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Medieval Obscenities (Paperback)
Nicola F. McDonald, Nicola McDonald; Contributions by Alastair J. Alastair J. Minnis, Carolyne Larrington, Danuta Shanzer, …
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R785
Discovery Miles 7 850
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Ships in 12 - 17 working days
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Obscenity is central to an understanding of medieval culture, and
it is here examined in a number of different media. Obscenity is,
if nothing else, controversial. Its definition, consumption and
regulation fire debate about the very meaning of art and culture,
law, politics and ideology. And it is often, erroneously, assumed
to be synonymous with modernity. Medieval Obscenities examines the
complex and contentious role of the obscene - what is offensive,
indecent or morally repugnant - in medieval culture from late
antiquity through to the end of the Middle Ages in western Europe.
Its approach is multidisciplinary, its methodologies divergent and
it seeks to formulate questions and stimulate debate. The essays
examine topics as diverse as Norse defecation taboos, the
Anglo-Saxon sexual idiom, sheela-na-gigs, impotence in the church
courts, bare ecclesiastical bottoms, rude sounds and dirty words,
as well as the modern reception and representation of the medieval
obscene. They demonstrate not only the vitality of medieval
obscenity, but its centrality to our understanding of the Middle
Ages and ourselves. Contributors: MICHAEL CAMILLE, GLENN DAVIS,
EMMA DILLON, SIMON GAUNT, JEREMY GOLDBERG, EAMONN KELLY, CAROLYNE
LARRINGTON, NICOLAMCDONALD, ALASTAIR MINNIS, DANUTA SHANZER
This book explores the role of music in an early fourteenth-century
French manuscript (BN, fr. 146). The musical repertories found in
this manuscript, particularly those interpolated into the Old
French satire, the Roman de Fauvel, are frequently used to
illuminate the wider history of French medieval music. This study
sets the manuscript against the wider culture of Parisian
book-making, showing how in devising new systems of design and
folio layout, its creators developed a new kind of materiality in
music: it illustrates how music is expressive in ways that are
unperformable apart from its visual representation. This study is
primarily concerned with the workings of fr. 146; however, it also
argues that the new attitudes to (material) music-making embodied
in that manuscript serve as a model for exploring other music
manuscripts to emerge in late-medieval France.
This book explores the role of music in an early fourteenth-century
French manuscript (BN, fr. 146). The musical repertories found in
this manuscript, particularly those interpolated into the Old
French satire, the Roman de Fauvel, are frequently used to
illuminate the wider history of French medieval music. This study
sets the manuscript against the wider culture of Parisian
book-making, showing how in devising new systems of design and
folio layout, its creators developed a new kind of materiality in
music: it illustrates how music is expressive in ways that are
unperformable apart from its visual representation. This study is
primarily concerned with the workings of fr. 146; however, it also
argues that the new attitudes to (material) music-making embodied
in that manuscript serve as a model for exploring other music
manuscripts to emerge in late-medieval France.
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