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Table of contents
- Your IP Address in Germany is Blocked from www.gutenberg.org
- Vestiges of the Natural History of Creation
- The Romantic Scottish Ballads: Their Epoch and Authorship | Teaching Resources
Placed, Replaced, or Misplaced?
- The Adventures of Sherlock Fox.
- Poems for a Good Occasion;
- ANIMAL SQUAD: Ready fur Action!
- Publisher Description?
These verbal assaults on received academic tradition did finally eventuate in action: the replacement of the ballads in the eighteenth-century section of The Norton Anthology of English Literature. While singularly unheralded by literary scholars, perhaps indicating the ballads' slippage from critical view, the resurgence of interest in balladry, its history, and even ideological salience—witnessed by the present gathering of articles—offers a timely stimulus for scrutiny of this positioning of the genre in the eighteenth century itself.
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Certainly institutional politics and disciplinary drift influence the questions we ask. And they have led me to ask again old interconnected questions: what is a ballad and where should the ballad be placed? Formerly the queen of verbal art, the subject of the first and one of the most frequently taught "folklore" courses in the United States largely in English departments , the ballad once figured prominently in two courses at my own university, taken by almost everyone who sought a postgraduate degree in what is now the department of Folklore and Ethnomusicology: as a general course on the ballad and folk song, and as a postgraduate seminar with both English and Folklore course numbers on The English and Scottish Popular Ballads.
This is the very same Child who has been called a forefather of English literary study, he who left behind the Boylston Chair of Rhetoric and Oratory to occupy the first professorship of English—both at Harvard—thus inadvertently providing fodder for today's intradisciplinary tension between adherents of composition and literary studies. He would share my concern for the ballads' current invisibility in the curriculum.
General disciplinary shifts help explain this near erasure. The shift to synchronic ethnography, to performance theory and semiotic analysis has left the study of a "genre" figured as literary and especially historical subject of invented genealogies and elaborated but closed pasts very much on the margins in Folklore.
- The Romantic Scottish Ballads: Their Epoch and Authorship.
- Communion: A True Story!
- Robert Chambers!
Ballad texts and tunes occupy curricular space when they can be used to illustrate current paradigms, most particularly ethnographic, synchronic, and performative analyses. The situation in literary study has a different trajectory with de-periodization, generic confusion, and canonical interrogation as partial culprits. All PhDs in English were once familiar with the ballad as genre, with the Child collection, and with the ballads' medieval affinity.
My question of place or location derives from literary study, from the idea that literary productions are best seen as historically located with similar works produced during the same time frame—that is, periods: the medieval, the eighteenth century, and so on.
Vestiges of the Natural History of Creation
For probably two hundred years, the ballad hovered in the medieval period, thanks to Thomas Percy's eighteenth-century interventions. But how do you find these gems and find out more about them? Whether you're looking for a Rembrandt or Asterix, OMNIA lets you explore repositories such as Europeana or the Digital Public Library of America easily - by country , by provider , by map , by years or via the standard search.
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The Romantic Scottish Ballads: Their Epoch and Authorship | Teaching Resources
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