NEWSLETT'er November - December 1981
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01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen
|--Abigail Washburn | |--City of Refuge | | |--01 Prelude | | |--02 City of Refuge | | |--03 Bring Me My Queen | | |--04 Chains | | |--05 Ballad of Treason | | |--06 Last Train | | |--07 Burn Thru | | |--08 Corner Girl | | |--09 Dreams Of Nectar | | |--10 Divine Bell | | |--11 Bright Morning Stars | | |--cover | | `--folder | |--Daytrotter Studio | | |--01 City of Refuge | | |--02 Taiyang Chulai | | |--03 Bring Me My Queen | | |--04 Chains | | |--06 What Are They Doing | | `--07 Keys to the Kingdom | |--Live at Ancramdale | | |--01 Main Stageam Set | | |--02 Intro | | |--03 Fall On My Knees | | |--04 Coffee’s Cold | | |--05 Eve Stole The Apple | | |--06 Red & Blazey | | |--07 Journey Home | | |--08 Key To The Kingdom | | |--09 Sometime | | |--10 Abigail talks about the trip to Tibet | | |--11 Song Of The Traveling Daughter | | |--12 Crowd _ Band Intros | | |--13 The Sparrow Watches Over Me | | |--14 Outro | | |--15 Master's Workshop Stage pm Set | | |--16 Tuning, Intro | | |--17 Track 17 of 24 | | |--18 Story about Learning Chinese | | |--19 The Lost Lamb | | |--20 Story About Chinese Reality TV Show | | |--21 Deep In The Night | | |--22 Q & A | | |--23 We’re Happy Working Under The Sun | | |--24 Story About Trip To China | | |--index | | `--washburn2006-07-15 | |--Live at Ballard | | |--01 Introduction | | |--02 Red And Blazing | | |--03 Eve Stole The Apple | | |--04 Free Internet | | |--05 Backstep Cindy_Purple Bamboo | | |--06 Intro. To The Lost Lamb | | |--07 The Lost Lamb | | |--08 Fall On My Knees | | |--Aw2005-10-09 | | `--Index -
Gender Representations in “The Ballad of Tam Lin”
International Journal of Culture and History, Vol. 3, No. 3, September 2017 Gender Representations in “The Ballad of Tam Lin” Evgeniia Ermakova and Sabina Likhareva etc. It is due to being rooted in the national mentality that Abstract—The present paper addresses a highly relevant gender representations are so fixed in the cultural memory of issue of gender representation in literature that generates much the nation. academic interest as well as practical implications. The material for analysis is the text of the medieval ballad “Tam Lin” as published in the “Child Ballads”. Investigation methodology includes semantic, linguocultural, sociocultural and literary II. MATERIAL AND METHODOLOGY analysis. The findings have been categorized to show how a man As well as myths and fairy-tales, ballads, in spite of and a woman are perceived and portrayed in the English belonging to a plot-driven genre, represent complex culture. The paper would be of interest for scholars and multilevel structure full of implicit cultural senses. The practitioners dealing with gender issues, English and culture studies. material of the present study is comprised by text version A (Robert Burns’ version) of “The Ballad of Tam Lin”, taken Index Terms—Culture, gender, representation, semantics. from “The English and Scottish Popular Ballads, 1882-1898” edited by F. J. Child, otherwise known as “Child Ballads” [4], although the first mention of the plot dates back to as early as I. INTRODUCTION 1549. It can be addressed as a monument of both English and Ballads are poetical narratives frequently having medieval Scottish culture; while the setting, characters and main plot legendary background and performed to music. -
A Collection of Ballads
A COLLECTION OF BALLADS INTRODUCTION When the learned first gave serious attention to popular ballads, from the time of Percy to that of Scott, they laboured under certain disabilities. The Comparative Method was scarcely understood, and was little practised. Editors were content to study the ballads of their own countryside, or, at most, of Great Britain. Teutonic and Northern parallels to our ballads were then adduced, as by Scott and Jamieson. It was later that the ballads of Europe, from the Faroes to Modern Greece, were compared with our own, with European Märchen, or children’s tales, and with the popular songs, dances, and traditions of classical and savage peoples. The results of this more recent comparison may be briefly stated. Poetry begins, as Aristotle says, in improvisation. Every man is his own poet, and, in moments of stronge motion, expresses himself in song. A typical example is the Song of Lamech in Genesis— “I have slain a man to my wounding, And a young man to my hurt.” Instances perpetually occur in the Sagas: Grettir, Egil, Skarphedin, are always singing. In Kidnapped, Mr. Stevenson introduces “The Song of the Sword of Alan,” a fine example of Celtic practice: words and air are beaten out together, in the heat of victory. In the same way, the women sang improvised dirges, like Helen; lullabies, like the lullaby of Danae in Simonides, and flower songs, as in modern Italy. Every function of life, war, agriculture, the chase, had its appropriate magical and mimetic dance and song, as in Finland, among Red Indians, and among Australian blacks. -
MJ06-National Copy.Indd
Vita-final 4/7/06 4:44 PM Page 52 VITA Francis James Child Brief life of a Victorian enthusiast: 1825-1896 by john burgess rancis james child, a.b. 1846, was a model of nineteenth- and their American and Canadian variants. That demanded pa- century academic achievement. Named Harvard’s Boylston tience in tracking manuscripts across continents, judgment in in- professor of rhetoric and oratory at 26, he was one of his terpreting and clarifying textual discrepancies, and persistence in Fcentury’s leading Chaucer scholars and received honorary degrees dealing with collectors ranging from the high-born Lord Rose- from his alma mater, Columbia, and Göttingen. His close friends bery to the eccentric Devon clergyman Sabine Baring-Gould. included Oliver Wendell Holmes, Henry and William James, and In all, Child collected 305 ballads, ultimately published in five Charles Eliot Norton. Yet today he is better remembered than volumes (1882-98), including “Lord Randall,” “Sir Patrick Spens,” many distinguished colleagues because, at the height of his career, and a good three dozen variations on the adventures of Robin he decided to apply a gift for scholarship honed on the study of Hood. Some, like “Barbara Allen,” had been in print for generations traditional literature to the oral traditions of the folk ballad. and were sung from London to Appalachia. Others, like “Thomas That a sailmaker’s son achieved eminence of any sort was large- the Rhymer” or “Tam Lin,” evoke a world of magic that survived ly because the Boston of his youth was progressive enough to o≠er outside the written record for centuries. -
Tam Lin": an Analysis of Folktale Picture Books
THE TRANSFORMATION OF "TAM LIN": AN ANALYSIS OF FOLKTALE PICTURE BOOKS by GINGER MULLEN BA., The University of Lethbridge, 1994 A THESIS SUMBITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Interdisciplinary Children's Literature Programme) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 2003 © Ginger Mullen, 2003 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Sckvi>( pf iitn^ //• fy^iftXh/.U ,Sil//U/><^ The University of British Columbia Vancouver, Canada C 2 Date prfe/W \ If)?) ' DE-6 (2/88) Abstract The folktale picture book is rooted in a common folklore as well as literary and illustrative traditions. Scholarship indicates the necessity for evaluative criteria to be proposed for this unique genre which, subsequently, would assist writers, illustrators, critics and, due to their dependence on written retellings, storytellers. I group critical questions stemming from the adaptation a folktale to a folktale picture book into four categories. The first source acknowledgement, asks whether an author has credited folktale sources used when researching the retelling. -
OCR Document
The Ever-Vigilant Hero: Revaluing the Tale of Tam Lin Evelyn M. Perry In the Scots folk tale, Tam Lin (Child Ballad #39), a beautiful young knight is captured by the Fairy Queen when he falls from his horse. The Fairy Queen takes Tam as her lover, to live with the Fairy Folk until she tires of him. Once captured by the Queen, Tam is no longer a participant in a mortal reality. At times he can be found in the abandoned halls and gardens of Carterhaugh, but these visits must be secretive (the Queen's hold over him is jealous and powerful), and there is risk and danger involved in his visits to our reality. For when the Fairy Queen tires of Tam Lin, or if he becomes irksome to her, he will be given as a tithe to Hell. Thus, when the hero Janet1 falls in love with Tam Lin and becomes impregnated by him, he is half dead—dead to a human, mortal existence yet alive among the immortal Fairy Folk. Tam Lin is "living" on borrowed time, and it is Janet's project to save him by pulling him away from the Fairy Queen's powers, back into the mortal world of Carterhaugh and Old Scotland. Should Janet fail in this, Tam Lin will surely be pushed into Hell, into an endless death and suffering from which there is no return. The folk tale that bears his name occupies a position in the literary canon not unlike Tam Lin's position in Fairy Land. Due to a tradition of devaluation, folk tale has been relegated to children's literature and considered peasant fiction fit for juvenile audiences (Brockman). -
What to Do About Tam Lin?
j{tà àÉ wÉ tuÉâà gtÅ _|ÇR a theater LARP/live form scenario by Julia Bond Ellingboe and Emily Care Boss February 2010 - 1 - j{tà àÉ wÉ tuÉâà gtÅ _|ÇR Introduction gtuÄx Éy VÉÇàxÇàá I. Introduction……………………………………………………………………………………3 o World and Court II. Rules……………………………………………………………………………………………..4 o Order of Play……………………………………………………………….4 o Courtly Etiquette…………………………………………………………6 o The Cases……………………………………………………………………6 o Law of the Realms………………………………………………………9 o Character Attributes and Cards……………………………….16 Natures………………………………………………………….16 Powers…………………………………………………………..17 Flaws……………………………………………………………..19 o List of Props………………………………………………………………21 o The Ballads……………………………………………………………….22 III. The Characters……………………………………………………………………………31 o Information provided for each of the 17 Characters: Nature, as Revealed at the Beginning of Game Status Background Case Info Powers, as Revealed at the Beginning of Game Flaws Who you Know IV. The Sentries (GMs)………………………………………………………………………88 o What the Sentries Know Character Cards……………………………………………..88 PCs and NPCs………………………………………………….89 o Thomas the Rhymer……………………………………………………90 Insight Secrets o Running and Pacing the Game…………………………………..93 Time Limits and Timeline o Assigning Characters …………………………………………………94 Before Game At Game V. Resource List………………………………………………………………………………….95 VI. Cheat Sheets………………………………………………………………………………..96 GM Quick Reference Powers and Flaws Character Descriptions Case Info Sheets Claimants Lawyers VII. Cards …………………………………………………………………………………………102 - 2 - j{tà àÉ wÉ tuÉâà gtÅ _|ÇR Introduction \ÇàÜÉwâvà|ÉÇ àÉ à{x jÉÜÄw At the ruins of Carterhaugh in the Scottish Borderlands near England, there is a crossroads where the many Worlds meet. Here, at Samhain, Fae and Mortals congregate for their annual Court, hosted by the Fae. At this time, the veils between the Worlds recede, and beings from the Mortal Realms, Faery and other Worlds can come together or cross over from one world to the next. -
How Appalachian Women Ballad Singers' Repertoire Choices Reflect
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2018 “I’ve Always Identified with the omen:”W How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns Sara Lynch-Thomason East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Appalachian Studies Commons, Ethnomusicology Commons, and the Women's Studies Commons Recommended Citation Lynch-Thomason, Sara, "“I’ve Always Identified with the omen:”W How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns" (2018). Electronic Theses and Dissertations. Paper 3488. https://dc.etsu.edu/etd/3488 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns _____________________ A thesis presented to the faculty of the Department of Appalachian Studies East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in Appalachian Studies _____________________ by Sara Lynch-Thomason December 2018 _____________________ Dr. Lee Bidgood, Chair Dr. Katie Hoffman Dr. Rebecca Adkins Fletcher Dr. Marie Tedesco Keywords: Ballad Singing, Women Singers, Madison County, Feminism and Folklore, Oral Tradition, Folk Song, Appalachian Music ABSTRACT “I’ve Always Identified with the Women:” How Appalachian Women Ballad Singers’ Repertoire Choices Reflect Their Gendered Concerns by Sara Lynch-Thomason This thesis explores how contemporary Appalachian women’s gendered experiences influence their choices of ballad repertoire. -
Francis James Child and William Macmath Working Together for Ballads
THE CAUSE Francis James Child and William Macmath Working Together for Ballads Mary Ellen Brown• • , Editor Contents Acknowledgements The Cause The Letters Index Acknowledgments The letters between Francis James Child and William Macmath reproduced here belong to the permanent collections of the Houghton Library, Harvard University and the Hornel Library, Broughton House, Kirkcudbright, a National Trust for Scotland property. I gratefully acknowledge the help and hospitality given me by the staffs of both institutions and their willingness to allow me to make these materials more widely available. My visits to both facilities in search of data, transcribing hundreds of letters to bring home and analyze, was initially provided by the John Simon Guggenheim Memorial and Andrew W. Mellon foundations and subsequently—for checking my transcriptions and gathering additional material--by the Office of the Provost for Research at Indiana University Bloomington. This serial support has made my work possible. Quite unexpectedly, two colleagues/friends met me the last time I was in Kirkcudbright (2014) and spent time helping me correct several difficult letters and sharing their own perspectives on these and other materials—John MacQueen and the late Ronnie Clark. Robert E. Lewis helped me transcribe more accurately Child’s reference and quotation from Chaucer; that help reminded me that many of the letters would benefit from copious explanatory notes in the future. Much earlier I benefitted from conversations with Sigrid Rieuwerts and throughout the research process with Emily Lyle. Both of their published and anticipated research touches on related publications as they have sought to explore and make known the rich past of Scots and the study of ballads. -
Expanding a Traditional Ballad: Tam Lin in the Picture Book Fantasies of Jane Yolen and Susan Cooper
EXPANDING A TRADITIONAL BALLAD: TAM LIN IN THE PICTURE BOOK FANTASIES OF JANE YOLEN AND SUSAN COOPER JANIS DAWSON O I forbid you, maidens a,' That wear gowd on your hair, To come or gae by Caterhaugh, For young Tam Lin is there. There's nane that gaes by Caterhaugh But they leave him a wad, Either their rings, or green mantles, Or else their maidenhead. Janet has kilted her green kirtle A little aboon her knee, And she has broded her yellow hair A liitle aboon her bree, And she's awa' to Carterhaugh. As fast as she can hie. -Tam Lin (Child 39A)1 Tam Lin is one of the better known of the traditional Scottish fairy ballads. This highly romantic story of a young woman who rescues her lover from the Fairy Queen was noted in written sources as early as the sixteenth century. Although the ballad itself, set in the wild border lands of Scotland, appears to be unique to the Scottish people, folklorists have connected the story with Greek popular traditions older than Homer (Child 336)2 The story has also been linked to other traditional ballads and tales, including Thomas the Rhymer, The Faerie Oak of Corriewater, Alice Brand, The King’s Daughter Jane, and Beauty and the Beast, and it has been described as the canonical ballad ("Legends"). In more recent times, the story has continued to inspire artists, writers, and musicians.3 Tam Lin has even entered the electronic age with an extensive web site devoted to the discussion and interpretation of the ballad.4 EXPANDING A TRADITIONAL BALLAD DAWSON Romance aside, however, Tam Lin is a dark, violent and highly complex story that in its various manifestations deals with rape, abortion, abduction, torture, and human sacrifice. -
Fairport Convention Richard Looming Behind Her, I Thought "Hobbit and June 68 Goblin!"
WHO KNOWS WHERE THE TIME WENT ? MIKE WEBER 'S GUIDE TO THE ESSENTIAL 1967 - 1979 Fairport Convention Richard looming behind her, i thought "Hobbit and June 68 goblin!" Time Will Show the Wiser Jack o Diamonds Unhalfbricking Chelsea Morning July 69 (US November 69, with the The first album, when they stupidest cover ever... were seen as sort of a British [below]) Jefferson Airplane; Judy Dy- ble on vocals, Martin Lamble Virtually this entire album is on drums, Ashley (Tyger) Important: Hutchings bass, Richard Thompson & Simon Nicol Genesis Hall various guitars and mandolin, Si Tu Dois Partir Ian MacDonald (later Ian Mat- Who Knows Where the thews) vocals. Time Goes Percy's Song "Fairport" was the house Simon's family lived in in Million Dollar Bash Muswell Hill; they got together in a spare room to practise, henc, "The Fairport Convention", though the Personnel as before "The" disappeared pretty quickly. There are two Joni (Matthews on only one track); Mitchell songs on this album -- which came out before Dave Swarbrick on session fiddle Joni's own version did, i believe. Mitchell's manager or producer (i forget with), Warwick Boyd, sent the Genesis Hall was a well-known and large London songs to their producer, his brother,Joe Boyd, an expa- squat that was eventually raided by the police. Rich- triate American living in London. ard's father was a policeman; "Genesis Hall" the song is about neutrality and ambivalence in emotional cir- cumstance. ("My father he rides with your sheriffs/ What We Did on Our and I know he would never mean harm/But to see both sides of a quarrel they say/Is to judge without fear or Holidays alarm...") January 69 You may know Judy Collins' version of "Where the (The July 69 US release was Time Goes" -- it was, i understand, the second eral entitled simply "Fairport Con- song Sandy wrote, written when she was 19. -
Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Studies in Language, Literature, and Criticism English, Department of January 1921 Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads Lowry Charles Wimberly University of Nebraska Follow this and additional works at: https://digitalcommons.unl.edu/englishunsllc Part of the English Language and Literature Commons Wimberly, Lowry Charles, "Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads" (1921). University of Nebraska Studies in Language, Literature, and Criticism. 10. https://digitalcommons.unl.edu/englishunsllc/10 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Studies in Language, Literature, and Criticism by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. UNIVERSITY OF NEBRASKA. STUDIES IN LANGUAGE, LITERATURE, AND CRITICISM NUMBER 4. MINSTRELSY, MUSIC, AND THE DANCE IN THE ENGLISH AND SCOTTISH POPULAR BALLADS BY LOWRY CHARLES WIMBERLY, A. M. EDITORIAL COMMITTEE LOUISE POUND, Ph. D., Department of English H. B. ALEXANDER, Ph. D., Department of Philosophy H. H. VAUGHAN, Ph. D., Department of Romance Languages LINCOLN 1 9 2 1 CONTENTS I INTRODUCTION The pastimes of the ballad in relation to the theme of the ballad. -The ballad narrative rather than descriptive.-Rapid action in the ballad.-Pastimes not ordinarily an essential part of the action.-Minstrelsy, music, and the dance in King Estmere and The Bonny Lass 01 Anglesey.-Pastimes usually portrayed in casual descriptive touches.-Purpose of the present study. Importance of recreational interests in the ballad.-The place of music in the present study.