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“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Music and the American Civil War
“LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans. -
Warrior-Bishops In
WARRIOR-BISHOPSIN LA CHANSON DE ROLAND AND POWA DE MI0 CID EARL R. ANDERSON ARCHBISHOP TURPIN, THE fighting bishop in La Chanson de Roland, is a character whose behavior and attitudes are contrary to modem assumptions about what a medieval clergyman should have been. The poet's first mention of him, it is true, represents him in a role that is consistent with conventional views about the clergy: he volunteers to travel to Marsilion's court as Charlemagne's peace ambassador (264-73)-but so do the barons Naimon, Roland, and Olivier (246-58). In each subsequent appearance in the poem, however, Brpin accompanies the Frankish rearguard not as a peaceable messenger of the Prince of Peace but more and more as one of Charlemagne's most ferocious warriors. In his "sermun" at Roncevaux, he admonishes the Franks to fight, "Chrestientet aidez a sustenir" '[to] help to sustain the Christian faith' (1129), and "Clamez vos culpes, si preiez Deumercit" 'confess your sins, and pray to God for mercy' (1132), and he promises absolution for sins in exchange for military service, and martyrdom in exchange for death on the battlefield (1134-38). He rides to battle on a horse once owned by Grossaille, a king whom he had killed in Denmark (1488-89). During the course of battle, Tbrpin kills the Berber Corsablix, the enchanter Siglorel, the African Malquiant, the infernally-named Saracen Abisme, and four hundred others, elsewhere striking a War, Literature, and the Arts thousand blows (1235-60, 1390-95, 1414, 1470-1509, 1593-1612, 2091-98). lbrpin and Roland are the last of the Franks to die in the battle. -
THE BATTLE CRY Greater Greenville Hockey Association V1516.2
October 2015 THE BATTLE CRY Greater Greenville Hockey Association V1516.2 In this issue: How to Dress Your Youth Dressing Your Player Hockey Player for Practice Road Tripping Golf Scramble If Itech, Bauer, or CCM sound foreign to you, feel Travel Team Updates comforted by the fact that you are not alone. Now Pictures from the Road that you have an GGHA Hockey player, these House Updates names will become as familiar to you as your pet's Calendars/Contacts name. Over half a million youth play hockey in the United States each year and all of their parents had to learn the art of clipping, taping and tying hockey gear. Your child may be envisioning the Stanley Cup but you are probably envisioning the dent in your checkbook. Outfitting your child for hockey does not have to be a huge expense and there are fewer things cuter than your 5 year old dressed up in full hockey gear! Tips for saving on gear. #1—GGHA Hockey swap! Happens in August. Plan on it. Find used gear for CHEAP! 2. Second hand. One person’s gently used goods are another person’s treasure, especially when it comes to hockey. However, for safety reasons, it is important to use strict caution when purchasing sec- ond-hand gear, USA Hockey standards. 3. Purchase last year’s models. Best time is in late July or early August. 4. If you know family or friends who are involved in hockey, ask if they have equipment they no longer use. This is especially useful if younger kids have outgrown their lightly used gear 5. -
Ebb Tide, Vol. 22 No. 2 (Nov 1967)
Salve Regina University Digital Commons @ Salve Regina Student Newspapers Archives and Special Collections 11-1-1967 Ebb Tide, Vol. 22 No. 2 (Nov 1967) Salve Regina College Follow this and additional works at: https://digitalcommons.salve.edu/student-newspapers Recommended Citation Salve Regina College, "Ebb Tide, Vol. 22 No. 2 (Nov 1967)" (1967). Student Newspapers. 32. https://digitalcommons.salve.edu/student-newspapers/32 This Book is brought to you for free and open access by the Archives and Special Collections at Digital Commons @ Salve Regina. It has been accepted for inclusion in Student Newspapers by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. EBB TIDE Vol. 22 - No. 2 SALVE REGINA COLLEGE - NEWPORT, RHODE ISLAND November 1967 Health Fair Planned For Fine. Arts Committee Presents February Pulitzer Prize Winning Poet The first. formal meeting of the Student Nurses' Organiza Through his poetry, W. D. Snodgrass has shown .the public tion was held on October 14. The newly elected president, Mary that poetry is not the formulized reiteration of the past years, but Lou Ross, presided over the is abounding in life and freedom. Appearing on November 30 meeting. Plans for a Health Fair through the Fine Arts Committee, W. D. Snodgrass will delight to be held three days in Febru his audience with a personal reading of his poetry accompanied ary were discussed. During these days there will be displays, films, by commentaries. William DeWitt Snodgrass, Prize for Poetry for his collection and booths set up concerning American poet, critic and teach- of Poems entitled "Heart's various medical topics. -
Emanuel J. Mickel Ganelon After Oxford the Conflict Between Roland
Emanuel J. Mickel Ganelon After Oxford The conflict between Roland and Ganelon and the subsequent trial form an important part of the Chanson de Roland. How one looks at the trial and Ganelon's role in the text bears significantly on one's interpretation of the epic. While most critics acknowledge that Roland is the hero of the chanson and Ganelon the traitor, many, perhaps a majority, find flaws in Roland's character or conduct and accept the argument that Ganelon had some justification for his actions in the eyes of Charlemagne's barons and, perhaps, in the view of the medieval audience. Roland, of course, is blamed for desmesure and Ganelon is justified by the argument that his open defiance of Roland and the peers in the council scene gave him the right, according to the ancient Germanic ethical and legal code, to take vengeance on his declared adversaries. Proponents of this thesis allege that the Chanson de Roland, a text which they date to the eleventh century, reflects a growing tension and conflict between the powerful feudal barons and the growing power of the monarchy.1 The barons represent the traditions and custom law of a decentralized state where the king is primus inter pares, but essentially a baron like themselves. As the French monarchy grew in strength and was bolstered in a theoretical sense by the centralizing themes of Roman law, conflict between the crown and the nobility became apparent.2 1 For specific analysis of the trial in terms of allegedly older Germanic tradition, see Ruggero Ruggieri, Il Processo di Gano nella Chanson de Roland (Firenze: Sansoni, 1936); also George F. -
14 Pierrepont at a Crossroads of Literatures
14 Pierrepont at a crossroads of literatures An instructive parallel between the first branch of the Karlamagnús Saga, the Dutch Renout and the Dutch Flovent Abstract: In the French original of the first branch of the Karlamagnús Saga [= fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Bel- gium – a toponym Pierrepont plays a conspicous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle ‘Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence’. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200−1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date ‘before 1240’ is proposed. According to van den Berg,1 the Middle Dutch Flovent, of which only two frag- ments are preserved,2 was probably written by a Fleming (through copied by a Brabantian) and can very roughly be dated ‘around 1200’ on the basis of its verse technique and syntax. In this text, Pierrepont plays a conspicuous part without appearing in the French original.3 In the first fragment, we learn that King Clovis is being besieged in Laon by a huge pagan army (vv. 190 ss.). To protect their rear, the pagans build a castle at a distance of four [presumably French] miles [~18 km] from Laon. Its name will be Pierlepont (vv. -
Jonesexcerpt.Pdf
2 The Texts—An Overview N’ot que trois gestes en France la garnie; ne cuit que ja nus de ce me desdie. Des rois de France est la plus seignorie, et l’autre aprés, bien est droiz que jeu die, fu de Doon a la barbe florie, cil de Maience qui molt ot baronnie. De ce lingnaje, ou tant ot de boidie, fu Ganelon, qui, par sa tricherie, en grant dolor mist France la garnie. La tierce geste, qui molt fist a prisier, fu de Garin de Monglenne au vis fier. Einz roi de France ne vodrent jor boisier; lor droit seignor se penerent d’aidier, . Crestïenté firent molt essaucier. [There were only threegestes in wealthy France; I don’t think any- one would ever contradict me on this. The most illustrious is the geste of the kings of France; and the next, it is right for me to say, was the geste of white-beardedPROOF Doon de Mayence. To this lineage, which was full of disloyalty, belonged Ganelon, who, by his duplic- ity, plunged France into great distress. The thirdgeste , remarkably worthy, was of the fierce Garin de Monglane. Those of his lineage never once sought to deceive the king of France; they strove to help their rightful lord, . and they advanced Christianity.] Bertrand de Bar-sur-Aube, Girart de Vienne Since the Middle Ages, the corpus of chansons de geste has been di- vided into groups based on various criteria. In the above prologue to the thirteenth-century Girart de Vienne, Bertrand de Bar-sur-Aube classifies An Introduction to the Chansons de Geste by Catherine M. -
The Karlamagnús Compendium
Háskóli Íslands Hugvísindasvið Medieval Icelandic Studies The Karlamagnús Compendium Genre and Meaning in AM 180a-b fol. Ritgerð til M.A.-prófs Harry Williams Kt.: 151183-4419 Leiðbeinandi: Svanhildur Óskarsdóttir September 2017 Abstract This thesis is an examination of the fifteenth century manuscript AM 180a-b fol.; made up of a copy of the A version of Karlamagnús saga (180a) and seven further sagas - Konráðs saga keisarasonar, Dunstanus saga, Katrínar saga, Bærings saga, Knýtlinga saga, Vitus saga and Laurentius saga (180b), it originally formed one codex. The thesis has two main aims: to consider the generic position of Karlamagnús saga as it existed for the compilers of the manuscript and to speculate on the producers, purpose and use of the manuscript by means of a holistic consideration of its parts. The first aim is prompted by viewing the sagas of 180b as a reflection of the generic ambiguity of Karlamagnús saga. While patently belonging to the riddarasögur, Karlamagnús saga has affinities with hagiography and the konungasögur; representatives of these three generic classes are to be found in 180b. Structured by the theme of saintliness, in which a chronological line of saintly figures is presented, as well as shared geographical referents, the codex is marked by a wide-ranging intellectual curiosity. This is attributed to the concerns of the North Icelandic Benedictine School, the presence of which is marked in the manuscript, and to the wider intellectual atmosphere of fourteenth century Iceland in which saints' lives and romances were possibly written by the same people. 2 Ágrip Þessi ritgerð skoðar fimmtándu aldar handritið AM 180a-b fol.; sem samanstendur af A gerð Karlamagnúsar sögu (180a) ásamt sjö öðrum sögum- Konráðs sögu keisarasonar, Dunstanusar sögu, Katrínar sögu, Bærings sögu, Knýtlinga sögu, Vitus sögu og Laurentiusar sögu (180b), sem upphaflega mynduðu saman eitt handrit. -
Dictionnaire Des Épées Célèbres
Dictionnaire des épées célèbres Laurent BONNOT, V3d 2016 'épée est un symbole de pouvoir, auquel on confère souvent une âme et donne un Lnom. e livret vous permettra peut-être de compléter vos savoirs sur l'histoire de célèbres épées (pas toujours) légendaires, telles que les indestructibles Durandal ou Excalibur, et de faire connaissance avec d'autres lames moins connues telles que Courtain, Flamberge ou l'imprononçable mais réelle Szczerbiec. vertissement: deux erreurs (enfin … au moins deux) se sont glissées parmi Aces définitions. Un grand merci à Caroline pour sa relecture et ses corrections éclairées. Publié sur http://bonnot.laurent.free.fr Un commentaire ? Une suggestion ? [email protected] ‹‹ Dictionnaire des épées célèbres – édition 3d déc. 2016 © LB - page 1 / 33 Le catalogue du râ telier 1ère partie : épées de légendes historiques............................................................................4 Le nom de certaines épées est suivi d'un code de trois caractères placé entre crochets: [ART] pour les épées citées dans le mythe arthurien [CEL] pour les épées citées dans la mythologie celtique [HIS] pour les épées ayant réellement existé [MAS] pour les épées citées dans la mythologie anglo-saxonne [MGE] pour la mythologie germanique [MNO] pour la mythologie nordique [ROL] pour les épées citées dans la chanson de Roland Al-Adb, Al-Battar, Al-Ma'thur, Al-Mikhdham, Al-Rasub, Al-Qadib [HIS].................................--)------- 4 Almace [ROL]...............................................................................................................................--)------- -
ENG 251 Roland Study Guide
ENG 251 Roland Study Guide WORLD LITERATURE I (ENG 251) Roland Study Guide Dr. Diane Thompson, NVCC, ELI Charlemagne and Chansons de Arabs in Spain Crusading Soldiers of Christ Feudalism Roncevaux Geste The Story of Kings and Chansons as Poetry Paratactic Structure Chanson de Roland Roland Heroes Pagans, Demons and Notes on the Song of Roland by Charles Responsibility Works Cited Foreigners Evans CHARLEMAGNE AND RONCEVAUX Pope Leo crowned Charlemagne in Rome in Christmas Day, 800, making him the first Western Roman emperor in more than 300 years. As head of the Holy Roman Empire, Charlemagne became a figure of legend and stories for hundreds of years. Note: Charles = Charlemagne; Franks = French August 15 778 Battle of Roncevaux What really happened according to French and Arab Chroniclers of the time: Charlemagne went into Spain "at the request of the ...Saracen governor of Saragossa...who was in revolt against his master, the...emir of Cordova. ...Charlemagne appeared at Saragossa, where he thought the gates would open [but]...The city resisted, the siege dragged on; bad news from Saxony necessitated a hasty return.... On the way they encountered a city that refused them passage although it was Christian: Pamplona. The emperor razed it without mercy, then fell into the fatal ambush in which he came to know the "treachery of the Basques." But it is possible that the Basques were given considerable assistance by the Arabs." (Le Gentil, 14-15) Top ARABS IN SPAIN To twelfth century Europeans, "The Arab world was...a civilization apparently superior to their own in most if not all aspects of daily living, one whose trade goods were coveted and depended on [and] whose luxury was astounding... -
Paladin's Handbook
ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player’s Handbook Rules Supplement The Complete Paladin’s Handbook by Rick Swan CREDITS Design: Rick Swan Editing: Allen Varney Black and White Art: Ken Frank, Mark Nelson, Valerie Valusek Color Art: Les Dorscheid, Fred Fields, L. Dean James, Glen Orbik Electronic Prepress Coordination: Tim Coumbe Typography: Angelika Lokotz Production: Paul Hanchette TSR, Inc. TSR Ltd. 201 Sheridan Springs Rd. 120 Church End, Lake Geneva, Cherry Hinton WI 53147 Cambridge CB1 3LB USA United Kingdom ADVANCED DUNGEONS & DRAGONS, AD&D, DUNGEON MASTER and DRAGONLANCE are registered trademarks owned by TSR, Inc. The TSR logo is a trademark owned by TSR, Inc. This book is protected under the copyright laws of the United States of America. Any reproduction or unauthorized use of the material or artwork contained herein is prohibited without the express written permission of TSR, Inc. Distributed to the book and hobby trade in the United Kingdom by TSR Ltd. Distributed to the toy and hobby trade by regional distributors. © 1994 TSR, Inc. All Rights Reserved. Printed in the U.S.A. Table of Contents Introduction Chapter 1: Character Creation Paladin Requirements Level Advancement Armor and Weapons Clerical Magic Chapter 2: Paladin Abilities Detect Evil Intent Saving-Throw Bonus Immunity to Disease Cure Diseases Laying On Hands Aura of Protection Holy Sword Turning Undead Bonded Mount Clerical Spells Chapter 3: Ethos Strictures Edicts Virtues Code of Ennoblement Violations and Penalties Chapter 4: Paladin Kits Acquiring Kits