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Masarykova Univerzita V Brně MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra anglického jazyka a literatury One Hundred Years of the Morris Dance: The Role of Tradition Diplomová práce Brno 2016 Supervisor : Written by: PhDr. Irena Přibylová, Ph.D. Bc. Ivana Maršálková Bibliografický záznam MARŠÁLKOVÁ, Ivana. Morris dance and its portrayal within works of art : diplomová práce. Brno : Masarykova univerzita, Fakulta pedagogická, Katedra anglického jazyka a literatury, 2016. 65 l.. Vedoucí diplomové práce Irena Přibylová. Anotace Tato diplomová práce s názvem One Hundred Years of the Morris Dance: The Role of Tradition pojednává o podobě tradičního anglického tance Morris ve vybraných dílech, na nichž je ukázané, jak se vyvíjel vztah k tradici a konkrétně k tanci Morris. Vybranými díly jsou kniha od novozélandské autorky Ngaio Marsh Smrt za zimního slunovratu, film natočený formou dokumentu Morris: Life with Bells on podle scénáře Charlese Thomase Oldhama a dokument Tima Plestera Way of the Morris. Tato díla jsou analyzována a srovnávána zejména s teoretickými pracemi Erica Howsbawma a Nigela Watsona, které se zaměřují na význam tradice a životního stylu v současné době, popř. postmoderního životního stylu. Ve srovnání je patrný rozdíl mezi pojetí a vnímání tance Morris díly současnými, jmenované dva filmy (rok 2009 a 2010), a detektivním románem Smrt za zimního slunovratu (poprvé vyšla v roce 1957). V díle Ngiao Marsh je tanec Morris součástí každodenního života, i když je prezentován pouze v dané dny v roce. Toto pojetí reflektuje postavení tradice v tehdejší společnosti. Zatímco ve filmu Morris: Life with Bells on jsou patrné známky postmoderního pojetí tradice. Tanec Morris je životním stylem a kukátkem do minulosti, nikoli tradice v pravém slova smyslu. Dokument Way of the Morris se pokouší představit klasickou podobu tance Morris a nepřímo reaguje na nesprávné pojetí tohoto tradičního tance ve filmu Morris: Life with Bells on. Annotation This diploma thesis named One Hundred Years of the Morris Dance: The Role of Tradition deals with the picture of Morris dance within chosen works of art, on these a relationship towards tradition and specifically towards Morris. Among the chosen works of art is a book, detective novel, by Ngiao Marsh Off with his Head (1957), mockumentary Morris: Life with Bells on (2009) film according a screenplay by Charles Thomas Oldham and documentary film by Tim Plester Way of the Morris (2010). These works are analysed and compared with two main theoretical works, which have given a background for the analysis, written by Eric Hobsbawm and Nigel Watson. The two theoretical works focus on the currant meaning of tradition and lifestyle, especially a postmodern lifestyle. Within the analysis, there is a significant difference of perception towards tradition and Morris dance in the work by Ngaio Marsh. Morris dance is a part of everyday life, it has its annual cycle. This reflects the position of tradition within the society of 1957. While the mockumentary approaches Morris as a part of a lifestyle, considering the postmodernism introduced by Watson. The documentary film Way of the Morris attempts to introduce Morris in its traditional form. It indirectly addresses the incorrect presentation of the dance in the mockumentary Morris: Life with Bells on. Klíčová slova Tanec Morris; tradice; postmodernismu; životní styl; podoba tradičního tance Morris Keywords Morris dance; tradition; postmodernism; lifestyle; portrayal of Morris dance Prohlášení „Prohlašuji, že jsem závěrečnou práci (diplomovou), vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů.“ V Brně dne 25.března 2016 Ivana Maršálková Poděkování Na tomto místě bych rád poděkovala vedoucí své práce PhDr. Ireně Přibylové, Ph.D., za její trpělivost, vstřícnost a za připomínky, které mně pomohly mou práci nasměrovat a uvědomit si problematiku daného tématu. Dále bych ráda poděkovala své rodině, manželovi a dětem, za trpělivost a pomoc při překonávání překážek ve formě běžných domácích prací, na které nezbyl čas. Table of contents INTRODUCTION ..................................................................................................................................... 7 1. THEORETICAL PART ....................................................................................................................... 10 1.1. MORRIS DANCE AS A PART OF TRADITION ........................................................................................ 11 1.1.1. Technical meaning of the term tradition ................................................................................ 11 1.1.2. Eric Hobsbawm The Invention of Tradition ............................................................................ 12 1.1.3. Nigel Watson: “Postmodernism and Lifestyles” ..................................................................... 16 1.2. WHAT IS MORRIS DANCE? ............................................................................................................... 21 1.2.1. Morris dance omitted .............................................................................................................. 22 1.2.2. Morris dance in detail ............................................................................................................. 25 1.2.2.1 Cecil Sharp .......................................................................................................................................26 1.2.2.2 The Variations of Morris Dance .......................................................................................................28 1.3. THE FOLK REVIVALS........................................................................................................................ 30 1.4. CLOSING OF THE THEORETICAL PART ............................................................................................... 32 2. PRACTICAL PART ............................................................................................................................. 35 2.1. NGAIO MARSH : OFF WITH HIS HEAD ............................................................................................... 36 2.1.1. The story of Mrs. Bünz............................................................................................................. 36 2.1.2. Morris and its picture presented by Ngaio Marsh ................................................................... 38 2.1.2.1 The picture – the blended style of the Morris ...................................................................................39 2.1.2.2 Is tradition traditional? .....................................................................................................................41 2.2. MORRIS: LIFE WITH BELLS ON ........................................................................................................ 46 2.2.1. The line of the story ................................................................................................................. 46 2.2.2. Interviewing, Points of View .................................................................................................... 46 2.2.2.1 Squire of Millsham Morris, The Working-class View .....................................................................47 2.2.2.2 Scholar's approach, Professor Compton Chamberlayne ...................................................................47 2.2.2.3 Politics by Morris Circe ...................................................................................................................48 2.2.3. Derecq's story ......................................................................................................................... 48 2.2.4. Morris Dance in Morris: A Life with Bells on ......................................................................... 50 2.2.5. Reflection of Watson's thoughts ............................................................................................... 50 2.3. WAY OF THE MORRIS ...................................................................................................................... 51 2.3.1. Morris Dance, the ridicule ...................................................................................................... 52 2.3.2. Billy Bragg's commentary ....................................................................................................... 53 2.3.3. Original theories ..................................................................................................................... 54 2.3.4. The Folk Revival ...................................................................................................................... 54 2.3.5. Adderbury Village Morris Men ............................................................................................... 55 2.3.6. Tim Plester's conclusion .......................................................................................................... 57 2.4. ENGLISH FOLK SONG AND DANCE SOCIETY ..................................................................................... 58 CONCLUSION ........................................................................................................................................ 60 WORKS CITED: ....................................................................................................................................
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