TitlePerforming Narrative on the Borders between Sacred and Secular
Date/TimeWednesday 6 July 2022: 16.30-18.00
SponsorARC Humanities Press
OrganiserMorgan Powell, Departement Angewandte Linguistik, Zürcher Hochschule für Angewandte Wissenschaften
Moderator/ChairCarol Symes, Department of History, University of Illinois at Urbana-Champaign
Paper 1318-a Tears for Arthur, Tears for Christ: Performance as Mediation
(Language: English)
Morgan Powell, Departement Angewandte Linguistik, Zürcher Hochschule für Angewandte Wissenschaften
Index Terms: Language and Literature - Comparative; Performance Arts - Drama; Religious Life; Sermons and Preaching
Paper 1318-b Tales and Images of Abbey Foundations in Chronicles of the Anglo-Norman Realm: Material Transfers and Spiritual Communion between Grandees and Cloistered Men and Women
(Language: English)
Katharina Holderegger, Institut für Kunstgeschichte, Universität Bern
Index Terms: Art History - General; Historiography - Medieval; Lay Piety; Performance Arts - General
Paper 1318-c Mapping the Boundaries of Sacred and Secular in Gautier de Coinci's Performance Persona
(Language: English)
Kathryn Duys, Department of English & Foreign Languages, University of St Francis, Illinois
Index Terms: Language and Literature - French or Occitan; Music; Performance Arts - General; Religious Life
AbstractThe study of medieval narrative art generally assumes borders between monastery and court or liturgy and entertainment that are reflected neither in textual transmission nor necessarily in the stories they tell. Jongleurs were typically the object of churchmen's polemic, but were they vulgar tempters or instead competitors with a broader repertoire? Literature of monastic origins was not seldom adapted or even conceived to transgress the same boundaries. Narrative often emerges as the key to a mediation across these boundaries, with its performance as the space in which meaning was transported and interchanged. Each of these three papers will explore a different aspect of this interchange.