Thomas Vaughan and Rebecca Vaughan. Thomas and Rebecca Vaughan's Aqua Vitae: Non Vitis (British Library MS, Sloane 1741). Ed. and trans. Donald R. Dickson. (Medieval and Renaissance Texts and Studies, 217.) Tempe: Arizona Center for Medieval and Renaissance Studies, 2001. liii + 270 pp. gloss, bibl. $35. ISBN: 0-86698-259-0.

2003 ◽  
Vol 56 (3) ◽  
pp. 849-850
Author(s):  
Charles W. Clark
Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 432-433
Author(s):  
Albrecht Classen

Much of high medieval culture was deeply influenced by the reception of classical literature, as best represented by the genre of the romans antiques, the Roman de Thèbes, the Roman d’Enéas, and the Roman de Troie. These were based, in turn, on the Thebaid of Statius (92 C.E.), Vergil’s Aeneid (after 19 B.C.E.), and the story of Troy as retold by Dares Phrygias and Dictys Cretensis (in Greek, first century C.E., lost today; in Latin, fourth century C.E. [Dictys] and sixth century C.E. respectively [Dares]). Two of the most respected medieval French scholars, Joan M. Ferrante and Robert W. Hanning, now provide new access to the Roman de Thèbe through their English translation, which they have based on the personal copy owned by Henry Despenser (1370–1406), Bishop of Norwich, well known especially for his ruthless suppression of the Peasant Revolt in 1381. This manuscript is today housed in the British Library, London, under Add. 34114, fol. 164a-226d, and it was critically edited by Francine Mora-Lebrun with a facing page modern French translation in 1995. Ms. A (Paris, BnF, fr. 375) was recently edited by Luca di Sabatino (2016), which could not be consulted here for obvious reasons. Ms. C (Paris, BnF, fr. 784) was edited by Guy Reynaud de Lage in 1966, 1968, then re-edited along with a facing-page modern French translation by Aimé Petit in 2008).


Afghanistan ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 141-152
Author(s):  
Ula Zeir
Keyword(s):  

The practice of dispatching kharita had been part of the royal correspondence of Muslim rulers for centuries, particularly in Persia and India. Originating from Arabic, the term kharita refers to a pouch fabricated from leather or silk, or possibly other material. Although the dictionary definition applies to the pouch itself, the act of sending a kharita indicates that a royal letter is placed inside the pouch. Therefore, a kharita is the pouch and its contents. The article examines one particular kharita (Mss Eur F111/361, ff 2–5 at the British Library). The study identifies the elements that comprise the kharita item, and make it a piece of royal art.


2016 ◽  
Vol 33 (1) ◽  
pp. 11-44 ◽  
Author(s):  
Daniel M. Grimley

One of the most poignant scenes in Ken Russell’s 1968 film Delius: Song of Summer evocatively depicts the ailing composer being carried in a wicker chair to the summit of the mountain behind his Norwegian cabin. From here, Delius can gaze one final time across the broad Gudbrandsdal and watch the sun set behind the distant Norwegian fells. Contemplating the centrality of Norway in Delius’s output, however, raises more pressing questions of musical meaning, representation, and our relationship with the natural environment. It also inspires a more complex awareness of landscape and our sense of place, both historical and imagined, as a mode of reception and an interpretative tool for approaching Delius’s music. This essay focuses on one of Delius’s richest but most critically neglected works, The Song of the High Hills for orchestra and wordless chorus, composed in 1911 but not premiered until 1920. Drawing on archival materials held at the British Library and the Grainger Museum, Melbourne, I examine the music’s compositional genesis and critical reception. Conventionally heard (following Thomas Beecham and Eric Fenby) as an imaginary account of a walking tour in the Norwegian mountains, The Song of the High Hills in fact offers a multilayered response to ideas of landscape and nature. Moving beyond pictorial notions of landscape representation, I draw from recent critical literature in cultural geography to account for the music’s sense of place. Hearing The Song of the High Hills from this perspective promotes a keener understanding of our phenomenological engagement with sound and the natural environment, and underscores the parallels between Delius’s work and contemporary developments in continental philosophy, notably the writing of Henri Bergson.


Sign in / Sign up

Export Citation Format

Share Document