Dietl
{"title":"Hans Sachs, Die Irrfart Ulissi mit den Werbern und seiner Gemahel Penelope (1555)","authors":"Cora Dietl","doi":"10.1484/J.EMD.5.116052","DOIUrl":"https://doi.org/10.1484/J.EMD.5.116052","url":null,"abstract":"","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"159-160"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Performance-based research in the medieval convent 中世纪修道院中基于表现的研究
European Medieval Drama Pub Date : 2017-01-01 DOI: 10.1484/J.EMD.5.116045
O. Robinson
{"title":"Performance-based research in the medieval convent","authors":"O. Robinson","doi":"10.1484/J.EMD.5.116045","DOIUrl":"https://doi.org/10.1484/J.EMD.5.116045","url":null,"abstract":"This article begins with Adrian Armstrong’s discussion of the coterie poetry composed by Charles d’Orleans and his associates at Blois to explore the ‘epistemic value and qualities’ not of communal poetry but rather of communal theatre within a quite different social group: a convent of Carmelite nuns in late-fifteenth-century Burgundy. In it I suggest that some of the ways in which Armstrong conceptualises the processes by which lyric poetry was explored and produced at Blois may be fruitfully brought to bear on thinking about the epistemological implications and consequences of ‘making’ theatre (in the sense of composing and performing it) within this medieval women’s religious house.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"21-41"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1484/J.EMD.5.116045","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Are the Latin Responsories of the Jeu d’Adam the Source of the Play? 《犹太亚当》的拉丁责任曲是该剧的来源吗?
European Medieval Drama Pub Date : 2017-01-01 DOI: 10.1484/j.emd.5.116050
Christophe Chaguinian
{"title":"Are the Latin Responsories of the Jeu d’Adam the Source of the Play?","authors":"Christophe Chaguinian","doi":"10.1484/j.emd.5.116050","DOIUrl":"https://doi.org/10.1484/j.emd.5.116050","url":null,"abstract":"The seven responsories that are included in the vernacular dialogue of the Jeu d’Adam have been traditionally interpreted as being the source of the play. The French sections would be an example of the technique of farcitura, in other words they would be translations of a Latin model. In this article, I argue that this interpretation is incorrect. Close textual analysis of the Jeu d’Adam shows that these liturgical chants are not the starting point of the play but were subsequently added to it. The resemblance between the responsories and the French text can be accounted for by the author’s habit of paraphrasing the biblical text.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"62 2 1","pages":"123-139"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Otherness and the Interludes: actors and audiences 他者与插曲:演员与观众
European Medieval Drama Pub Date : 2017-01-01 DOI: 10.1484/j.emd.5.116048
P. Happé
{"title":"Otherness and the Interludes: actors and audiences","authors":"P. Happé","doi":"10.1484/j.emd.5.116048","DOIUrl":"https://doi.org/10.1484/j.emd.5.116048","url":null,"abstract":"The topic of ‘Otherness’ has made possible an investigation into the distance between audience and performance. The actors themselves are essentially strangers to the onlookers and during a performance this separation is exploited as part of experience of theatre, as a contribution to entertainment as well as meaning. By considering the theatrical characteristics of four sixteenth-century interludes we find that the separation can be effective, but it is also apparent that these plays have ways of working across the gap to make use of the intimacy which can be established. Besides consideration of some of the typical features of interludes, there is attention to theatrical conventions, including the role known as the Vice, to the ways of using the performance space, and to comic routines and wordplay. It becomes apparent that the audience can never be allowed to forget that they are watching a play and not real life, and that the distance between actors and audience is a valuable theatrical asset for experiencing these plays.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"21 1","pages":"85-100"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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