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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. -
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]. -
Introduction: Virginity and Patrilinear Legitimacy 1
Notes Introduction: Virginity and Patrilinear Legitimacy 1. Boswell, volume III, 406. 2. Pregnancy makes sex more verifiable than celibacy but it does not necessarily reveal paternity. 3. Bruce Boehrer has an important essay on this topic, in which he argues that an ideal “wedded chastity” emerges as a strategy for promoting marriage and procreation in a society that has traditionally idealized celibacy and virginity; “indeed,” he continues, “at heart the concept of wedded chastity is little more than the willful destabi- lizing of an inconvenient signifier, calculated to serve the procreative demands of an emergent political economy” (557). 4. For an important discussion of divine right of kings, see Figgis, 137–177, and for an analysis of the different strands of patriarchalist thought, see Schochet, 1–18. 5. See Boehrer for a discussion of Elizabeth’s legitimacy issues, which he uses as a context for reading Spencer. He argues that a “Legend of Chastity” functions as a displacement of the anxiety of legitimacy (566). On Elizabeth’s virginity, see also Hackett; and John King. On early modern virginity generally, see Jankowski; Kathleen Coyne Kelly; Loughlin; Scholz; and Schwarz. 6. Marie Loughlin argues for the relationship between Stuart political projects and virginity. James I had a habit of visiting married couples after the wedding night because, according to Loughlin, in the moment when the virgin daughter becomes the chaste bride “James’s configuration of the patriarchal state and his various political projects are materialized” (1996), 847. 7. For more on this, see McKeon (1987), 209. 8. Since the determination of firstborn son was not clear, firstborn ille- gitimate children often held some stake to the birth-right of the heir. -
Singing the Child Ballads Leave It to Our Readers to Challenge, If They Want To
one of the canon, we‟ll take your word for it and Singing the Child Ballads leave it to our readers to challenge, if they want to. So to start with we invite you to send us your Rosaleen writes: favourite singing versions of the first eight Child ballads. With luck we‟ll have some of your Someone asked me recently which Child ballads I submissions to print in the next issue, along with our sing and I couldn‟t make a very satisfactory reply at second batch from my repertoire. We do hope that the time. But that started me wondering, so I‟ve been you will join me in this “quest for the ballad” by checking them out and I found quite a few in my sharing your versions of these well-loved songs. Here repertoire. Some are versions that stay close to one of are a few notes on my versions: Child‟s texts, others are composites created by revival singers or myself. Some I have known since 1. Riddles Wisely Expounded. My text is a composite my teens or early twenties; others I have only from Child‟s versions A and B. I‟ve known the tune recently learned, and still others I‟ve picked up since at least the early 1960s but I previously used it somewhere along the way, most often from for “The Cruel Mother” (I now sing a different recordings or from a handful of well-thumbed books version of that ballad). I picked up the melody in my possession. aurally, but it is almost the same as that first printed in d‟Urfey‟s Pills to Purge Melancholy (1719-20). -
Download PDF Booklet
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 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). -
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). -
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 -
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Baker 2 Wendy Baker Final Project April 2014 Curious Tales and Captivating Voices: The Ballad Tradition of the Southern Appalachians On a cold night in the fall of 2012, a group assembled at the Friedle building on Duke University's campus for a gallery opening. The exhibit featured the photographs of Duke students coupled with middle school students from Madison County, North Carolina. This rural county in the mountains of western North Carolina boasts steep hills, remote mountain communities and a strong heritage of traditional music. As part of the event's entertainment, Madison County ballad singers Debbie Chandler, Denise Norton O'Sullivan and Joe Penland sang. We informally gathered around, some of us sitting on the floor and others standing in small groups. The singers' unaccompanied voices, both raw and strong, delivered a profound experience for the crowd. Joe Penland sang an excruciating immigrant's lament called “Pretty Saro,” about the experience of traveling to a strange land and missing a loved one, knowing you will never see her again. Debbie Chandler shocked and saddened us with her rendition of “Young Emily,” about a woman whose father kills her lover in order to steal his gold. Denise Norton O'Sullivan expertly delivered a poignant song about love called “Black is the Color.” The women told stories about learning the songs before they could read and about the strong connection they felt with their “Granny Dell” (Dellie Chandler Norton) who taught them the family tradition. These songs overflowed with emotion but were delivered without an overtly maudlin Baker 3 tone. -
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. -
BALLADS (BALLADRY). Standing Among the Most Significant Poetic
1 BALLADS (BALLADRY). Standing among the most significant poetic developments of the medieval period, balladry alone, aside from a few isolated *lyrics, brings us the unmitigated voice of the British medieval commoner. Its influence on subsequent English literature is immense. Rooted in the earlier *Anglo-Saxon epic tradition, often adopting and subverting aristocratic ideals and literary conventions to express the very different world view of the middle and lower classes, and influencing later poets from Christopher Marlowe to Thomas Hardy to C. Day Lewis, the ballad at once provides a unifying influence and a means of measuring the changing perceptions and concerns of the general populace. Nonetheless, no poetic form has been so unfairly maligned. As the original vehicle for the vox populi, it has always been associated with social unrest, and this, combined with its essentially parodic mode and frequently sardonic tone, removes it from the realm of “polite” literature. At best, balladry has been considered simplistic folk song; at worst, vulgar and propagandistic. Only in recent years, with the growth of appreciation for popular culture and the democratization of the arts in general, have the medieval ballad's special qualities begun to receive the serious consideration they deserve. Of all poetic forms, the ballad alone has enjoyed uninterrupted popularity from the early Middle Ages to the present. Both as a term and a genre it derives from the tenth century, reaching its heyday between the thirteenth and seventeenth centuries and again, after a brief hiatus, with the Romantic poets of the nineteenth century and continuing into the present. -
Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive
F55 j North Carolina State Library Raleigh Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina <-*roma orafe Library Relei§h Songs of the Carolina Charter Colonists, 1663-1763 Digitized by the Internet Archive in 2014 https://archive.org/details/songsofcarolinac1962huds Songs of the Carolina Charter Colonists 16634763 By Arthur Palmer Hudson, Ph. D. Kenan Professor of English and Folklore The University of North Carolina A Publication of The Carolina Charter Tercentenary Commission Box 1881, Raleigh, North Carolina 1962 ttortft Carolina Sfare Library THE CAROLINA CHARTER TERCENTENARY COMMISSION Hon. Francis E. Winslow, Chairman Henry Belk Mrs. Kauno A. Lehto Mrs. Doris Betts James G. W. MacLamroc Dr. Chalmers G. Davidson Mrs. Harry McMullan Mrs. Everett L. Durham Dr. Paul Murray William C. Fields Dan M. Paul William Carrington Gretter, Jr. Dr. Robert H. Spiro, Jr. Grayson Harding David Stick Mrs. James M. Harper, Jr. J. P. Strother Mrs. Ernest L. Ives Mrs. J. O. Tally, Jr. Dr. Henry W. Jordan Rt. Rev. Thomas H. Wright Ex-Officio Dr. Charles F. Carroll, Robert L. Stallings, Superintendent of Director, Department of Public Instruction Conservation and Developm Dr. Christopher Crittenden, Director, Department of Archives and History Secretary The Carolina Charter Tercentenary Commission was established by the North Carolina General Assembly to "make plans and develop a program for celebration of the tercentenary of the granting of the ." Carolina Charter of 1663 . As part of this program the Com- mission arranged for the publication of a number of historical pamphlets for use in stimulating interest in the study of North Carolina history during the period 1663-1763.