PERFORM Log
December 1992
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Date: Thu, 3 Dec 1992 07:54:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Steve Urkowitz
Subject: Re: cross dressing in early drama
In-Reply-To: Message of Tue, 24 Nov 1992 18:05:00 EST from
I have a vague memory of stage property/costume lists or expense records for le
ather whole-body suits for Adam and Eve when they appear naked in some early pl
ay or other. Back to very basics? I wonder what a scanning of creation plays
would turn up.
Steve Urkowitz SURCC@CUNYVM
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Date: Thu, 3 Dec 1992 13:01:22 -0500
Reply-To: "Thomas G. Bishop"
Sender: PERFORM - Medieval Performing Arts
From: "Thomas G. Bishop"
Subject: Ohio Shakespeare Conference: Second Notice
This is a reminder to anyone thinking of offering an abstract or paper.
The deadline is 12/15, but you know how deadlines are...
OHIO SHAKESPEARE CONFERENCE 1993
March 25-27, 1993
The Ohio Shakespeare Conference for 1993 will be held in Cleveland OH and
hosted jointly by Case Western Reserve Univeristy and Cleveland State
University. The topic for the conference will be:
"There the Whole Palace Open'd": Court and Society in Jacobean England
This will be an interdisciplinary conference drawing on the work of literary
scholars, historians, art historians and musicologists. The central topic is
the court of King James: its structure; organization; political, social and
aesthetic tastes; impact on local and wider English histories. In pursuing the
court's images and accounts of itself, the conference will include a
full-scale, historically informed reconstruction of the masque
"Oberon, the Faery Prince"
by Ben Jonson, Inigo Jones, Robert Jones and others. Consideration of Oberon
as an instance of Jacobean court culture will include a discussion of the
production with the professional artists involved: stage director,
choreographer and music director.
Plenary speakers at the conference will be:
Prof. Leeds Barroll, University of Maryland
Prof. Peter Holman, University of Essex
Prof. Fritz Levy, University of Washington
Prof. Annabel Patterson, Duke University
Prof. Stephen Orgel, Stanford University
Scholars who work in the area of the early seventeenth century in any
discipline are invited to submit papers (8-10 pages; 20 mins reading time) or
abstracts (2 pp. max) to
Prof. David Evett
Dept of English
Cleveland State Univeristy
Cleveland, OH 44115
or
Prof. T.G. Bishop
Dept of English
Case Western Reserve University
Cleveland, OH 44106
Abstracts may also be submitted by email to Dr. Bishop at tgb2@po.cwru.edu
Enquiries or request for information should be addressed also to the above.
The deadline for submission is DECEMBER 15, 1992.
--
Tom Bishop "Poor Tom has been scared out of his good wits"
Dept of English
Case Western Reserve University
Cleveland, OH 44106. (tgb2@po.cwru.edu)
--
Tom Bishop
Dept of English
Case Western Reserve University
Cleveland, OH 44106. (tgb2@po.cwru.edu)
=========================================================================
Date: Sat, 5 Dec 1992 07:43:13 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: John Dagenais
Subject: Re: cross dressing in early drama
In-Reply-To: <01GRQIO8OL8G000FRT@nuacc.acns.nwu.edu>; from
"WRIGHTS@CUA.BITNET" at Nov 29, 92 9:12 pm
I'm not convinced that medieval spectators would be concerned about the
problematics of a male actor representing a female saint, breasts and all. In
fact, I think they would have taken delight in the very absurdity of it all.
Certainly in Spain, and I assume elsewhere, there were frequent injunctions
concerning priests performing "lasciviously." I think everyone(perhaps
especially the priests) got into the transvestite show quite enthusiastically.
Thus, I do not think the medieval play-goer was so overwhelmed by the devout
nature of the drama he or she was witnessing that he/she just didn't notice
that Mary was a man in virgin's clothing. Rather, I think that medieval
spectators enjoyed both the sacred and the bawdy at the same time. Clearly,
the bawdy came to dominate at times in ways that bothered civil and religious
authorities, but the very frequency with which injunctions against scurrilous
performances were repeated suggests that such injunctions were not very
successful.
John Dagenais
Dept. of Hispanic Studies
Northwestern University
Evanston, IL 60208
j-dagenais@nwu.edu
=========================================================================
Date: Sat, 5 Dec 1992 10:21:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: NAOMI LIEBLER
Subject: Re: cross dressing in early drama
Consider the following possibilities:
1) what Coleridge so fortuitously called "the willing suspension of disbelief"
has always been operative in audiences at dramatic performance, and therefore,
in just the same way in which a "paper moon hanging over a cardboard sea" works
for a modern audience to invite them imaginatively into "greater" rather than
lesser "belief" in the illusion presented, in medieval performance the more
antithetic to "reality" the greater the invitation to accept the illusion. Thus
men playing women, virginal saints or other varieties of same, fosters
acceptance rather than blocks it.
2) there's a sense in which a male performer more closely represents a virgin
intacta than might a female whose physiological "purity" might be questionable.
A celibate priest might very well seem ontologically a closer representation of
a virgin than a real live, and potentially suspect, woman. Even a sexually
active heterosexual male....with no broken membranes. "Purity" was, after all,
a masculine construct.
Just thought I'd toss these ruminations into the discussion.
Naomi C. Liebler
Dept. of English
Montclair State College
Upper MOntclair NJ 07043
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Date: Sat, 5 Dec 1992 13:35:06 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jody Enders
Last year at Kalamazoo in one of our medieval and Renaissance drama
sections, there was a lively conversation about the Dancing Bear and the
Dancing Wife--but I can't remember if it was Jim Stokes or John Coldewey
or someone else. If anyone knows, could you send the citation/source to
me? I'd like to cite both the text and the Kalamazoo commentator in a
forthcoming book. Thanks! Jody Enders
Jody Enders
Dept. of French and Italian, UCSB
Santa Barbara, CA 93106 (805) 893-3111/4696 FAX: (805) 893-8826
Home: (805) 569-3943. E MAIL: jenders@humanitas.ucsb.edu
=========================================================================
Date: Sat, 5 Dec 1992 16:01:41 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: James Cummings
Subject: Note to listowner.
Sorry to do this over the net instead of privately,
But I've lost the listowner's address.
I have been unsuccessful in signing off of PERFORM from
my ljcummings@poppy.uwaterloo.ca account. This is because
after I subscribed to the mailing list they changed
the domain from poppy.waterloo.edu to poppy.uwaterloo.ca
What I want to do is signoff any mail from the list being delivered
to ljcummings@poppy.uwaterloo.ca (or poppy.waterloo.edu) and
instead resubscribe @ my new account: jcumming@epas.utoronto.ca
Since I seem to be having some problem doing this from remote
through the listserv, could you please do this manually.
Many, many thanks,
James Cummings
University of Toronto,
jcumming@epas.utoronto.ca
=========================================================================
Date: Sun, 6 Dec 1992 15:26:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: TB0WPW1@NIU.BITNET
Subject: graduate conference
The following has been passed on to me by graduate students in
my department for posting. I am sending it to several lists so
I apologize in advance for duplication. I think this should be
encouraged. Think how many times when we have done some similar
task and have remarked, "they didn't have any classes on this in
graduate school." If you want to e-mail a message about the
Conference you may direct it to yet another graduate student,
Mr. David Knauer e-mail: TB0DJK9@NIU
THANKS. William Proctor Williams TB0WPW1@NIU
Dear Colleagues,
I would like to call your attention to the 1993
Northern Illinois University Graduate Conference on
Language and Literature scheduled for Saturday,
March 27 and Sunday, March 28 at Northern Illinois
University. Organized by graduate students at
Northern Illinois University, the objective of this
conference is to promote graduate student
participation in the academic community and to
provide an opportunity for students to prepare for
entrance into the English profession. This
conference solicits submission from and
participation by graduate students from Illinois and
other Midwestern colleges and universities with
graduate programs in English literature and
language.
The call for abstracts begins now and will continue
until Friday, January 15, 1993. Please alert the
graduate students at your college or university to
the nature of the conference and encourage them to
submit abstracts.
Abstracts will be selected by Friday, February 5,
1993 and acceptances will be mailed by Monday,
February 8, 1993. Topics include all periods of
American and British literature, creative writing,
critical theory, film, linguistics, rhetoric and
composition, textual criticism and bibliography, and
Mid-Western literature. The early registration fee
is only $12.00 for students, $22.00 for faculty.
The late registration fee is $17.00 for students and
$32.00 for faculty. If you have any questions about
the conference, the abstract requirements, or merely
want further information, please call the conference
directors, Chuch Bowie or John Carlberg, at
(815)753-6630.
Yours sincerely,
Martha Schofield, Chairperson
Public Relations Committee
=========================================================================
Date: Mon, 7 Dec 1992 18:39:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: TB0WPW1@NIU.BITNET
Subject: double-jointed babies
Help!
Does anyone know what this means?
"Double-jointed babies with springs between their legs to make
them go along." All help will be acknowleged. Thanks for what
you can do.
William Proctor Williams TB0WPW1@NIU
=========================================================================
Date: Tue, 8 Dec 1992 11:28:38 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: acarr@ALLEG.EDU
Subject: St. Nicholas Plays
Cliff Flanigan and others,
I was thinking about you folks last night. Hope that the Visit
from St. Nicholas went well. For a fleeting moment I thought I might
attend, but didn't make it. Will we be reading a review?
Amelia Carr
Allegheny College
acarr@alleg.edu
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Date: Tue, 8 Dec 1992 22:56:07 -0700
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: CARNAHAN_S@CUBLDR.COLORADO.EDU
Subject: Re: double-jointed babies
What is the source of the "double-jointed" line?
=========================================================================
Date: Wed, 9 Dec 1992 09:46:54 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Jesse Hurlbut
Subject: Re: double-jointed babies
In-Reply-To: Message of Mon, 7 Dec 1992 18:39:00 CST from
On Mon, 7 Dec 1992 18:39:00 CST said:
>Help!
>Does anyone know what this means?
>"Double-jointed babies with springs between their legs to make
>them go along." All help will be acknowleged. Thanks for what
>you can do.
>William Proctor Williams TB0WPW1@NIU
What is the context? a procession? slaughter of the innocents? :)
Trying to visualize this leads to some pretty strange mental pictures.
Jesse
=========================================================================
Date: Wed, 9 Dec 1992 17:50:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: TB0WPW1@NIU.BITNET
Subject: double jointed babies
Well, now we come to it. I am sorry for the
brevity of my previous question. The line comes
from a manuscript play from the mid-1650s in which
a very stupid countryman is being asked to take on
several commodities, including Jews' harps, and
"new fashioned double-jointed babies with springs
between their legs to make them go along." I
assume they are some sort of mechanical toy. Does
anyone know what they are? Thanks in advance.
William Proctor Williams TB0WPW1@NIU
=========================================================================
Date: Thu, 10 Dec 1992 09:26:27 -0400
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Gary Davis
Subject: Re: double-jointed babies
In-Reply-To: <9212100321.AA02667@UnbSJ.CA>
> On Mon, 7 Dec 1992 18:39:00 CST said:
> >Does anyone know what this means?
> >"Double-jointed babies with springs between their legs to make
> >them go along." All help will be acknowleged. Thanks for what
> >you can do.
Why am I fascinated by this? It rings a bell somewhere, but the best I
can do is recall the image of walking dolls! Sounds British. Sorry to
waste your time.
- Gary Davis
=========================================================================
Date: Thu, 10 Dec 1992 11:57:20 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: GR4302@SIUCVMB.BITNET
Subject: re: crossdressing in early drama
What Naomi has written about the playing of virgins by males is very
interesting. I believe, though, that Medieval representations of this
sort weren't a "suspension of disbelief" so much as the natural product
of Medieval epistemology. I've seen no reason to assume that Medieval
people, peasants included, believed in a naive naturalism akin to our
(supposedly) sophisticated naturalism. It would seem, rather, that Medie-
val culture included a healthy respect for the limitations of human know-
ledge. Medieval art was iconic and stylistic because the 'husk & kernel'
theory of representation was culturally operative, not imposed from above.
I. E., for the Medieval mind reality itself is representational. The
old notion that 'primitive' cultures operate in a naive naturalism (in
contrast with out 'privileged' naturalism) doesn't jive with modern
ethnographies of primitive groups. Something like Coleridge's suspension
of disbelief is in operation in Medieval drama, but I think Naomi's
second statement gets more to the point. What the Medieval dramatists
wants to achieve is necessarily iconographically representational, rather
than seeking to achieve the illusion of a natural realism that our
Romantic era aesthetics demand. Of course, modern aesethetic themselves
seem to be becoming more stylized as our epistemologies become more
relativistic.
Sorry for jumping into a conversation sans introduction. I just couldn't
resist. Hope this made some sense.
Jeff Taylor
Southern Illinois University at Carbondale
gr4302@siucvmb.siu.edu
=========================================================================
Date: Thu, 10 Dec 1992 15:07:37 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: James Cummings
Subject: Re: double jointed babies
In-Reply-To: <9212101822.AA06172@epas.utoronto.ca>; from "TB0WPW1@NIU.BITNET"
at Dec 9, 92 5:50 pm
It has been written by the hand of TB0WPW1@NIU.BITNET that:
>
> Well, now we come to it. I am sorry for the
> brevity of my previous question. The line comes
> from a manuscript play from the mid-1650s in which
> a very stupid countryman is being asked to take on
> several commodities, including Jews' harps, and
> "new fashioned double-jointed babies with springs
> between their legs to make them go along." I
> assume they are some sort of mechanical toy. Does
> anyone know what they are? Thanks in advance.
> William Proctor Williams TB0WPW1@NIU
>
A very long time ago, I seem to remeber seeing at the Museum and
Archive of Games @ the University of Waterloo, a toy in which the legs
weredouble-jointed in some way to make them move. (Thought I have no
recollection of them there must have been springs on the inside or something?)
To make them move you sort of pushed down.
I'd suggest looking in a history of Toys.
James Cummings
jcumming@epas.utoronto.ca
>
=========================================================================
Date: Thu, 10 Dec 1992 14:43:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: TB0WPW1@NIU.BITNET
Subject: Re: double-jointed babies
yes, it rings bells here too: but what bells. Let us
work on our tintinabulation memory. WPW TB0WPW1@niu
=========================================================================
Date: Thu, 10 Dec 1992 22:29:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: MRIGGIO@TRINCC.BITNET
Subject: Crossed signals
I do not have anything to add to the cross-dressing
discussion except to suggest that in talking about medieval drama, you
are certainly not talking about an audience trained by films and other
media to expect to see barebreasted women on stage. The absence of
verisimilitude in this respect would hardly raise eyebrows, I think.
The PRESENCE of a bare female breast would be more likely to have
produced that result.
And, now, about PERFORM itself. We will be talking about this network
at the December MLA meeting. I would appreciate hearing from you about
ways in which this network could be made more useful to those of us
in MRDS who wish to encourage its use. We will thank Jesse and Cliff,
for sure, but what would you like to see happen on the network that
is not now happening, and is there any way MRDS could help to promote
its usage?
Let me know. (And if my stray message shows up in your box, please
erase it. Thanks again.)
Milla R.
=========================================================================
Date: Fri, 11 Dec 1992 09:30:52 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: larry schwartz
Subject: re: crossdressing in early drama
In-Reply-To: Message of Thu, 10 Dec 1992 11:57:20 -0500 from
strange as it may seem, a student came into my library last night, and asked
me for help in researching transvestism in drama; he's supposed to show up in
about 30 minutes, in fact.
are there any sources that i could direct him to (i've not been saving my
perform-l mail)? i figure i'll check the mla bibliography, and perhaps
go on-line.
thanks.
larry schwartz, humanities librarian
north dakota state u
fargo, nd
("-30 degrees keeps the riff-raff out" -- unofficial state motto)
=========================================================================
Date: Fri, 11 Dec 1992 11:54:36 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "lschwart(z)"
Subject: history of actresses
is it my imagination, or am i correct in thinking that no book-length
study has been made of the history of women ON the stage? i've just
searched the library holdings of the u of california and the u of minnesota,
and have come up empty-handed. i know that there is a subject heading,
"women in the theatre," but that's not quite what i'm looking for. i want
to know which, when, where, and why women trod the boards for the first time
everywhere.
what clues, o oracles?
larry schwartz, humanities librarian
north dakota state u
fargo, nd
(-30 degrees keeps the riff-raff out)
=========================================================================
Date: Fri, 11 Dec 1992 19:00:00 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: TB0WPW1@NIU.BITNET
Subject: Re: history of actresses
The admirable, and late, Elizabeth Howe has just published
a book on this subject.
William Proctor Williams TB0WPW1@NIU
=========================================================================
Date: Mon, 14 Dec 1992 15:38:54 EDT
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: "Zanne Westfall Pardee 301A English Dept."
Subject: history of actresses
In-Reply-To: In reply to your message of FRI 11 DEC 1992 13:54:36 EDT
Try *Actresses as Working Women: Their Social Identity in Victorian
Culture* by Tracy C. Davis (Routledge,1991) and *The First English
Actresses: Women and Drama 1660-1700* by Elizabeth Howe (Cambridge U
Press, 1992). Precious little I know, but a start anyhooooo.
Suzanne Westfall WS#1@Lafayacs.bitnet
> is it my imagination, or am i correct in thinking that no book-length
> study has been made of the history of women ON the stage? i've just
> searched the library holdings of the u of california and the u of minnesota,
> and have come up empty-handed. i know that there is a subject heading,
> "women in the theatre," but that's not quite what i'm looking for. i want
> to know which, when, where, and why women trod the boards for the first time
> everywhere.
>
> what clues, o oracles?
>
> larry schwartz, humanities librarian
> north dakota state u
> fargo, nd
> (-30 degrees keeps the riff-raff out)
=========================================================================
Date: Tue, 15 Dec 1992 10:29:22 +0000
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Simon Rae
Subject: RE: history of actresses
A couple of the responses to Suzanne Westfall WS#1@Lafayacs.bitnet request for
books about Women ON the stage have mentioned *The First English Actresses:
Women and Drama 1660-1700* by Elizabeth Howe (Cambridge U Press, 1992).
Can I quote from my copy of Sesame - The Open University's staff/student
newspaper that reviewed Dr Howe's book as part of an obituary following her
very untimely and tragic murder in July this year whilst working as a Tutor
/Counsellor for the Open University.
The book, her first, was 'a major rewrite of her PhD thesis (done part-time at
London University) ... it addresses questions relevant to women's issues in
all ages and aims to fill a gap in published research into Restoration
actresses. Beginning with a general account of the workings of Restoration
theatre, it goes on to discuss how the first women permitted to act on the
public stage after 1660 were perceived predominantly as sex objects'. 'She had
read every play extant from those 40 years (1660 - 1700): she had researched
the biographies of leading actresses; she had advanced theory after theory to
discuss the kind of parts that were allocated to them, why, for instance, they
had to go into trouser-roles, so that the male audience could look at their
legs.' 'Later chapters focus on the lives and talents of major figures such as
Elizabeth Barry and Anne Bracegirdle'.
Simon Rae - The Open University, UK.
=========================================================================
Date: Tue, 15 Dec 1992 11:46:48 CST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: larry schwartz
Subject: RE: history of actresses
In-Reply-To: Message of Tue,
15 Dec 1992 10:29:22 +0000 from
i'd like to thank all and sundry for their responses to my request for
information on the history of actresses. i have taken their advice and
ordered a copy of prof. howe's book for the library here at north dakota
state u., and i plan on being the first to read it.
perhaps THIS is why the gods have given us electronic conferences.
larry schwartz, humanities librarian
north dakota state university
fargo, nd
=========================================================================
Date: Tue, 15 Dec 1992 13:57:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: COX@HOPE.CIT.HOPE.EDU
Subject: Book on English Mystery Plays
Help!
I recently made a note of a recently published book on the English myster
plays. It's a translation from German. I saw it in a publisher's ad, but
I don't remember the publisher, and I don't remember the author or title.
Moreover, I've lost my note!
Can anyone help? If you recognize my description, I'd be grateful not only
for bibliographical information but also for information about the book
itself. What's it's angle? Is it important? How does it relate to earlier
books on the same topic, like Kolve's, Woolf's, Weimann's, and Cohen's?
=========================================================================
Date: Tue, 15 Dec 1992 15:48:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: WRIGHTS@CUA.BITNET
Subject: Database
I apologize for posting this to the entire list, since it is a
question meant specifically for Michael Norton.
Michael: I sent you a message at the BITNET address I had used
before, but the jmuvax1 bounced it back to me and said you were
no longer receiving e-mail there.
My question is this: for a footnote entry in a brief article I'm
working on, could you give me a rough estimate of the number of
Easter ceremonies you have catalogued into your database? The
number 600+ keeps echoing down the long, empty corridors of my
memory banks--can that be right?
Thanks for your help, and apologies to the rest of the list.
--Steve Wright
wrights@cuavax
=========================================================================
Date: Tue, 15 Dec 1992 23:04:37 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: STRNGLNTZ@NYUACF.BITNET
Subject: Re: Book on English Mystery Plays
>
> Help!
>
> I recently made a note of a recently published book on the English myster
> plays. It's a translation from German. I saw it in a publisher's ad, but
> I don't remember the publisher, and I don't remember the author or title.
> Moreover, I've lost my note!
>
> Can anyone help? If you recognize my description, I'd be grateful not only
> for bibliographical information but also for information about the book
> itself. What's it's angle? Is it important? How does it relate to earlier
> books on the same topic, like Kolve's, Woolf's, Weimann's, and Cohen's?
I think the book you want is Hans Jurgen Diller, _The English Mystery Plays_.
I'm almost certain that the publisher is Cambridge UP, but I'll double check
tomorrow if no one else responds. It was, I'm pretty certain, reviewed in
Speculum.
Ruth
*******************************************************************************
** Ruth E. Sternglantz Bitnet: strnglntz@nyuacf **
** New York University Internet: strnglntz@acfcluster. **
** Department of English nyu.edu **
** 19 University Place, Room 200 Phone: 212 998-8800 **
** New York, New York 10003 **
*******************************************************************************
=========================================================================
Date: Thu, 17 Dec 1992 10:28:00 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: COX@HOPE.CIT.HOPE.EDU
Subject: Re: Book on English Mystery Plays
Thanks to Ruth Sternglantz for mentioning Hans Jurgen Diller's book on the
English Mystery Plays. That is indeed the book whose author and title I
had forgotten. Thanks, too, for mentioning the review in *Speculum*.
John Cox
=========================================================================
Date: Tue, 22 Dec 1992 16:27:17 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: MICHAEL L NORTON <76216.2165@COMPUSERVE.COM>
Subject: Reply to Steven Wright
I apologize to the list for sending this private reply to Steven Wright's
message of last week. I tried sending this through Compuserve's INTERNET
server, but apparently it did not get through.
Steve,
My new address is 76216.2165@Compuserv.com (or is it Compuserve.com?). I
check this daily. I have another address at MNORTON@DELPHI.COM. This I
use primarily for TELNET and FTP. Both addresses are INTERNET.
To answer your questions:
My database includes info on 997 manuscripts and printed books (including
the new sources Amy and I discovered from Klosterneuburg). Of these,
813 sources preserve 839 texts of the Visitatio Sepulchri (some have
multiple versions). There are probably 10-20 published or otherwise cited
versions not in the database (also not in LOO).
I hope this helps.
Mike
Distribution:
>INTERNET: PERFORM@IUBVM.BITNET
=========================================================================
Date: Tue, 22 Dec 1992 18:25:05 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: Pamela Sheingorn
Subject: Re: Reply to Steven Wright
In-Reply-To: Message of Tue,
22 Dec 1992 16:27:17 EST from <76216.2165@COMPUSERVE.COM>
Dear Michael Norton and others interested in things liturgical,
I met a woman named Rosemary Argent at the Barnard Conference
earlier this month who has been working on Saint Omer. She said
she has texts of rites conducted at an Easter Sepulchre that are
not in Lipphardt. I wasn't able to hear her paper but she
said she would be in touch with me so we could talk further. I'll
keep you posted. Pamela Sheingorn
=========================================================================
Date: Wed, 23 Dec 1992 00:54:11 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: MICHAEL L NORTON <76216.2165@COMPUSERVE.COM>
Subject: Re: New Sources
Pamala,
Thanks for the reference. I'll be looking forward to hearing more on this.
This does go to show, I think, that despite the two volumes of Young and the
nine volumes of Lipphardt the Latin "drama" remains fertile ground for
inquiry. If Amelia Carr and I could find 26 new sources in the
Klosterneuburg Stiftsbibliothek alone (and this is a relatively well-studied
collection), just imagine how much remains to be found.
Michael Norton
Distribution:
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Date: Wed, 23 Dec 1992 08:39:55 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: REED Project
Subject: Re: New Sources
In-Reply-To: <9212230608.AA08799@epas.utoronto.ca>; from "MICHAEL L NORTON" at
Dec 23, 92 12:54 am
Dear Michael,
Is your database set up in such a way that it's possible to search on
the vocabulary of rubrics and other text used to describe the dramatis
personae? For a long time I've been interested in the language used by
a twelfth-century commentary on the Gospel of John to describe Mary
Magdalene: in one passage, the commentator uses the vocabulary of the
ancient stage to express how she stands there as a type of the gentile
Church, rather than the more usual language of typology. The author
was a monk of Li`ege and I spent some time in Young's book trying to
find similar language in Visitacio texts of a comparable period or
distribution, but couldn't. Please let me know if it would be possible
to search your database in this way.
Yours faithfully,
Abigail Ann Young
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Date: Wed, 23 Dec 1992 09:30:15 EST
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: MICHAEL L NORTON <76216.2165@COMPUSERVE.COM>
Subject: Re: New Sources
Abigail,
I currently have a crude search program which can search through the rubrics
for individual words, parts of words, and combinations of words (and parts
of words), and I can search for combinations using Booliean operators
(AND/OR/NOT). For example, I can search for rubrics containing word1 AND
word2, or word1 OR word2, or word1 AND/OR word2 but NOT word3, etc. I can
restrict the search currently by the provenance/destination of the text, a
range of dates, religious order, etc. I have not yet entered the Magdelene
texts (Young's Stage III), but I will be doing this before too long in order
to have comparative material for the Klosterneuburger Osterspiel. Currently,
I have all texts and rubrics for sources corresponding to Young's Stage I
(including trope and processional versions: Lipphardt, vols 1-2), and a fair
number of sources corresponding to Young's Stage II (Lipphardt, vols 3-4). I
have bibliographic info for all sources in Lipphardt as well as other (but
not all) sources not in Lipphardt.
What, specifically, are you looking for?
Michael L. Norton
Distribution:
>INTERNET: PERFORM@IUBVM.BITNET
=========================================================================
Date: Wed, 23 Dec 1992 10:53:15 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: REED Project
Subject: Re: New Sources
In-Reply-To: <9212231445.AA12130@epas.utoronto.ca>; from "MICHAEL L NORTON" at
Dec 23, 92 9:30 am
Dear Michael,
the phrase used is 'personam gerere,' to don or wear a mask. So I'd be
looking for occurrences of that phrase or related phrases, such as
'personam gestare,' to descqribe Mary Magdalene or the person who
says or sings her part in the Visitacio. It is of course just as
possible that the commentator was using stock language he learned
from ancient or late ancient authors but I'm sure the idea of
describing Mary Magdalene in particular in that way owes something to
her appearance in liturgical drama.
Thank you
Abigail
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Date: Thu, 24 Dec 1992 03:21:44 -0500
Reply-To: PERFORM - Medieval Performing Arts
Sender: PERFORM - Medieval Performing Arts
From: error sender
I1 Message from DEADMAIL - reissued mail follows:
Via: UK.AC.LANCS.CENT1; 23 DEC 92 14:49:27 GMT
From: "Mrs M Twycross"
Message-Id: <28011.9212231450@central1.lancaster.ac.uk>
Subject: crossdressing, women actors
To: perform@earn.iubvm
Date: Wed, 23 Dec 92 14:50:23 GMT
Cc: all@uk.ac.lancaster.central1, users@uk.ac.lancaster.central1,
PERFORM@uk.ac.lancaster.central1, network@uk.ac.lancaster.central1
X-Mailer: ELM [version 2.3.010 PL11]
May I draw your attention to the protracted discussion on crossdressing, males-p
English Theatre' starting about ten years ago? The original contributions, by T
icles concentrate on mystery plays, there is nothing of the homosexual titillati
It seems in any case over-simplificatory to assume that there would be the same
Your query about whitleather (i.e. sueded) bodystockings in mystery-play record
can be chased up from my article on 'Apparel Comlye' in Paula Neuss' Aspects of
Hope this is some use. It looks as if the Renaissance needs to look at the medi
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