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“Going all the Way with Marot”:Empowerment in the Pastourelle Motet L’autrier m’esbatoie/Demenant grant joie/MANERE
No full textThe pastourelle motet was an important part of romance literature and the vocal polyphony of the thirteenth century. Its musical language was subtle and full of well-planned artistry in the combination of words and music. Both textual components frequently incorporated intertextual references to pre-existent songs and poetry; in performance the motet’s texted melodies were heard in combination. This design offered composers, performers, and listeners opportunities to hear individual pieces in several ways, some of them contradictory, and further invites resistant readings of even the more ostensibly misogynist works. The present discussion considers L’autrier m’esbatoie / Demenant grant joie / MANERE in relation to the prevailing power dynamics of the pastourelle motet. It presents potentially paradoxical readings: does this motet convey the typical tale of a knight ravishing his lover, a subversive one in which the female voice is anything but helpless, or a thinly veiled, obscene objectification of women’s musical bodies
Liturgy and Devotion in Insular Witnesses to the Cult of the Three Kings of Cologne
No full textThe relics of the Magi who had visited the infant Jesus were enshrined at the cathedral at Cologne in the twelfth century, where they became an important focus of pilgrimage. The cult was widespread and diverse in form, and was especially focused on the season of Epiphany; devotional practices included formal liturgical rites, representative drama, and the invocation of the Magi in medical remedies. This chapter considers the relationship between such categories as devotional and liturgical in relation to examples of the cult in Insular sources. In particular, the presence of a votive Mass for Travellers of the Three Kings of Cologne, as found in a fifteenth-century manuscript belonging to priest Henry Wells, presents an opportunity to consider individuals for whom the cult held particular significance
Case Studies I:Patterns in the Veneration of Regional and Local Saints in Insular Liturgical Sources
No full textThere is little that reminds us more of the limitations of thinking according to modern political and ecclesiastical boundaries than the study of the cults of regional saints, a field of research that has been gaining increasing momentum in recent years. This applies right across Europe: one need only think of the borderlands between France, Belgium, the Netherlands, Luxembourg; the shifts in the definition of what is now the Federal Republic of Germany; the State of Bavaria, which once included parts of Austria (and thus the Diocese of Salzburg), or Hungary, which, until after World War I, formed part of the Hapsburg Empire of Austria–Hungary and included Serbia and Transylvania, which continues to have an ethnically mixed population of Hungarian- and German-speakers (as well as Romanian). So also for liturgy and the cults of saints, not least the traces of medieval devotion that are still preserved in liturgical manuscripts held in libraries across modern frontiers and thus belong to a shared history that needs to be included within our purview
Case Studies II:Textual Witnesses to Insular-Continental Networks
No full textScholarship of the late nineteenth and early twentieth century – not least that cultivated by members of the Plainsong and Medieval Music Society and other scholarly groups – regularly sought to define the means through which liturgy moved between Continental Europe and Britain and Ireland. In the later twentieth century, a concept of cross-cultural exchange became more prominent: this model emphasised how people shared knowledge and ideas as they travelled between different religious centres. As the first set of case studies has shown, the presence of Sarum and York liturgy across the greater part of Britain and Ireland offered a certain consistency, but the reality was certainly much more subtle and complex, with no two textual witnesses supporting a picture of uniformity even between institutions connected by geography or other factors. Instead, the picture that emerges is more of a patchwork of regions and networks, within which there might be a striking diversity of related customs
Epilogue:Pathways to Further Research in Medieval Insular Liturgies
No full textThe written evidence considered in Music and Liturgy in Medieval Britain and Ireland has included sources of every type, from formal service books to informal additions, and from fragmentary manuscripts to early printed books. The picture that emerges is one of intersecting devotional cultures, both textual and practical: liturgy was constantly in development, open to adjustment, and affected by changes in international sacred customs as well as by local cultural interests and requirements. Furthermore, we have shown that though set apart geographically from the larger landmass of Continental Europe, Britain and Ireland were actively engaged in liturgical discourse through the constant travel of musicians, ecclesiastics, writers, books, relics, and via intellectual exchange, and rather than an agent of separation, the sea was in fact a connector of people
Textual Witnesses to Insular Liturgies
No full textLocus iste: This place. So begins the well-known sung text, or plainchant, forming part of the religious dedication of a building or altar. It can be found in hundreds of musical sources across Europe, from the earliest complete surviving antiphonary to include neumes (probably copied at the Swiss Benedictine monastery of Einsiedeln by Abbot Gregor the Englishman in the years around 960–70) to the printed liturgical books that circulated in the early sixteenth century, and up to the present day.1 The full gradual, Locus iste a Deo factum est inestimabile sacramentum irreprehensibilis est (‘This place was made inestimably sacred by God; it is beyond reproach’), emphasises the permanence and enduring holiness of ceremonial spaces within the Christian church. Its presence served as a performative connection between widely distributed churches and chapels and Rome, the spiritual centre of the Christian West. Religious buildings were all individually designed and decorated, and the unique liturgical books held within each one bear testament to the diverse services that were held there throughout the church year, from daily Mass to occasional rites such as baptism.2 Textual witnesses – manuscripts throughout the pre-Reformation period
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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