Featuring more than 80 illustrations and easy access to related music files, this magisterial work argues that a ballad cannot be read as a fixed artifact, independent of its illustrations, tune, and movement across time and space.
Featuring more than 80 illustrations and easy access to related music files, this magisterial work argues that a ballad cannot be read as a fixed artifact, independent of its illustrations, tune, and movement across time and space.
Patricia Fumerton is Distinguished Professor of English at the University of California, Santa Barbara, where she is the founder and director of the English Broadside Ballad Archive.
Inhaltsangabe
Note on Audio Tracks Website and Citation Conventions Introduction Chapter 1. The Critical and Theoretical Parts: Moving, Assemblage, Publics, and Tactics Part I. Assembling by Disassembling: Archives, Databases, and Ballad Bits Chapter 2. Accessing the Artifact, Now and Then Chapter 3. Random Tactical Hits Part II. Remembering by Dismembering: Black Letter, Calligraphy, and Print History Chapter 4. The Network of Black-Letter Broadside Ballad Collectors Chapter 5. The Passing Present of Black Letter and Calligraphy Part III. From Networks to Publics: Samuel Pepys Chapter 6. Pepys and the Making of Gendered Publics Chapter 7. Pepys and the Making of Political Publics Part IV. Diachronic and Synchronic Ballad Publics: Crossing Society, History, and Space Chapter 8. The Moving Violations of "The Lady and the Blackamoor" Conclusion: The Limits of the Shakespearean Stage: Ballading The Winter's Tale Notes Bibliography Sources for Music Notations Index Acknowledgments
Note on Audio Tracks Website and Citation Conventions Introduction Chapter 1. The Critical and Theoretical Parts: Moving, Assemblage, Publics, and Tactics Part I. Assembling by Disassembling: Archives, Databases, and Ballad Bits Chapter 2. Accessing the Artifact, Now and Then Chapter 3. Random Tactical Hits Part II. Remembering by Dismembering: Black Letter, Calligraphy, and Print History Chapter 4. The Network of Black-Letter Broadside Ballad Collectors Chapter 5. The Passing Present of Black Letter and Calligraphy Part III. From Networks to Publics: Samuel Pepys Chapter 6. Pepys and the Making of Gendered Publics Chapter 7. Pepys and the Making of Political Publics Part IV. Diachronic and Synchronic Ballad Publics: Crossing Society, History, and Space Chapter 8. The Moving Violations of "The Lady and the Blackamoor" Conclusion: The Limits of the Shakespearean Stage: Ballading The Winter's Tale Notes Bibliography Sources for Music Notations Index Acknowledgments
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