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Although the song is often the subject of monographs, one of its
forms remains insufficiently researched: the vocalised song,
communicated to the spectator through performance. The study of the
song takes one back to the study of vocal practices, from aesthetic
objects to forms and to plural styles. To conceive a song means
approaching it in its different instances of creation as well as
its linguistic diversity. Jean Nicolas De Surmont proposes ways of
research and analysis useful to musicians, musicologists, and
literary critics alike. In his book he takes up the issue of vocal
poetry in addition to examining the theoretic aspects of song
objects. Rather than offering an autonomous model of analysis, De
Surmont extends the research fields and suggests responses to
debates that have involved everyone interested in vocal poetic
forms.
The historical horse is at once material and abstract, as is the
notion of the border. Borders and frontiers are not only markers
delineating geographical spaces but also mental constructs: there
are borders between order and disorder, between what is permitted
and what is prohibited. Boundaries and liminal spaces also exist in
the material, economic, political, moral, legal and religious
spheres. In this volume, the contributing authors explore the theme
of the liminality of the horse in all of these historical arenas,
asking how one reconciles the very different roles played by the
horse in human history.
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