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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
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
Critical and historical contexts of the Lord Mayor’s Show

events of the mayoral inauguration itself evolved over time. Originally, the Lord Mayor rode to Westminster to take his oath of office before the Barons of the Exchequer, the official representatives of the sovereign, rather than travelling by barge as became the norm. According to Hunting, ‘the Wardens’ Accounts of the Drapers’ Company for 1423–4 tell of fifteen minstrels in attendance on the Mayor’s Riding of October 1423’.161 On this occasion there were also banners, made of blue buckram. Middleton’s The sunne in Aries (following Stow, in an uncommon error) claims that

in Pageantry and power

Pastoral Poetry of the English Renaissance contains the text of the poems with brief headnotes giving date, source and other basic information, and footnotes with full annotation.

in Pastoral poetry of the English Renaissance
Open Access (free)

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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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

, 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