Introduction: Virginity and Patrilinear Legitimacy 1
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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. -
The Rover by Aphra Behn
By Shailesh Ranjan Assistant Professor Dept. of English, Maharaja College, Ara. About the Author Aphra Behn was one of the first English professional writers wrote plays, poetry, short stories and novels. Little information is known about her early life. She was born in about 1640 near Canterbury, England.Her family were Royalists, connected with powerful catholic families and the court. She may have been raised Catholic and educated in a convent abroad. As one of the first English women to earn her living by her writing, she broke cultural barriers and served as a literary role model for later generations of women authors. Rising from obscurity, she came to the notice of Charles II , who employed her as a spy in Antwerp. •After her return to London she started her writings. •She wrote under the pastrol pseudonym Astrea. •A staunch supporter of the Stuart Line, she declined an invitation from Bishop Burnet to write a welcoming poem to the new king William III. •She died shortly after. Her grave is not included in the Poets Corner but lies in the East Cloister near the steps to the church. •Virginia Woolf writes about her in her famous work ‘A Room of One’s Own’ - “ All women together ought to let flowers fall upon the tomb of Aphra Behn which is , most scandalously but rather appropriately, in Westminster Abbey, for it was she who earned them the right to speak their minds.” • She challenged with expressing herself in a patriarchal system that generally refused to grant merit to women’s views.Women who went against were in risk of being exiled from their communities and targeted to be involved in witch hunts. -
Making Space: the Case for Amatory Fiction, 1660-1740
MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ A Dissertation Presented to The Faculty of the Department Of English University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Chrisoula M. Gonzales May, 2017 MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _________________________ Chrisoula M. Gonzales APPROVED: _________________________ Ann Christensen, Ph.D. Committee Chair _________________________ David Mazella, Ph.D. _________________________ Maria Gonzalez, Ph.D. _________________________ Lynn Voskuil, Ph.D. _________________________ Robert Shimko, Ph.D. University of Houston _________________________ Antonio D. Tillis, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of Hispanic Studies ii MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of Psychology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _____________ By Chrisoula M. Gonzales May, 2017 ABSTRACT This dissertation explores amatory fiction as a genre significant to English literary history. I ground the study of amatory fiction in literary history, specifically exploring the ways that amatory fiction participates in the development of the novel. In amatory fiction, female characters express desire in a public setting, a feature that distinguishes amatory fiction from the novel, where characters more often express themselves in private, domestic spaces. By analyzing the various expressions of female desire in the works of Aphra Behn, Delarivier Manley, Eliza Haywood, and Daniel Defoe, I show that female characters are motivated to inhabit public space because they seek to know themselves as sexual, social, and political agents. -
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LIZZIE HIGGINS UP AND AWA’ WI’ THE LAVEROCK 1 Up and Awa Wi’ the Laverock 2 Lord Lovat 3 Soo Sewin’ Silk 4 Lady Mary Ann 5 MacDonald of Glencoe 6 The Forester 7 Tammy Toddles 8 Aul’ Roguie Gray 9 The Twa Brothers 10 The Cruel Mother 11 The Lassie Gathering Nuts First published by Topic 1975 Recorded and produced by Tony Engle, Aberdeen, January 1975 Notes by Peter Hall Sleeve design by Tony Engle Photographs by Peter Hall and Popperfoto Topic would like to thank Peter Hall for his help in making this record. This is the second solo record featuring the singing of Lizzie The Singer Higgins, one of our finest traditional singers, now at the height Good traditional singers depend to a considerable extent upon of her powers. The north-east of Scotland has been known for their background to equip them with the necessary artistic 200 years as a region rich in tradition, and recent collecting experience and skill, accumulated by preceding generations. has shown this still to be the case. Lizzie features on this It is not surprising then to find in Lizzie Higgins a superb record some of the big ballads for which the area is famed, exponent of Scots folk song, for she has all the advantages of such as The Twa Brothers, The Cruel Mother and The Forester. being born in the right region, the right community and, Like her famous mother, the late Jeannie Robertson, she has most important of all, the right family. The singing of her the grandeur to give these pieces their full majestic impact. -
The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More Information
Cambridge University Press 0521820197 - The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More information The Cambridge Companion to Aphra Behn Traditionally known as the first professional woman writer in English, Aphra Behn has now emerged as one of the major figures of the Restoration. During the 1670s and 1680s, she provided more plays for the stage than any other author, and greatly influenced the development of the novel with her ground- breaking fiction, especially Love-Letters between a Noble-Man and his Sister, and Oroonoko, the first English novel set in America. Behn’s work straddles the genres: beside drama and fiction, she also excelled in poetry and she made several important translations from French libertine and scientific works. The chapters in this Companion discuss and introduce her writings in all these fields and provide the critical tools with which to judge their aesthetic and historical importance. The book also includes a full bibliography, a detailed chronology, and a description of the known facts of her life. The Companion will be an essential tool for the study of this increasingly important writer and thinker. derek hughes is Professor of English Literature at the University of Aberdeen. In addition to many articles on Restoration drama and its back- ground, he has published Dryden’s Heroic Plays (1980), English Drama, 1660– 1700 (1996), and The Theatre of Aphra Behn (2001). He was the general editor of the six-volume Eighteenth Century Women Playwrights (2001), and has just completed an edition of early modern texts concerning slavery and America, which includes Behn’s and Southerne’s versions of Oroonoko. -
Singing the Child Ballads
Singing the Child Ballads In this column Rosaleen Gregory continues her composite, said to be collected from “various journey through the Child ballads in her own sources”. The tune is from Alexander Keith’s repertoire, and calls for readers’ submissions of selection from Gavin Greig’s collecting, Last alternative versions that they sing, or of other ballads Leaves of the Traditional Ballads and Ballad in the Child canon that she does not perform. This Airs (Aberdeen: The Buchan Club, 1925). time we cover Child Nos. 16-21. The Cruel Mother, # 20 Rosaleen writes: My version is called “Down by the Greenwood Sheath and Knife, # 16 Sidey”, and is mainly that noted by Robert and Henry Hammond from Mrs. Case, at Sydling St. Nicholas, The text I sing is Child’s version A, which was Dorset, in September 1907. The Hammonds collected reprinted from William Motherwell, ed., Minstrelsy two other versions of “The Cruel Mother” in Dorset Ancient and Modern (Glasgow: John Wylie, 1827). in 1907: one from Mrs. Russell at Upwey in The ballad was noted by Motherwell in February February, and the other from Mrs. Bowring at Cerne 1825 from an informant named Mrs. King, who lived Abbas in September. Milner and Kaplan appear to in the parish of Kilbarchan. The tune is from James have collated the text from these three (and perhaps Johnson, ed., The Scots Musical Museum, Consisting other) sources, and they took the tune from that of Six Hundred Scots Songs, 2 Vols. (Edinburgh: printed by Henry Hammond in the Journal of the James Johnson, 1787-1803). -
University of California
UC Riverside UC Riverside Electronic Theses and Dissertations Title The English Novel's Cradle: The Theatre and the Women Novelists of the Long Eighteenth Century Permalink https://escholarship.org/uc/item/5q32j478 Author Howard, James Joseph Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The English Novel‘s Cradle: The Theatre and the Women Novelists of the Long Eighteenth Century A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by James Joseph Howard March 2010 Dissertation Committee: Dr. George E. Haggerty, Chairperson Dr. Carole Fabricant Dr. Deborah Willis Copyright by James Joseph Howard 2010 The Dissertation of James Howard is approved: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I wish to express my appreciation for the guidance and encouragement provided during this project by my Dissertation Committee Chair, Dr. George Haggerty, and the positive support of the other committee members, Dr. Carole Fabricant and Dr. Deborah Willis. I would also like to thank Dr. John Ganim, who served on my doctoral examination committee, for his helpful insights before and especially during my oral examination, and Dr. John Briggs, for his initial encouragement of my entering the doctoral program at UC Riverside. I also extend my gratitude to all the English faculty with whom I had the pleasure of studying during my six years at the Riverside campus. Finally, I must make special mention of the English Graduate Staff Advisor, Tina Feldmann, for her unflinching dedication and patience in resolving not only my own interminable queries and needs, but also those of her entire ―family‖ of English graduate students. -
Liletrad3vol1
Revista Académica liLETRAd Revista Académica liLETRAd Nº3. Volumen 1 Sevilla, 2017 Revista Académica liLETRAd Comité científico/Scientific Commitee: Dr. Daniel Salinas – Universidad Católica de Cuyo (Argentina), Dr. José Miguel Blanco Pena – Universidad de Tamkang-Taiwan/Universidad de Alcalá de Henares, Dr. Antonio Álvaro Bernal Reyes – Universidad de Pittsburgh at Jonstown (USA), Dr. George Kuparadze – Universidad de Tbilisi (GEO), Dr. Juan Decastro – Eugene Lang College (USA), Dra. Raquel Crisóstomo – Universitat Oberta de Catalunya, Dra. Carmen Cayetana Castro Moreno – Dra. Christina Holgado Sáez, PhD – Universidad de Granada, Dr. Juan Pablo Sanz – Universidad Central de Venezuela, Dra. Luisa A. Messina Fajardo – Università degli Studi Roma Tre, Dra. Carmen Sánchez Morillas – Universidad de Granada, Dra. Leticia Gándara Fernández – Universidad de Extremadura, Dra. Estefanía Torrijos – Universidad Camilo José Cela, Dra. Belén Huarte Gallego – Glendon College/York University, Dra. Ana María Yuivar – Pontificia Universidad Católica de Chile, María Laura Spoturno – Universidad Nacional de La Plata / Consejo Nacional de Investigaciones Científicas y Técnicas, Dra. Anabel Money Cabrera – Universidad de La Habana (Cuba) – Dr. Ulfet Ibrahim (Universidad Estatal de Moscú Baku-AZE) – Dra. María Carmen Melones (Universidad Complutense). Grupos de investigación/Research groups: Sino.ELE Grupo de investigación HUM978: Enseñanza y Aplicación de Idiomas en la Literatura, la Lengua y la Traducción Edita: Asociación liLETRAd INTERNACIONAL Fénix Editora -
Copyright 2012 Sarah Elizabeth Alderfer
Copyright 2012 Sarah Elizabeth Alderfer EIGHTEENTH-CENTURY FICTION AND THE PRODUCTION OF SHAME, 1680- 1753 BY SARAH ELIZABETH ALDERFER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Robert Markley, Chair Associate Professor Anthony Pollock, Co-Chair Associate Professor Catharine Gray Associate Professor Lori Humphrey Newcomb Abstract This dissertation argues that eighteenth-century fiction problematizes the relationships among virtue, modesty, and shame. Where the conduct manual and the moral novel demonize the shameless female subject, women writers such as Aphra Behn, Eliza Haywood, and Charlottle Lennox consistently decouple shame from virtue to expose the limitations of the virtuous principles in the world of the conduct manual and moral novel. The introduction considers the historical relationship between the conduct manual, the moral novel, and women’s writing and the ways in which each engages in the production of shame, arguing that the moral novel of the mid-eighteenth century neither negates nor contains the power of amatory fiction but illustrates the inability of “virtue rewarded” to resolve the tensions within eighteenth-century fiction and the representation of female subjectivity. Chapter 1 argues that Behn’s amatory fiction, Love Letters Between a Nobleman and His Sister (1684), The Fair Jilt (1688), and The History of the Nun (1689), resist the culture of shame and guilt surrounding the sexually available, desiring, and dangerous woman, blurring the lines between the moral and the immoral and questions the conduct manual’s insistence that virtuous behavior liberates the female subject. -
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Document generated on 10/02/2021 4:40 p.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Sex, Sin and Ideology: The Drama's Gift to the Genesis of the Novel Paula R. Backscheider Volume 12, 1993 URI: https://id.erudit.org/iderudit/1012574ar DOI: https://doi.org/10.7202/1012574ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Backscheider, P. R. (1993). Sex, Sin and Ideology: The Drama's Gift to the Genesis of the Novel. Lumen, 12, 1–15. https://doi.org/10.7202/1012574ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1993 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 1. Sex, Sin and Ideology: The Drama's Gift to the Genesis of the Novel [This paper was excerpted from three different chapters of my book, Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England (Johns Hopkins UP, 1993). -
English and Scottish Popular Ballads Edited by Francis James Child
,A.4 THE ENGLISH AND SCOTTISH POPULAR BALLADS EDITED BY FRANCIS JAMES CHILD PART I. rg» 04*-~ O&Kslst^+y **e~>^ &%~-jp^ 6s^**^ dr -/&^— *~^e_ *^<#^j £*~ <C- sS?C^£^ pry, ait/at- ^^_^^ ^s**j/£-4. (P^^SL *v H fo*tfV> . a^jj^±^J^^U/iy^^/<^^ ".RE AT STANHOPE STREE" MAY FAIR. N. Uun iu^u^^u A^/S Ojsfcu* kt £&?<?* /lif( fhui k *u tnii. /.fUr ??r^&&£ fr^z>t<- /^£ yk^y /Jit /k /^ v ^ & Ifox „ ^zz, ^ f ^ ' ^-> lc*jZl /^ ^~ ^ ^^^ o*^ A* \6.l£ IwA yw- tfou & ^'( ^^ / n fl<2.CvH^ /a*<^*^f+ . ^^ ^^ 4£*~*y>Ze -sr £. * ^ J <^T^ &£ £&- y Travellers' Club, Pall Mall, S.W. ^^<?%5^~ — * » & «^£' <y'fc&^+/ ^'A<tc&e~ ^:, ^^ <^*»&*¥ /* * *> ^^ tie c£/ysi i • . ^_— 7-— ^ <y£ f*-^"*? <;tj,c*<~r..— CdT^- CJ^rci^k <zcc^ <r p? *? j*y c^zz&^& ? ^^> P^< <^^* e &* ,/tty ^ *z*r /£ /est <? c c "'1:^. S^Se^ Wit v U4*x& f CM '/& X1 '4- THE ENGLISH AND SCOTTISH POPULAR BALLADS EDITED BY FRANCIS JAMES CHILD PART I BOSTON HOUGHTON, MIFFLIN AND COMPANY new york: 11 east seventeenth street London : Henry Stevens, 4 Trafalgar Square •One Ctiounaiift Copies Prmtrtr. No. *Zi / &7 Copyright, 1882, by F. J. Child. All rights reserved. The Riverside Press, Cambridge: Printed by II. O. Houghton and Company. PROSPECTUS OF The English and Scottish Popular Ballads, Edited by FRANCIS J. CHILD, Professor in Harvard College. THE Popular Ballads existing in the English language, though their surpass- ing merit has been amply recognized, have never been collected into one Dody. The sequestration of the Percy Folio forbade, until lately, the thought of ;uch an undertaking. -
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Truth and Conjecture: Forms of Detection in Eighteenth-Century British Fiction Rashmi Sahni Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Rashmi Sahni All rights reserved ABSTRACT Truth and Conjecture: Forms of Detection in Eighteenth-Century British Fiction Rashmi Sahni This study tracks tensions between different modes of knowledge in a body of eighteenth-century fictions centered around themes of detection and punishment of crimes, exemplary among which are Aphra Behn’s The History of the Nun (1689), Daniel Defoe’s Roxana (1724), Samuel Richardson’s Clarissa (1748), Henry Fielding’s Tom Jones (1749), and William Godwin’s Caleb Williams (1794). Focusing on crimes as varied as forgery, rape, and murder, this set of fictions raises important questions about eighteenth-century narrative techniques and formal elements. For example, why is the narrator of Aphra Behn’s The History of the Nun at once omniscient and limited? Why does the ending of Defoe’s Roxana seem abrupt and inconclusive? Critics struggle to find satisfactory answers to these questions because they often read intrusive narrators, abrupt conclusions, and disconcerting tonal shifts as stylistic faults or as ineptitude at realistic narration. I argue that formal peculiarities of eighteenth-century fiction about criminal investigation are in fact revealing narrative symptoms of an attempt to resolve conflicts between competing theories of knowledge rooted