Chapter 3: The Significance of English Chivalric Romances describes the main features of English chivalric romances: all-embracing idealism; overarching motifs, like separation-and reunion, exile-and-return, sieges, and quests; typical characters: ladies, knights, stewards true or false, and fair unknowns; amatory motifs: courtly love,…[Read more]

Chapter 4: Macbeth: Loyal Stewards and Royal Succession views the play as a romance defined by its overarching structure as exile-and-return of the rightful and qualified successor to the throne. Malcolm proves himself worthy in the Court Scene in England, where his test of Macduff demonstrates his ability, superior to his father’s, to establish “…[Read more]

Chapter 5: Hamlet: Courtly Revenge and Chivalric Succession sets Hamlet’s confusion about the appeal of a chivalric figure as a figure of justice and the ghost’s injunction to courtly revenge for adultery and incest at least as much as murder, in the larger context of the struggle between Denmark and Norway. Whatever befalls Hamlet occurs in the…[Read more]

Chapter 6: Othello: Courtly Love and Chivalric Justice explains the sudden onset of Othello’s jealousy in terms of the known propensities of intermediaries in courtly love to betray their function and thereby alter perceptions of relationships among lady, lover, and their go-between. It interprets the dichotomies between Venice and the Levant on t…[Read more]

Chapter 7: King Lear: Courtly Romance and Chivalric Restoration sees the opening perversions of and developing machinations of courtly love as means leading to the undoing of Edmund, Goneril, and Regan. It sees Edgar, the instrument of their undoing, fulfilling his obligations to father and godfather, as the fair unknown made so by internal exile…[Read more]

Entries identify chapter and page.

“Appendix: Census of English Chivalric Romances through 1616” compiles data on manuscripts, printings, entries, and adaptations of English chivalric romances from standard sources: Short-Title Catalogue, Annals of the English Drama 975-1700, and the Stationers’ Register, among others. Tabulations of the data through 1610 serve as the basis for t…[Read more]

Reflects all works cited or consulted in preparing this book. The disproportion between pre-1970 and post-1970 works reflects the greater and lesser relevance, respectively, of most work in the field of English chivalric romance to my thesis. Recent scholarship has approach the subject less from a literary and historical than from a political,…[Read more]

This textual crux all modern editors unanimously and silently emend, from the Folio “he”, their copy text, to the Quarto “you.” Although they find F so nonsensical as to deserve no comment, Shakespeare, his company, and his audience found it not only sensible in a play involving jealousy, but also powerful. The difference between then and now…[Read more]

Surveys the contemporary and modern designations of the genre of Shakespeare’s Troilus and Cressida. Considers the gothic, not the humanistic, character of chivalric romance and the range of chivalric romances both idealistic and satirical. Accepting the medieval treatment of The Iliad as chivalric in nature, views Shakespeare’s play as a com…[Read more]

Many music librarians participate in professional and amateur music making. We face similar performance practice/interpretive issues as do our music library users. This panel discussion focuses on application of the ACRL Framework for Information Literacy to performance practice in experimental music. Four music librarians with significant…[Read more]

Many music librarians participate in professional and amateur music making. We face similar performance practice/interpretive issues as do our music library users. This panel discussion focuses on application of the ACRL Framework for Information Literacy to performance practice in experimental music. Four music librarians with significant…[Read more]

Many music librarians participate in professional and amateur music making. We face similar performance practice/interpretive issues as do our music library users. This panel discussion focuses on application of the ACRL Framework for Information Literacy to performance practice in experimental music. Four music librarians with significant…[Read more]

Sounding Islam provides a provocative account of the sonic dimensions of religion, combining perspectives from the anthropology of media and sound studies, as well as drawing on neo-phenomenological approaches to atmospheres. Using long-term ethnographic research on devotional Islam in Mauritius, Patrick Eisenlohr explores how the voice, as a site…[Read more]

This thesis seeks to contribute towards the emerging discourse in Ravel studies concerning gender, as well as adding to the ongoing work in musical narratology, especially as regards ballet, to which very little narratological attention has been given. Employing a combination of narratological and Schenkerian analysis, this thesis argues that…[Read more]

This article explores the interface of multiple legal systems in early modern Daghestan. By comparing colonial engagements with legal plurality with indigenous genres of Daghestani legal discourse, I aim to shed light on the plurality of legal systems that preceded as well as informed legal discourse under colonialism. The Daghestani turn to…[Read more]

Assembled cigar box fiddle. Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”

The label is under the soundboard. Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”

Fiddlin’ John Hutchison learned to play on a fiddle made from an Old Virginia Cheroots Tobacco box. In a taped interview he calls it a “cigar box.”