Smith 1999 - Revision history

Wtrettien: /* Listen, Otherwise */

2012-03-15T16:12:52Z

Listen, Otherwise

← Older revision		Revision as of 16:12, 15 March 2012
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	== Listen, Otherwise ==		== Listen, Otherwise ==

			:"In its circularity, continuity, and directionality, the shape of empire replicates the shape of sound." (288)

			:"The acoustemology of early modern England can be considered from two vantage points: internal and external. On the internal front, inherited ideas about sound from Plato, Aristotle, Pythagoras, Priscian, and other authorities served, quite literally, to ''harmonize'' body, society, psyche, and media as self-maintaining systems." (297) -- "radically logocentric" acoustemology

			:"In teaching the Indians to read, Eliot and other missionaries were in fact engineering a shift in the site of philosophical, moral, and oplitical authority. The Indians were expected to transfer reverence from the human voice to a physical object -- and in that act to forget thousands of years of tradition. The Indians responded by revering the object just as they had formerly revered the voice." (321)

			:"Like the Irish, like the Powhatan Indians in Virginia, like the Indians of Massachusetts Bay, Africans are described as inhabiting a sound-world in which language keeps turning into noise. Human communication merges with sounds in the ambient world to create an acoustemology that frightened the English speakers who found themselves situated within it." (328)

Wtrettien: /* Circling the Subject */

2012-03-15T16:05:44Z

Circling the Subject

@@ Line 187: / Line 187: @@
 :"What the audience hears, in the last analysis, is not just physical properties of sound, nor even psychological effects, but the acoustic equivalent of a visual scene -- an 'aura', perhaps." (243)
 == Circling the Subject ==
 == Listen, Otherwise ==

Wtrettien: /* Within the Wooden O */

2012-03-15T14:32:00Z

Within the Wooden O

@@ Line 162: / Line 162: @@
 shape of the theaters like the shape of a throat
 :"The South Bank amphitheaters were, in fact, instruments for producing, shaping, and propagating sound." (206) -- "the largest, airiest, loudest, subtlest sound-making device fabricated by the culture of early modern England" (207-8)
 == Circling the Subject ==
 == Listen, Otherwise ==

Wtrettien: /* Within the Wooden O */

2012-03-15T02:18:38Z

Within the Wooden O

← Older revision		Revision as of 02:18, 15 March 2012
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	== Within the Wooden O ==		== Within the Wooden O ==

			shape of the theaters like the shape of a throat

			:"The South Bank amphitheaters were, in fact, instruments for producing, shaping, and propagating sound." (206) -- "the largest, airiest, loudest, subtlest sound-making device fabricated by the culture of early modern England" (207-8)

	== Circling the Subject ==		== Circling the Subject ==

	== Listen, Otherwise ==		== Listen, Otherwise ==

Wtrettien: /* Ballads Within, Around, Among, Of, Upon, Against, Within */

2012-03-15T02:13:27Z

Ballads Within, Around, Among, Of, Upon, Against, Within

← Older revision		Revision as of 02:13, 15 March 2012
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	author of ballad acknowledged via 'quod' or 'quoth' at the end of the text (178)		author of ballad acknowledged via 'quod' or 'quoth' at the end of the text (178)

			workroom for spinning (sound of machines, women singing) produces its own soundscape; "To the ear, the room would ''be'' the women's song." (180)

			:"Ballads may begin ''within'', they may reverberate ''around'', but they have their social being ''among''. Ballads help to confirm a speech community's identity." (184)

			singer becoming the event in the ballad (192)

			:"From the standpoint of the authorities, ballads were dangerous not only for ''what'' they might say but for ''how' they might say it. To ballet a subject was to commandeer the subject." (196)

			:"One transformative mark of print on ballads is greater dependency on third-person narrative." (199)

			:"Third-person narrative could be regarded as a corruption of oral immediacy, but printed broadsides offer a singer or a listener a wider choice of subject positions, both ''among'' ballads and ''within'' ballads." (200)

			:"To a much greater extent than texts in 'the great tradition,' popular ballads invited singers and listeners to occupy a female subject position." (200) -- "what ballads offer the singer and the listener is the possibility of becoming many subjects, by internalizing the sounds and rhythms of those subjects' voices" (201)

			after 1649, it was illegal to sing ballads in the streets (playhouses closed in 1642) (201)

	== Within the Wooden O ==		== Within the Wooden O ==

Wtrettien: /* Ballads Within, Around, Among, Of, Upon, Against, Within */

2012-03-15T02:01:14Z

Ballads Within, Around, Among, Of, Upon, Against, Within

← Older revision		Revision as of 02:01, 15 March 2012
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	== Ballads Within, Around, Among, Of, Upon, Against, Within ==		== Ballads Within, Around, Among, Of, Upon, Against, Within ==

			upwards of 4000 broadside ballads printed before 1600; outnumber books and plays in the registers from 1557-1642 (168)

			:"Partly as a result of the commerce of print, partly as a result of the rift between 'the great tradition 'and 'the little tradition,' ballads became ever more conspicuously autonomous in the course of the sixteenth century." (172)

			ballads as highly "resonant" medium: "that is to say, they interact in highly volatile ways with the physical body, with soundscapes, with speech communities, with political authority, with the singer's sense of self." (173)

			women spinning and singing ballads (174)

			ballads -- showing orality and literacy, "far from being polar opposites, exist only in terms of each other" (177)

			earliest surviving printed broadside is an untitled sheet of verses said in first person by the seven virtues, "possibly intended to be cut apart as scrolls to be put above or beneath figures representing the seven Virtues on the wall of a room, as many of Lydgate's verses are known to have been" (177) -- ''titulus'' verse, as Alan Nelson calls it

			author of ballad acknowledged via 'quod' or 'quoth' at the end of the text (178)

	== Within the Wooden O ==		== Within the Wooden O ==

Wtrettien: /* Games, Gambols, Gests, Jests, Jibes, Jigs */

2012-03-14T15:42:36Z

Games, Gambols, Gests, Jests, Jibes, Jigs

← Older revision		Revision as of 15:42, 14 March 2012
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	:"''Kemp's Nine Days' Wonder'' is constantly pressing the limits of textualization, even as it tries to exploit textualization for Kemp's own ends." (162)		:"''Kemp's Nine Days' Wonder'' is constantly pressing the limits of textualization, even as it tries to exploit textualization for Kemp's own ends." (162)

	:"What Stubbes and his sort want to do in political terms -- what they in fact do in their printed pamphlets -- is to take a four-dimensional bodily sensation and turn it into a two-dimensional text. Something heard, felt, ''en/joyed// becomes, in their hands, something seen, known, ''mastered''. To turn gests into objects of surveillance is, in effect, to turn them into texts. What gests mean is presumed to exist on the outside, as a message that an onlooker can read. But gests take place in four dimensions, not two: they sprawl in the three dimensions of physical space, they pulsate in the fourth dimension of time. They possess ''depth'': in space, in time, above all in the interiors of the sounding bodies that ''do'' them." (166)		:"What Stubbes and his sort want to do in political terms -- what they in fact do in their printed pamphlets -- is to take a four-dimensional bodily sensation and turn it into a two-dimensional text. Something heard, felt, ''en/joyed'' becomes, in their hands, something seen, known, ''mastered''. To turn gests into objects of surveillance is, in effect, to turn them into texts. What gests mean is presumed to exist on the outside, as a message that an onlooker can read. But gests take place in four dimensions, not two: they sprawl in the three dimensions of physical space, they pulsate in the fourth dimension of time. They possess ''depth'': in space, in time, above all in the interiors of the sounding bodies that ''do'' them." (166)

			:"The politics of mirth is, in part, the conflict between two different ways of locating meaning: in ''sounding'' bodies and in ''inscribed'' bodies." (167)

			== Ballads Within, Around, Among, Of, Upon, Against, Within ==

			== Within the Wooden O ==

			== Circling the Subject ==

			== Listen, Otherwise ==

Wtrettien: /* Games, Gambols, Gests, Jests, Jibes, Jigs */

2012-03-14T15:37:21Z

Games, Gambols, Gests, Jests, Jibes, Jigs

← Older revision		Revision as of 15:37, 14 March 2012
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	:"Gests themselves lack a verbal text,e ven as they are surrounded by verbal texts. they exist at the point, illegible in itself, where a range of verbal texts -- ethical, antiquarian, scholarly, literary -- happen to converge." (139)		:"Gests themselves lack a verbal text,e ven as they are surrounded by verbal texts. they exist at the point, illegible in itself, where a range of verbal texts -- ethical, antiquarian, scholarly, literary -- happen to converge." (139)

	:"		:"As a combination of combat and communion, morris dancing enacts the dynamics of male identity-formation i nearly modern England" (145)

			:"St. George of Wells, St. George of Norwich, St. George of Kingston: it is the localization of combat games -- their presence in the here-and-now, in ''this'' city or village, within ''this'' circle of sound -- that helped make them suspect to increasingly centralized authority in early modern England. Depending on local circumstances, robin Hood games could be supportive of the social structure, as villagers in green garb collected funds for the parish, but they could also be subversive of the social structure, as disaffected men used Robin Hood's outlaw status as a convenient front for rudeness, or even riot." (153)

			:"''Kemp's Nine Days' Wonder'' is constantly pressing the limits of textualization, even as it tries to exploit textualization for Kemp's own ends." (162)

			:"What Stubbes and his sort want to do in political terms -- what they in fact do in their printed pamphlets -- is to take a four-dimensional bodily sensation and turn it into a two-dimensional text. Something heard, felt, ''en/joyed// becomes, in their hands, something seen, known, ''mastered''. To turn gests into objects of surveillance is, in effect, to turn them into texts. What gests mean is presumed to exist on the outside, as a message that an onlooker can read. But gests take place in four dimensions, not two: they sprawl in the three dimensions of physical space, they pulsate in the fourth dimension of time. They possess ''depth'': in space, in time, above all in the interiors of the sounding bodies that ''do'' them." (166)

Wtrettien: /* Games, Gambols, Gests, Jests, Jibes, Jigs */

2012-03-13T21:14:35Z

Games, Gambols, Gests, Jests, Jibes, Jigs

← Older revision		Revision as of 21:14, 13 March 2012
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	== Games, Gambols, Gests, Jests, Jibes, Jigs ==		== Games, Gambols, Gests, Jests, Jibes, Jigs ==

			noise of the games: "For such performances the vocabulary of literary criticism lacks a term, in large part because the events themselves lack verbal substance. They cross generic boundaries: neither song nor dance nor drama, they are at once none of the above and yet all of the above." (136)

			country dancing: rings, circles; courtly dancing: squares, lines (137)

			:"Gests themselves lack a verbal text,e ven as they are surrounded by verbal texts. they exist at the point, illegible in itself, where a range of verbal texts -- ethical, antiquarian, scholarly, literary -- happen to converge." (139)

			:"

Wtrettien: /* Re: Membering */

2012-02-12T15:53:11Z

Re: Membering

← Older revision		Revision as of 15:53, 12 February 2012
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	:"A reader takes in hand a printed book, but she turns the fixed body of type into a living, sounding thing by marking 'sentences,' copying them down perhaps in a commonplace book and making them part of her own conservation." (129)		:"A reader takes in hand a printed book, but she turns the fixed body of type into a living, sounding thing by marking 'sentences,' copying them down perhaps in a commonplace book and making them part of her own conservation." (129)

			== Games, Gambols, Gests, Jests, Jibes, Jigs ==