In: Touching, Devotional Practice and Visionary Experience in the Late Middle Ages, 2019, p. 43-68
In this analysis we explore the sensory performances of the performer, rather than the spectator, in medieval convent drama, particularly the tactile experiences of clothing, props, wigs, and beards worn by female performers presenting male and female characters.
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In: A Companion to Medieval Translation, 2019, p. 63-74
This article examines a vernacular Nativity play from the convent at Huy, in modern- day Belgium. The play includes liturgical citations that would have been sung in Latin, alongside the Walloon French lines that translate generically -- scriptural narrative into verse drama -- as well as linguistically. Scriptural narrative is also expanded through the addition of apocryphal material and...
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In: Medium Aevum, 2018, vol. 87, no. 1, p. 81-105
This article examines the codicological and internal presentation of two prose letters which form part of the Querelle de la Belle Dame sans mercy. It suggests a possible link between these letters and the Blois court of poet and prince Charles d'Orléans in the years 1440-1450, proposing a possible redating of the letters to later in the fifteenth century than is usually thought.
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In: European Medieval Drama, 2017, vol. 21, p. 21-41
This article begins with Adrian Armstrong’s discussion of the coterie poetry composed by Charles d’Orléans and his associates at Blois to explore the ‘epistemic value and qualities’ not of communal poetry but rather of communal theatre within a quite different social group: a convent of Carmelite nuns in late-fifteenth-century Burgundy. In it I suggest that some of the ways in which...
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