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Power and Conflict in Medieval Ritual and Plays: The Re-Invention of Drama

Power and Conflict in Medieval Ritual and Plays: The Re-Invention of Drama by Norma Kroll ANY fine twentieth-century studies of the Latin liturgical drama have explored the correspondences between the plays and the Carolingian liturgy as well as the dramatized Ottonian Quem quaeritis tropes. Certainly, all three are hybrid works, consisting of stylized enactments of chanted texts.1 Since each involves some sort of acting out, scholars generally infer that the originating principle of drama is impersonation. They also assume that the church plays grew out of one or both of the earlier forms, even though they acknowledge that the plays somehow constitute a distinct category.2 Indeed, very dif- 1 Paul Evans's ``Reflections on the Origins of the Trope'' (Journal of the American Musicological Society 14.2 [1961]: 119­30) includes a highly useful discussion of the term tropes in musical as well as poetic texts. We also have many superb studies of the texts' musical notation and staging. For example, Susan Rankin exhaustively explores the music of the Fleury and the other plays as well as the sources and transmission of their melodies in The Music of the Medieval Liturgical Drama in France and England, 2 vols. (New York: Garland, 1989), 1:69­79, 120­23, and 155­60. Yet Rankin's work clearly reveals that the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Studies in Philology University of North Carolina Press

Power and Conflict in Medieval Ritual and Plays: The Re-Invention of Drama

Studies in Philology , Volume 102 (4) – Mar 10, 2005

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Publisher
University of North Carolina Press
Copyright
Copyright © 2005 by The University of North Carolina Press.
ISSN
1543-0383
Publisher site
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Abstract

by Norma Kroll ANY fine twentieth-century studies of the Latin liturgical drama have explored the correspondences between the plays and the Carolingian liturgy as well as the dramatized Ottonian Quem quaeritis tropes. Certainly, all three are hybrid works, consisting of stylized enactments of chanted texts.1 Since each involves some sort of acting out, scholars generally infer that the originating principle of drama is impersonation. They also assume that the church plays grew out of one or both of the earlier forms, even though they acknowledge that the plays somehow constitute a distinct category.2 Indeed, very dif- 1 Paul Evans's ``Reflections on the Origins of the Trope'' (Journal of the American Musicological Society 14.2 [1961]: 119­30) includes a highly useful discussion of the term tropes in musical as well as poetic texts. We also have many superb studies of the texts' musical notation and staging. For example, Susan Rankin exhaustively explores the music of the Fleury and the other plays as well as the sources and transmission of their melodies in The Music of the Medieval Liturgical Drama in France and England, 2 vols. (New York: Garland, 1989), 1:69­79, 120­23, and 155­60. Yet Rankin's work clearly reveals that the

Journal

Studies in PhilologyUniversity of North Carolina Press

Published: Mar 10, 2005

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