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Chain Cottage, 329 Thorpe Road, Longthorpe, Peterborough PE3 6LU
Chain Cottage, 329 Thorpe Road, Longthorpe, Peterborough PE3 6LU Chain Cottage, 329 Thorpe Road, OUTSIDE The reception hall is entered via a traditional front A particular feature of the property is the large plot Longthorpe Peterborough PE3 6LU door, tiled flooring and stairs rising to the first floor. which extends to approximately 0.2 acres and is The sitting room has a feature fireplace, beam and approached via a side lane from Thorpe Road which A charming Grade II listed thatched cottage windows to the front and rear elevations. The leads to Longthorpe Tower. There is a gated requiring full modernisation in the heart of the dining room has a feature fireplace, beam and entrance and ample off road parking and turning popular and sought-after area of Longthorpe windows to the front and side elevation. An inner leading to a detached garage. The gardens which enjoying a large plot and offering considerable hall with tiled flooring and understairs storage are part walled require some overhaul and there is scope. cupboard leads to the kitchen/breakfast room a patio area, two outside store and gated access to which is fitted with a basic range of kitchen units the front elevation. ▪ Grade II listed thatched cottage incorporating a stainless steel single bowl, double ▪ Requires full modernisation drainer sink unit, base and eyelevel storage PRINCIPAL MEASUREMENTS ▪ 2 receptions, kitchen, cloaks/w.c. cupboards, windows to side and rear elevation and Sitting room 15’7” x 12’10” ▪ 3 bedrooms and family bathroom large walk-in pantry ( 10’9” x 7’1” ) with window to Dining room 13’1” x 12’4” ▪ Large plot, garaging, outbuilding the side elevation. -
A HISTORY of OUR CHURCH Welcome To
A HISTORY OF OUR CHURCH Welcome to our beautiful little church, named after St Botolph*, the 7th century patron saint of wayfarers who founded many churches in the East of England. The present church on this site was built in 1263 in the Early English style. This was at the request and expense of Sir William de Thorpe, whose family later built Longthorpe Tower. At first a chapel in the parish of St John it was consecrated as a church in 1850. The church has been well used and much loved for over 750 years. It is noted for its stone, brass and stained glass memorials to men killed in World War One, to members of the St John and Strong families of Thorpe Hall and to faithful members of the congregation. Below you will find: A.) A walk round tour with a plan and descriptions of items in the nave and chancel (* means there is more about this person or place in the second half of this history.) The nave and chancel have been divided into twelve sections corresponding to the numbers on the map. 1) The Children’s Corner 2) The organ area 3) The northwest window area 4) The North Aisle 5) The Horrell Window 6) The Chancel, north side 7) The Sanctuary Area 8) The Altar Rail 9) The Chancel, south side 10) The Gaskell brass plaques 11) Memorials to the Thorpe Hall families 12) The memorial book and board; the font B) The history of St Botolph, this church and families connected to it 1) St Botolph 2) The de Thorpe Family, the church and Longthorpe Tower 3) History of the church 4) The Thorpe Hall connection: the St Johns and Strongs 5) Father O-Reilly; the Oxford Movement A WALK ROUND THE CHURCH This guide takes you round the church in a clockwise direction. -
Strategic Stone Study a Building Stone Atlas of Cambridgeshire (Including Peterborough)
Strategic Stone Study A Building Stone Atlas of Cambridgeshire (including Peterborough) Published January 2019 Contents The impressive south face of King’s College Chapel, Cambridge (built 1446 to 1515) mainly from Magnesian Limestone from Tadcaster (Yorkshire) and Kings Cliffe Stone (from Northamptonshire) with smaller amounts of Clipsham Stone and Weldon Stone Introduction ...................................................................................................................................................... 1 Cambridgeshire Bedrock Geology Map ........................................................................................................... 2 Cambridgeshire Superficial Geology Map....................................................................................................... 3 Stratigraphic Table ........................................................................................................................................... 4 The use of stone in Cambridgeshire’s buildings ........................................................................................ 5-19 Background and historical context ........................................................................................................................................................................... 5 The Fens ......................................................................................................................................................................................................................... 7 South -
From the Black Death to Black Dance: Choreomania As Cultural Symptom
270 Cambridge Journal of Postcolonial Literary Inquiry, 8(2), pp 270–276 April 2021 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:10.1017/pli.2020.46 From the Black Death to Black Dance: Choreomania as Cultural Symptom Ananya Jahanara Kabir Keywords: choreomania, imperial medievalism, Dionysian revivals, St. John’s dances, kola sanjon Paris in the interwar years was abuzz with Black dance and dancers. The stage was set since the First World War, when expatriate African Americans first began creating here, through their performance and patronage of jazz, “a new sense of black commu- nity, one based on positive affects and experience.”1 This community was a permeable one, where men and women of different races came together on the dance floor. As the novelist Michel Leiris recalls in his autobiographical work, L’Age d’homme, “During the years immediately following November 11th, 1918, nationalities were sufficiently con- fused and class barriers sufficiently lowered … for most parties given by young people to be strange mixtures where scions of the best families mixed with the dregs of the dance halls … In the period of great licence following the hostilities, jazz was a sign of allegiance, an orgiastic tribute to the colours of the moment. It functioned magically, and its means of influence can be compared to a kind of possession. -
Perceptions of Medieval Settlement, 'Handbook of Later Medieval Archaeology', Oxford University Press (In Press)
Chapter accepted in Kilby, SE;Gardiner, M, Perceptions of Medieval Settlement, 'Handbook of Later Medieval Archaeology', Oxford University Press (in press) Perceptions of Medieval Settlement Mark Gardiner and Susan Kilby The approach to the perception of landscape and settlement adopted by medieval archaeologists has been rather different to those of their colleagues working on the prehistoric period. To a large extent such differences can be attributed to the quality of the evidence. Many of the studied medieval buildings still survive, albeit often as ruins. The landscape with its pattern of roads, fields and farms can be largely reconstructed in broad terms, and sometimes in detail. This sort of material both informs our understanding of past perceptions of landscape, but also serves to constrain the way we might interpret it. The type of imaginative reconstruction advocated, for example by Tilley (2010, 30–31), in which the archaeologist places themselves within the landscape and responds to the experience has been practised only rarely for the historic period. It is not that medievalists lack the imagination of prehistorians, but rather they do not feel the need to embark upon discussions of their particular experience of place when it is possible instead to reflect upon how those in the Middle Ages may have perceived their surroundings. A simple contrast between the medievalists’ and the prehistorians’ approaches to the perception of landscape is, however, misleading. Embodiment or the experience of place using the senses of the body occupying and moving through a place has been practised by both groups, but with different emphases. To stand in a medieval building and look out at the vista beyond is to adopt a phenomenological approach. -
19Th International Congress on Medieval Studies
mea1eva1HE1· ~ 1 INSTI1UTE international congress on medieval studies — GENERAL INFORMATION — REGISTRATION Everyone attending the Congress must fill out the official Registration Form and pay the $40.00 regular fee or $15.00 student fee. This registra tion fee is non-refundable. To save time upon arrival, we urge you to pre-register by mail before the April 1 deadline. Since University Food Services and the Housing Office need advance notification of the expected number of guests in order to make adequate arrangements, only advance registration will assure each person of an assigned room and the correct number of meal tickets waiting at the time of arrival. We regret that we cannot take registrations or reservations by phone. If you wish confirmation, include a stamped, self-addressed post card. TO PRE-REGISTER Fill out the enclosed registration form and mail all copies of the form, together with your check or money order, to THE MEDIEVAL INSTITUTE, WESTERN MICHIGAN UNIVERSITY, KALAMAZOO, MICHIGAN 49008, before April 1. Only checks or money orders made out in U.S. dollars will be accepted. Foreign residents should use international money orders. The registration form is for ONE person only. If you wish to register and pay fees for another person, or share a room with another person, request additional registration forms from the Medieval Institute and send them to the Institute together. Refunds for housing and meals can be made only if the Medieval Institute receives notification of cancellation by April 15, 1984. NOTE: Please check and recheck figures before making out a check or money order and submitting the registration form. -
New Oxford History of Music Volume Ii
NEW OXFORD HISTORY OF MUSIC VOLUME II EDITORIAL BOARD J. A. WESTRUP (Chairman) GERALD ABRAHAM (Secretary) EDWARD J. DENT DOM ANSELM'HUGHES BOON WELLESZ THE VOLUMES OF THE NEW OXFORD HISTORY OF MUSIC I. Ancient and Oriental Music ii. Early Medieval Music up to 1300 in. Ars Nova and the Renaissance (c. 1300-1540) iv. The Age of Humanism (1540-1630) v. Opera and Church Music (1630-1750) vi. The Growth of Instrumental Music (1630-1750) vn. The Symphonic Outlook (1745-1790) VIIL The Age of Beethoven (1790-1830) ix. Romanticism (1830-1890) x. Modern Music (1890-1950) XL Chronological Tables and General Index ' - - SACRED AND PROFANE MUSIC (St. John's College, MS. B. Cambridge, 18.) Twelfth century EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954 Oxford University Press, Amen House, London E.C.4 GLASGOW NEW YORK TORONTO MELBOURNE WELLINGTON BOMBAY CALCUTTA MADRAS KARACHI CAPE TOWN IBADAN Geoffrey Cumberlege, Publisher to the University PRINTED IN GREAT BRITAIN GENERAL INTRODUCTION THE present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905. Five authors contributed to that ambitious publication the first of its kind to appear in English. The first two volumes, dealing with the Middle Ages and the sixteenth century, were the work of H. E. Wooldridge. In the third Sir Hubert Parry examined the music of the seventeenth century. The fourth, by J. A. Fuller-Maitland, was devoted to the age of Bach and Handel; the fifth, by Hadow himself, to the period bounded by C. -
Dancing in Body and Spirit: Dance and Sacred Performance In
DANCING IN BODY AND SPIRIT: DANCE AND SACRED PERFORMANCE IN THIRTEENTH-CENTURY BEGUINE TEXTS A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Jessica Van Oort May, 2009 ii DEDICATION To my mother, Valerie Van Oort (1951-2007), who played the flute in church while I danced as a child. I know that she still sees me dance, and I am sure that she is proud. iii ABSTRACT Dancing in Body and Spirit: Dance and Sacred Performance in Thirteenth-Century Beguine Texts Candidate’s Name: Jessica Van Oort Degree: Doctor of Philosophy Temple University, 2009 Doctoral Advisory Committee Chair: Dr. Joellen Meglin This study examines dance and dance-like sacred performance in four texts by or about the thirteenth-century beguines Elisabeth of Spalbeek, Hadewijch, Mechthild of Magdeburg, and Agnes Blannbekin. These women wrote about dance as a visionary experience of the joys of heaven or the relationship between God and the soul, and they also created physical performances of faith that, while not called dance by medieval authors, seem remarkably dance- like to a modern eye. The existence of these dance-like sacred performances calls into question the commonly-held belief that most medieval Christians denied their bodies in favor of their souls and considered dancing sinful. In contrast to official church prohibitions of dance I present an alternative viewpoint, that of religious Christian women who physically performed their faith. The research questions this study addresses include the following: what meanings did the concept of dance have for medieval Christians; how did both actual physical dances and the concept of dance relate to sacred performance; and which aspects of certain medieval dances and performances made them sacred to those who performed and those who observed? In a historical interplay of text and context, I thematically analyze four beguine texts and situate them within the larger tapestry of medieval dance and sacred performance. -
The Jeu D'adam: MS Tours 927 and the Provenance of the Play
Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute Publications 11-30-2017 The Jeu d'Adam: MS Tours 927 and the Provenance of the Play Christophe Chaguinian Follow this and additional works at: https://scholarworks.wmich.edu/mip_edam Part of the Dramatic Literature, Criticism and Theory Commons, and the Medieval Studies Commons Recommended Citation Chaguinian, Christophe, "The Jeu d'Adam: MS Tours 927 and the Provenance of the Play" (2017). Early Drama, Art, and Music. 2. https://scholarworks.wmich.edu/mip_edam/2 This Edited Collection is brought to you for free and open access by the Medieval Institute Publications at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. The Jeu d’Adam EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Independent Scholar Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences The Jeu d’Adam MS Tours 927 and the Provenance of the Play Edited by Christophe Chaguinian Early Drama, Art, and Music MedievaL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data Names: Chaguinian, Christophe, editor. Title: The Jeu d’Adam : MS Tours 927 and the provenance of the play / edited by Christophe Chaguinian. Description: Kalamazoo : Medieval Institute Publications, Western Michigan University, [2017] | Series: Early drama, art, and music monograph series | Includes bibliographical references. -
(Purg. 31.104): Dance in Dante's 'Commedia'
Bibliotheca Dantesca: Journal of Dante Studies Volume 1 Dante and Music Article 9 2018 “DENTRO A LA DANZA DE LE QUATTRO BELLE” (PURG. 31.104): DANCE IN DANTE’S ‘COMMEDIA’ Madison U. Sowell Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, Medieval History Commons, and the Music Commons Recommended Citation Sowell, Madison U. (2018) "“DENTRO A LA DANZA DE LE QUATTRO BELLE” (PURG. 31.104): DANCE IN DANTE’S ‘COMMEDIA’," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 1 , Article 9. Available at: https://repository.upenn.edu/bibdant/vol1/iss1/9 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol1/iss1/9 For more information, please contact [email protected]. Sowell: “DENTRO A LA DANZA DE LE QUATTRO BELLE” Bibliotheca Dantesca, 1 (2018): 157-176 “DENTRO A LA DANZA DE LE QUATTRO BELLE” (PURG. 31.104): DANCE IN DANTE’S ‘COMMEDIA’ MADISON U. SOWELL, Tusculum University Missing from standard reference works on Dante’s Commedia are separate en- tries devoted exclusively to dance or dancing. Primary sources for the history of dance in the Italian Trecento derive from tablatures (musical notations), scattered iconographic images, and literary works, such as Boccaccio’s Decameron and Dante’s Commedia. Representations of dancing in these works invariably double as a symbolic language or meta-commentary on the surrounding narrative. The interpretation of dance’s role in late medieval art and literature depends not only on the context but also on the type of dance depicted. -
Conduit 2012 N.P65
Conduit 49:Layout 1 7/9/11 20:08 Page 1 The Conduit 50th Edition Now Interactive Number 50 September 2012 - August 2013 Societies | lectures | conferences | groups | courses museums | archaeology | architecture local and family history The Conduit 2013 In compiling The Conduit this year we have tried to be totally inclusive, but appreciate that some organisations may have been omitted and note that some societies have not been able to finalise their 2012-2013 programmes at the time of publication. In this case, readers are advised to consult the website of the relevant organisation. Email and website addresses, where known, are included in The Conduit, and users of the online version can click on the relevant hyperlinks. We aim to send The Conduit to every listed local society in Cambridgeshire, as well as to museums and other relevant organisations. If you belong to an organisation whose details are not included, or which would like to receive copies of The Conduit next year, please contact the Editor, who will add your organisation’s details to the next issue. Wherever possible the information has been checked by a responsible individual in the relevant organisation, and so should be up to date at the time of printing. Further details of the activities of listed organisations are often available on their websites. Web addresses are included where known. I would finally like to thank the editor of The Conduit, Simon Barlow of the Haddon Library, for all his hard work in compiling and producing The Conduit this year. It is a considerable undertaking, but one that is very greatly valued, both by members of Cambridge Antiquarian Society and by others who use it to inform themselves of events and activities of interest across our richly historical county. -
The Carole: a Study of a Medieval Dance
THE CAROLE A STUDY OF A MEDIEVAL DANCE To my sister The Carole A Study of a Medieval Dance ROBERT MULLALLY First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Robert Mullally Robert Mullally has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Mullally, Robert. The carole: a study of a medieval dance. 1. Dance – England – History – To 1500. 2. Dance – France – History – To 1500. 3. Dance music – 500–1400. I. Title 793.3'1942'0902-dc22 Library of Congress Cataloging-in-Publication Data Mullally, Robert. The carole : a study of a medieval dance / Robert Mullally. p. cm. Includes bibliographical references and index. ISBN 978-1-4094-1248-9 (hardcover : alk. paper) 1. Carole (Dance) 2. Carole (Dance)– Social aspects. 3. Choreography. I. Title. GV1796.C17M85 2010 793.3–dc22 2010046652 ISBN 9781409412489 (hbk) Contents List of Plates vii List of Music Examples ix Acknowledgements xi List of Abbreviations xiii Introduction xv 1 The History of the Term Carole since c.