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of unbridled fancy’ rather than ‘the skill of the poet’, then its author is ‘no more than a humble romancer’. Scott here mimics the rhetoric of neo-classical distinction, but his particular prejudice, inseparable from his social aspirations (like Percy he is a man on the make), comes into focus when he imagines the medieval audience ‘circumscribed in knowledge’ and ‘limited in conversational powers’: ‘to prevent those pauses of discourse which sometimes fall heavily on a company’, a poet-minstrel is employed, he argues, to supply ‘an agreeable train of ideas to

in Pulp fictions of medieval England
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Romances, novels, and the classifications of Irish Romantic fiction

geographical features (the recess, ruins, the rock, Alps, black valley, black tower, haunted cavern); architectural features (priory, castle, abbey, convent, nunnery, ancient house, cloister); … ghost and its cognates (apparition, specter, phantom, the ghost-seer, sorcerer, magician, necromancer, weird sisters); exotic names (Manfredi, Edward de Courcy, Wolfenbach); and generic or historical figures (the monk, the genius, the minstrel, knights, the royal captives, Duke of Clarence, Lady Jane Grey, John of Gaunt). 36

in The gothic novel in Ireland, c. 1760–1829
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Street and theatre at the end of Fordism

to account for how and why America’s white working class apparently celebrated black culture while constituting itself as the ‘white working class’ in opposition to that culture. In this account, the white working class (particularly the white working-class man) looks on the racial Other with both envy and repulsion. In contrast, Jones contends that the ‘blackness’ constructed by white minstrel performers had little to do with actual black people. It was instead a third race, neither black nor white, that allowed white minstrels to differentiate themselves both

in Street theatre and the production of postindustrial space
Translatina world-making in The Salt Mines and Wildness

some of the black and Latinx participants in New York’s ballroom scene at the centre of scholarly conversations about gender performativity, racialised queer subcultures, and new queer cinema in the 1990s. However, some complained that the film sensationalised the performances as a modern-​day freak show or minstrel show, and criticised the realist ethnographic style that absented the film’s director, Jennie Livingston, a white lesbian filmmaker, from the diegesis (e.g. hooks, 1996; Reid-​Pharr, 1990). In contrast, queer film scholar Lucas Hilderbrand argues that

in The power of vulnerability
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What lovers want

prowess in battle to his generosity to minstrels to his hospitality to his own household, Degrevant is in fact a worthy custodian of his new family’s line. Their extravagant wedding, attended by Emperors, cardinals, the douze peers of France, the King of Portugal, et al., advances the message of the plot: men of wealth and gentility deserve access to the highest class, but only their own fiercest exertions will enable them to rise in a world where great magnates have the power to ride roughshod over such aspirations. Love does in the romance what royal authority was

in Pulp fictions of medieval England
The lump-child and its parents in The King of Tars

with which the Sultan celebrates his wedding is in Vernon gory and unrestrained, in contrast to Auchinleck, where the poet calls it ‘a semly si3t’ (A, 535) and distinguishes it stylistically from the accounts of battle which begin and end the narrative.32 What in Auchinleck is favourably rendered as entertaining or socially useful chivalry becomes in Vernon brutal violence, implying that the enjoyment of such pastimes befits neither Christian characters nor Christian audiences. A similar distaste for courtly entertainments is manifest in the treatment of minstrel

in Pulp fictions of medieval England
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood

county, was entirely rebuilt in the Gothic style and is now devoid of interest’ (HD, p. 14). The outward and visible sign of the heritage that Tony is so committed to maintaining Unreal cities and undead legacies 229 is, to use one of the key words of Vile Bodies,‘bogus’. Hetton, with its elaborate Gothic features, its ‘lancet windows of armorial stained glass’, its ‘dining hall with its hammer-beam roof and pitch-pine minstrel gallery’, its bedrooms named after Arthurian characters is, like Walpole’s ‘Gothic Villa’, an artefact dedicated to the assertion of a

in Special relationships

was maintained in great pomp [and] hath 40£ a yere’, a substantial stipend. 46 When in 1592 Emilia became pregnant, Carey married her off to her slightly distant cousin Alfonso Lanier, also a court musician. Forman recorded on 17 May 1597, ‘yt seams that being with child she was for colour married to a minstrel’. 47 When she bore a son in 1593, plucky Emilia named him Henry

in Reading Shakespeare’s mind

, and, by precipitating the oscillation, the ‘recognition tokens’ of Middle English romance unleash this potential. Take some examples. Orfeo, disguised as a minstrel, returns home with his ‘token’, the harp; the faithful steward sees it and collapses because the ‘recognition device’ confirms his belief that his master is dead. Horn returns with his ring to his wife Rymenhild, who nearly commits suicide when she infers from it that her husband is dead. Amiloun, disfigured by leprosy, turns up on the doorstep of his old friend Amis, but is attacked by the latter, who

in Pulp fictions of medieval England
The structures of migration in Tales from Firozsha Baag

language, so that first some, then other aspects of language are thrown into relief.’23 Nariman, and perhaps Mistry, can be read as a modern incarnation of the professional minstrel or gosan, of ancient Iran who, according to Boyce, quoted by Yarshater, was ‘present at the graveside and at the feast, eulogist, satirist, storyteller, musician, recorder of the past achievements and commentator of his own times’.24 Exile and Escape: ‘Lend Me Your Light’, ‘Exercisers’ and ‘Swimming Lessons’ For all its playfulness, Squatter’s account of the psychological (and physical

in Rohinton Mistry