The Minstrelsy of the Scottish Border
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ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン 2016 年 6 月 4 日放送 01
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2016 年 6 月 4 日放送 01. James Bond / Roland Alphonso // Intensified 02. Whose Muddy Shoes / Elmore James // Whose Muddy Shoes 03. Be Careful / John Brim // Whose Muddy Shoes 04. Call It Stormy Monday / Elmore James // Whose Muddy Shoes 05. This Strange Effect / Dave Berry // Kinked! Kinks Songs & Sessions 1964-1971 06. I Go To Sleep / Peggy Lee // Kinked! Kinks Songs & Sessions 1964-1971 07. Who'll Be The Next In Line / The Knack // Kinked! Kinks Songs & Sessions 1964-1971 08. All Night Stand / The Thoughts // Kinked! Kinks Songs & Sessions 1964-1971 09. A House In The Country / The Pretty Things // Kinked! Kinks Songs & Sessions 1964-1971 10. Rosy, Won't You Please Come Home / Marianne Faithfull // Kinked! Kinks Songs & Sessions 1964-1971 11. Big Black Smoke / Mick & Malcolm // Kinked! Kinks Songs & Sessions 1964-1971 12. Mister Pleasant / Nicky Hopkins & The Whistling Piano // Kinked! Kinks Songs & Sessions 1964-1971 13. I'm Not Like Everybody Else / The Chocolate Watchband // Kinked! Kinks Songs & Sessions 1964-1971 14. Act Nice And Gentle / Duster Bennett // Kinked! Kinks Songs & Sessions 1964-1971 15. Nobody's Fool / Cold Turkey // Kinked! Kinks Songs & Sessions 1964-1971 16. Compared To What / Les McCann & Eddie Harris // Swiss Movement 17. A Change Is Gonna Come / Sam Cooke // Portrait Of A Legend 1951-1964 18. Shine / Joni Mitchell // Shine 19. Sam Stone / Swamp Dogg // A Soldier's Sad Story: Vietnam Through The Eyes Of Black America 1966-73 20. War / The Temptations // Does Anybody Know I'm Here? 21. Open Letter To The President / Roy C / Does Anybody Know I'm Here? 2016 年 6 月 11 日放送 01. -
Social Issues in Ballads and Songs, Edited by Matilda Burden
SOCIAL ISSUES IN BALLADS AND SONGS Edited by MATILDA BURDEN Kommission für Volksdichtung Special Publications SOCIAL ISSUES IN BALLADS AND SONGS Social Issues in Ballads and Songs Edited by MATILDA BURDEN STELLENBOSCH KOMMISSION FÜR VOLKSDICHTUNG 2020 Kommission für Volksdichtung Special Publications Copyright © Matilda Burden and contributors, 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Peer-review statement All papers have been subject to double-blind review by two referees. Editorial Board for this volume Ingrid Åkesson (Sweden) David Atkinson (England) Cozette Griffin-Kremer (France) Éva Guillorel (France) Sabina Ispas (Romania) Christine James (Wales) Thomas A. McKean (Scotland) Gerald Porter (Finland) Andy Rouse (Hungary) Evelyn Birge Vitz (USA) Online citations accessed and verified 25 September 2020. Contents xxx Introduction 1 Matilda Burden Beaten or Burned at the Stake: Structural, Gendered, and 4 Honour-Related Violence in Ballads Ingrid Åkesson The Social Dilemmas of ‘Daantjie Okso’: Texture, Text, and 21 Context Matilda Burden ‘Tlačanova voliča’ (‘The Peasant’s Oxen’): A Social and 34 Speciesist Ballad Marjetka Golež Kaučič From Textual to Cultural Meaning: ‘Tjanne’/‘Barbel’ in 51 Contextual Perspective Isabelle Peere Sin, Slaughter, and Sexuality: Clamour against Women Child- 87 Murderers by Irish Singers of ‘The Cruel Mother’ Gerald Porter Separation and Loss: An Attachment Theory Approach to 100 Emotions in Three Traditional French Chansons Evelyn Birge Vitz ‘Nobody loves me but my mother, and she could be jivin’ too’: 116 The Blues-Like Sentiment of Hip Hop Ballads Salim Washington Introduction Matilda Burden As the 43rd International Ballad Conference of the Kommission für Volksdichtung was the very first one ever to be held in the Southern Hemisphere, an opportunity arose to play with the letter ‘S’ in the conference theme. -
INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, Day Department, 2016) Assignments for Self-Study (25 Points)
The elective discipline «INTERPRETING POETRY: English and Scottish Folk Ballads (Year 5, day department, 2016) Assignments for Self-Study (25 points) Task: Select one British folk ballad from the list below, write your name, perform your individual scientific research paper in writing according to the given scheme and hand your work in to the teacher: Titles of British Folk Ballads Students’ Surnames 1. № 58: “Sir Patrick Spens” 2. № 13: “Edward” 3. № 84: “Bonny Barbara Allen” 4. № 12: “Lord Randal” 5. № 169:“Johnie Armstrong” 6. № 243: “James Harris” / “The Daemon Lover” 7. № 173: “Mary Hamilton” 8. № 94: “Young Waters” 9. № 73:“Lord Thomas and Annet” 10. № 95:“The Maid Freed from Gallows” 11. № 162: “The Hunting of the Cheviot” 12. № 157 “Gude Wallace” 13. № 161: “The Battle of Otterburn” 14. № 54: “The Cherry-Tree Carol” 15. № 55: “The Carnal and the Crane” 16. № 65: “Lady Maisry” 17. № 77: “Sweet William's Ghost” 18. № 185: “Dick o the Cow” 19. № 186: “Kinmont Willie” 20. № 187: “Jock o the Side” 21. №192: “The Lochmaben Harper” 22. № 210: “Bonnie James Campbell” 23. № 37 “Thomas The Rhymer” 24. № 178: “Captain Car, or, Edom o Gordon” 25. № 275: “Get Up and Bar the Door” 26. № 278: “The Farmer's Curst Wife” 27. № 279: “The Jolly Beggar” 28. № 167: “Sir Andrew Barton” 29. № 286: “The Sweet Trinity” / “The Golden Vanity” 30. № 1: “Riddles Wisely Expounded” 31. № 31: “The Marriage of Sir Gawain” 32. № 154: “A True Tale of Robin Hood” N.B. You can find the text of the selected British folk ballad in the five-volume edition “The English and Scottish Popular Ballads: five volumes / [edited by Francis James Child]. -
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 -
Resisting Radical Energies:Walter Scott's Minstrelsy of the Scottish
Cycnos 18/06/2014 10:38 Cycnos | Volume 19 n°1 Résistances - Susan OLIVER : Resisting Radical Energies:Walter Scott’s Minstrelsy of the Scottish Borderand the Re-Fashioning of the Border Ballads Texte intégral Walter Scott conceived of and began his first major publication, the Minstrelsy of the Scottish Border, in the early 1790s. Throughout that decade and into the first three years of the nineteenth century, he worked consistently at accumulating the substantial range of ballad versions and archival material that he would use to produce what was intended to be an authoritative and definitive print version of oral and traditional Borders ballad culture. For the remainder of his life Scott continued to write and speak with affection of his “Liddesdale Raids,” the ballad collecting and research trips that he made into the Borders country around Liddesdale mainly during the years 1792–99. J. G. Lockhart, his son-in-law and biographer, describes the period spent compiling the Minstrelsy as “a labour of love truly, if ever there was,” noting that the degree of devotion was such that the project formed “the editor’s chief occupation” during the years 1800 and 1801. 1 At the same time, Lockhart takes particular care to state that the ballad project did not prevent Scott from attending the Bar in Edinburgh or from fulfilling his responsibilities as Sheriff Depute of Selkirkshire, a post he was appointed to on 16th December 1799. 2 The initial two volumes of the Minstrelsy, respectively sub-titled “Historical Ballads” and “Romantic Ballads,” were published in January 1802. 3 A third volume, supplementary to the first two, was published in May 1803. -
English 577.02 Folklore 2: the Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246)
English 577.02 Folklore 2: The Traditional Ballad (Tu/Th 9:35AM - 10:55AM; Hopkins Hall 246) Instructor: Richard F. Green ([email protected]; phone: 292-6065) Office Hours: Wednesday 11:30 - 2:30 (Denney 529) Text: English and Scottish Popular Ballads, ed. F.J. Child, 5 vols (Cambridge, Mass.: 1882- 1898); available online at http://www.bluegrassmessengers.com/the-305-child-ballads.aspx.\ August Thurs 22 Introduction: “What is a Ballad?” Sources Tues 27 Introduction: Ballad Terminology: “The Gypsy Laddie” (Child 200) Thurs 29 “From Sir Eglamour of Artois to Old Bangum” (Child 18) September Tues 3 Movie: The Songcatcher Pt 1 Thurs 5 Movie: The Songcatcher Pt 2 Tues 10 Tragic Ballads Thurs 12 Twa Sisters (Child 10) Tues 17 Lord Thomas and Fair Annet (Child 73) Thurs 19 Romantic Ballads Tues 24 Young Bateman (Child 53) October Tues 1 Fair Annie (Child 62) Thurs 3 Supernatural Ballads Tues 8 Lady Isabel and the Elf Knight (Child 4) Thurs 10 Wife of Usher’s Well (Child 79) Tues 15 Religious Ballads Thurs 17 Cherry Tree Carol (Child 54) Tues 22 Bitter Withy Thurs 24 Historical & Border Ballads Tues 29 Sir Patrick Spens (Child 58) Thurs 31 Mary Hamilton (Child 173) November Tues 5 Outlaw & Pirate Ballads Thurs 7 Geordie (Child 209) Tues 12 Henry Martin (Child 250) Thurs 14 Humorous Ballads Tues 19 Our Goodman (Child 274) Thurs 21 The Farmer’s Curst Wife (Child 278) S6, S7, S8, S9, S23, S24) Tues 24 American Ballads Thurs 26 Stagolee, Jesse James, John Hardy Tues 28 Thanksgiving (PAPERS DUE) Jones, Omie Wise, Pretty Polly, &c. -
Oral Tradition 29.1
Oral Tradition, 29/1 (2014):47-68 Voices from Kilbarchan: Two versions of “The Cruel Mother” from South-West Scotland, 1825 Flemming G. Andersen Introduction It was not until the early decades of the nineteenth century that a concern for preserving variants of the same ballad was really taken seriously by collectors. Prior to this ballad editors had been content with documenting single illustrations of ballad types in their collections; that is, they gave only one version (and often a “conflated” or “amended” one at that), such as for instance Thomas Percy’s Reliques of Ancient English Poetry from 1765 and Walter Scott’s Minstrelsy of the Scottish Border from 1802. But with “the antiquarian’s quest for authenticity” (McAulay 2013:5) came the growing appreciation of the living ballad tradition and an interest in the singers themselves and their individual interpretations of the traditional material. From this point on attention was also given to different variations of the same ballad story, including documentation (however slight) of the ballads in their natural environment. William Motherwell (1797-1835) was one of the earliest ballad collectors to pursue this line of collecting, and he was very conscious of what this new approach would mean for a better understanding of the nature of an oral tradition. And as has been demonstrated elsewhere, Motherwell’s approach to ballad collecting had an immense impact on later collectors and editors (see also, Andersen 1994 and Brown 1997). In what follows I shall first give an outline of the earliest extensively documented singing community in the Anglo-Scottish ballad tradition, and then present a detailed analysis of two versions of the same ballad story (“The Cruel Mother”) taken down on the same day in 1825 from two singers from the same Scottish village. -
A BOOK of OLD BALLADS Selected and with an Introduction
A BOOK OF OLD BALLADS Selected and with an Introduction by BEVERLEY NICHOLS ACKNOWLEDGMENTS The thanks and acknowledgments of the publishers are due to the following: to Messrs. B. Feldman & Co., 125 Shaftesbury Avenue, W.C. 2, for "It's a Long Way to Tipperary"; to Mr. Rudyard Kipling and Messrs. Methuen & Co. for "Mandalay" from _Barrack Room Ballads_; and to the Executors of the late Oscar Wilde for "The Ballad of Reading Gaol." "The Earl of Mar's Daughter", "The Wife of Usher's Well", "The Three Ravens", "Thomas the Rhymer", "Clerk Colvill", "Young Beichen", "May Collin", and "Hynd Horn" have been reprinted from _English and Scottish Ballads_, edited by Mr. G. L. Kittredge and the late Mr. F. J. Child, and published by the Houghton Mifflin Company. The remainder of the ballads in this book, with the exception of "John Brown's Body", are from _Percy's Reliques_, Volumes I and II. CONTENTS FOREWORD MANDALAY THE FROLICKSOME DUKE THE KNIGHT AND SHEPHERD'S DAUGHTER KING ESTMERE KING JOHN AND THE ABBOT OF CANTERBURY BARBARA ALLEN'S CRUELTY FAIR ROSAMOND ROBIN HOOD AND GUY OF GISBORNE THE BOY AND THE MANTLE THE HEIR OF LINNE KING COPHETUA AND THE BEGGAR MAID SIR ANDREW BARTON MAY COLLIN THE BLIND BEGGAR'S DAUGHTER OF BEDNALL GREEN THOMAS THE RHYMER YOUNG BEICHAN BRAVE LORD WILLOUGHBEY THE SPANISH LADY'S LOVE THE FRIAR OF ORDERS GRAY CLERK COLVILL SIR ALDINGAR EDOM O' GORDON CHEVY CHACE SIR LANCELOT DU LAKE GIL MORRICE THE CHILD OF ELLE CHILD WATERS KING EDWARD IV AND THE TANNER OF TAMWORTH SIR PATRICK SPENS THE EARL OF MAR'S DAUGHTER EDWARD, -
The Ballad/Alan Bold Methuen & Co
In the same series Tragedy Clifford Leech Romanticism Lilian R Furst Aestheticism R. V. Johnson The Conceit K. K Ruthven The Ballad/Alan Bold The Absurd Arnold P. Hinchliffe Fancy and Imagination R. L. Brett Satire Arthur Pollard Metre, Rhyme and Free Verse G. S. Fraser Realism Damian Grant The Romance Gillian Beer Drama and the Dramatic S W. Dawson Plot Elizabeth Dipple Irony D. C Muecke Allegory John MacQueen Pastoral P. V. Marinelli Symbolism Charles Chadwick The Epic Paul Merchant Naturalism Lilian R. Furst and Peter N. Skrine Rhetoric Peter Dixon Primitivism Michael Bell Comedy Moelwyn Merchant Burlesque John D- Jump Dada and Surrealism C. W. E. Bigsby The Grotesque Philip Thomson Metaphor Terence Hawkes The Sonnet John Fuller Classicism Dominique Secretan Melodrama James Smith Expressionism R. S. Furness The Ode John D. Jump Myth R K. Ruthven Modernism Peter Faulkner The Picaresque Harry Sieber Biography Alan Shelston Dramatic Monologue Alan Sinfield Modern Verse Drama Arnold P- Hinchliffe The Short Story Ian Reid The Stanza Ernst Haublein Farce Jessica Milner Davis Comedy of Manners David L. Hirst Methuen & Co Ltd 19-+9 xaverslty. Librasü Style of the ballads 21 is the result not of a literary progression of innovators and their acolytes but of the evolution of a form that could be men- 2 tally absorbed by practitioners of an oral idiom made for the memory. To survive, the ballad had to have a repertoire of mnemonic devices. Ballad singers knew not one but a whole Style of the ballads host of ballads (Mrs Brown of Falkland knew thirty-three separate ballads). -
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. -
The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 19 (2017) Issue 3 Article 4 The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads Ana Belén Martínez García University of Navarra Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Literature in English, British Isles Commons, Literature in English, North America Commons, and the Spanish Literature Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Martínez García, Ana Belén. "The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads." CLCWeb: Comparative Literature and Culture 19.3 (2017): <https://doi.org/10.7771/1481-4374.3017> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Ancient Scottish Ballads
Digitized by tine Internet Arciiive in 2008 witii funding from IVIicrosoft Corporation in ftp ://www.arcli ive.org/details/anGientscottislibOOkinl l^^^<t^^tj<.^i)> / ^ i ANCIENT SCOTTISH BALLADS, UECOVEUED FROM TRADITION, AND NEVER BEFORE published: WITH NOTES, HISTORICAL AND EXPLANATORY: AND AN APPENDIX, (ITontainins t1)c airs of scbcval of t\]t JSnllatiB. Sum bethe of wcr, and sum of wo; And sum uf iuie, and mirthe also ; And sum of trccherie, and sum ofgilc; Of old aucntours that fcl wliilc. Lain le Frcyn. LONDON: LONGMAN, REES, ORME, BROWN, & GREEN, AND JOHN bTKVKNSON, EDINUUHGH. MDCi;CX.XVU TO ROBERT DUNDAS, ESQUIRE, OF ARNISTON, THIS VOLUME IS RESPECTFULLY INSCRIBED VERY FAITHFUL AND OBEDIENT SERVANT, GEO. K. Kl NLOCH. il ^^^^ CONTENTS. 'i ^ ^ 1 i t ^^ ^ Prefatory Notice, ix /"*^ 1 rj Young Redin, 13 "t ' Earl Richard, p t -^"^ 25 . The Sheplierd's Dochter, /^S VOI* - Lord Lovel, 31 "l Johnie of Cocklesmuir, 36 1 /^•^'l Crnel Mother, 44 . ' Laird of VVariestoun, 49 "^ p»?T Laird of Blackwood, 58 The Wedding of Robin Hoo<l and Little John,.... G5 a1 S V.X •j t ' The Gardener, 74 \ I ,«! fl' Johnie Buneftan, 77 Lord Thomas of Winesberrie, 89 th p^q^Sweet Willie, 95 100 S fM6') Bonnie House of Airly, n "t 'Lord Donald, 107 Queen Jeanio, 116 Bonnie A nnio, 1 -^3 V.l :-: The Dukeof Atliol's Nourice, 127 A\s , 4 VIU "• p/oi; The Provost's Dochter, 131 I 5 Y') p. !<-! HyndeHorn, 135 ElfiaKnicht, 145 Young Peggy, 153 William Guiseman, 156 is Y'l f'K^ Laird of Ochiltree, 159 IS V-l p' /5- Laird of Lochnie, 167 The Duke of Athol, 170 Glasgow Peggy, 174 -=.