Journal articles on the topic 'English Interludes'

The paper examines emotional communities in early modern English drama, specifically interludes by John Heywood and John Bale. It explores the connections between emotion and religion, and seeks to uncover whether and how emotionality changes according to the politically acceptable religious doctrine – particularly in the time of Protestant reformation under Henry VIII Tudor – and how these changes are expressed in the early sixteenth century English interludes by a Catholic (Heywood) and a Protestant (Bale) author. This paper considers early modern texts of culture which have not been researched as broadly as the drama of the later English Renaissance period (such as works by William Shakespeare or Christopher Marlowe), and, drawing upon the concept of “emotional communities” introduced by Barbara Rosenwein, additionally offers insights into an ongoing discussion on emotions in history.

Drawing on scholars like Paula Blank, Janette Dillon and Tim Machan, this article argues that, in the Tudor university and court plays of Shakespeare’s youth, the stigmatization of non-standard, dialect speakers demonstrates a cultural renegotiation of the contemporary linguistic climate. By defining the English language and the English people not against a foreign Other, but rather against the domestic, servile, and dialect-speaking Other, sixteenth-century playwrights demonstrated the threat of non-standard speaking and advocated the standardization of language through education while effecting cultural change through negative reinforcement. Keywords: Tudor drama; interludes; history of English language; dialect; university grammarians

Born in Gibraltar in 1968, writer M. G. Sanchez moved to the UK to study English Literature at the age of twenty-seven, where he has lived ever since, with interludes in New Zealand (2004), India (2005-2008) and, more recently, Japan (2014-2016). He took BA, MA and PhD degrees at the University of Leeds, completing his studies in 2004 with a thesis exploring perceptions of ‘hispanicity’ in Elizabethan and Jacobean literature. His first publication was Rock Black: Ten Gibraltarian Stories, a collection of short narratives. Since then he has written three novels on Gibraltar – The Escape Artist, Solitude House and Jonathan Gallardo – as well as numerous stories and essays. His latest work, Past: A Memoir, was published in October 2016, and explores his own family history on the Rock.

The article is devoted to the little-studied Northern European sources of Russian plays on the plot about Tamerlane and Bayazet of the late 17th — early 18th centuries. The material was the play “Temir-Aksakovo Action” in 1675, a not preserved version of the play of the early 18th century “The Clear History of Tamerlane, the Tatar Khan how he defeated Saltan of Tursk Bayazet”, plays from the repertoire of “English comedians” of the 17th century, plays by the German playwright Andreas Gryphius and the English playwright Nicholas Roe. It is shown that the interludes of the play “Temir-Aksakovo Action” could be taken from the little-known play “The Comedy of Tamerlane”, staged in Nuremberg in 1667. Analysis of the play by German playwright Andreas Gryphius “The Armenian Leo” in 1656 makes it possible to talk about general formulas in constructing the theme of the overthrow of tyranny, the baroque theme of the mutability of life in the German and Russian drama of the 17th century. The play “The Clear History of Tamerlane ...”, staged at the court of Peter I in the 1700s, has been brought into consideration. Particular attention is paid to the analysis of the typological commonality of the Russian play with the play by the English playwright Nicholas Rowe “Tamerlane” in 1701, containing real historical allusions to the present.

Performance is ideology! This is particularly true of Shakespeare's The Taming of the Shrew, one of his two comedies concerning the behaviour of husband and wife after the marriage ceremony—the other being The Comedy of Errors. Here he makes use of what may well be the longest-running English female stock character, the recalcitrant wife, who goes back to Mrs Noah, the disobedient woman of the mediaeval religious cycle plays. But at the same time he adapts the technique of classical farce to observation of human behaviour, by taking an impossible premise (that a wife can be tamed) and extending it logically to the utmost limits of absurdity. He also combines the Mrs Noah figure with the Judy puppet and the clever woman of the Interludes who outwits her husband, but with one distinctive omission: the physical violence commonly assumed essential to shrew-taming. I believe that here Shakespeare has forged a new dramatic mode by humanizing the intellectuality of rhetorically based classical farce and psychologizing the knockabout physicality of its Plautine offshoot.

This paper is a study on the effectiveness of hybrid learning; a blend of traditional and technology-based training, vis-à-vis the second language (L2) learner of English pronunciation. Specifically, our motivation is centred on the functionality of combining the habitual classroom teaching style with the Telegram app (a mobile-based technological tool) for studies relating to speech production and perception. The methodical procedure and design for this study is both quantitative and descriptive; employing the use of a multiple-choice questionnaire in data collection from 401 Nigerian undergraduate and postgraduate students in the University of Benin, Nigeria, to ascertain the effectiveness of digital designs and stratagems. Pie charts are employed to display multiple divisions of the study's data comparison. This study emphasizes the Online-Driver Blended Learning Model; such a pedagogical approach exposes the L2 learner to a more involved and effective way of understanding how to avoid imposing an unfamiliar accent upon the target language. Consequently, we see a merger of online practical exercises and exposure to uploaded multimodal texts and native speakers' spoken data (audio-visual recordings/voice notes) with scheduled direct classroom interludes. Findings confirm that exploiting such a hybrid model enhances students' cognitive abilities and retentive capacity regarding English pronunciation. Such digital audio-visual tools are paramount phonetic strategies for learning how to avoid unacceptable phonetic alterations. Thus, we see the effectiveness of integrating the Telegram app into the traditional brick-and-mortar educational method in handling problems associated with speech sound production and second-language phonological interference.

The main objective of this research is to develop English language materials for early young learners. This research was conducted at PAUD Terpadu Joy Kids Makassar. This research developed "Occupation" material with the sub-theme of "firefighter." The Research and Development model implemented in this study was ADDIE model in developing the material. The preliminary study results in this study show that English is not a compulsory subject but only an interlude. Therefore, researchers developed English language material following the applicable curriculum. The development of material in this study emphasized vocabulary recognition. Teachers and students can use the products that researchers would produce to carry out English learning activities.

The article considers the peculiarities of the structure of the cycle and the form of the Concerto for the Persian Ney with Orchestra «Toward That Endless Plain» by the modern Iranian-American composer of the XX–XXI centuries Reza Vali (b. 1952). It was found that the unusual structure and musical form of this Concert are manifested in the combination between traditional Western European principles of cycle composition with the principles of musical form each part that is characteristic of classical Iranian music. The cycle of the Concerto is three-part with additional sections. This model of a solo concerto has developed in the European musical tradition. However, due to the author’s program the structure of the cycle, in general, is extremely specific (Tavakkol, 2019: 271). It was found that the specifics of the structure of the cycle is the introduction of two additional sections, marked as “Prelude” (set out before Part I) and “Interlude” (placed between Parts II and III). It is established that each of the three parts and additional sections are set out in a peculiar form inherent in Iranian classical music: Parts I and III are composed in mosaic form, Part II is written in the form of nobats; “Prelude” and “Interlude” are created in Ternary form. It is revealed that the arched principle (the principle of symmetry) in the construction of the cycle is found between “Prelude” and “Interlude”, as well as between I and III parts. The alternation of tempo characteristics of the parts is revealed in the general composition of the cycle. The I and III parts have a slow tempo and the II part has a fast. (this kind of contrast between parts is not typical for the genre of a solo concert of Western European music). Two principles in the organization of the composition cycle and the form of individual parts are highlighted. It is proved that R. Vali’s choice of a specific composition of the cycle, the form of parts and additional sections, as well as the use of tempo of each part, is due to the concert program, which is a kind of interpretation of the meaning contained in the poem by S. Sepehri. The music of the work is closely connected with the program. All parts of the Concerto have titles in Persian and English, which are based on the postulates of mystical philosophy and Sufism. Prelude and Interlude, which are associated with images of the material world – aggression and war. In comparison with the saturated, solid sound of the Prelude and Interlude, the delicate sparsity of the three main parts of the cycle are meant to reveal the spiritual life of humanity (Tavakkol, 2020: 113–117).

This article contains a study on Yogyakarta literary agents’ strategies in producing a translated work from Indonesian into English (Indonesian-English literary work) entitled “Pilgrimage in the Land of Java”. Due to the development of literary studies based on the practice of its agents, this study aims to understand more the pattern and vision of agents in producing translated literary work in a particular context. In this case, the agents are a poet Iman Budhi Santosa, an indie publisher Interlude, and a translator Chrysogonus Siddha Malilang. This study adopts the Bourdieusian concept of strategy in cultural production as the framework of thought. Meanwhile, interview and document selection are two primary techniques to collect data for this qualitative research. This study reveals the strategies implemented by the three primary agents during the production of “Pilgrimage in the Land of Java”. Although running on the same track, it turns out that each of them had specific strategies based on the role that they possessed during the production. This study also discloses the significance of social capital in translation practice.

This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.

Purpose There are many fewer speech-language pathologists (SLPs) who can administer Spanish language testing than there are children in the United States who need such testing. Although there are precautions against language testing by foreign speakers, results from testers using native- versus foreign-accented speech have not been compared using popular picture-pointing vocabulary tests of the sort used by SLPs. Therefore, we sought to determine if nonnative Spanish speech (i.e., foreign-accented speech) was sufficient for the administration of a Spanish receptive vocabulary test. Method Using a single group, within-subjects design, 15 Spanish–English bilingual 5-year-olds from a low socioeconomic background listened to native- and foreign-accented digital audio recordings of targeted vocabulary words. Native- and foreign-accented testing was counterbalanced with a 2-month interlude. Using standard procedures, children were also administered English and Spanish–English bilingual picture-pointing vocabulary tests. Language histories were collected from caregivers and teachers. Results Standard scores were significantly lower for foreign- than for native-accented Spanish vocabulary testing. However, native-accented testing produced outcomes similar to those found in the literature for standard administration procedures. Conclusions Results support precautions that language testers should be proficient in the language of testing. However, standardized picture-pointing receptive vocabulary tests might be amenable to adaptations using recorded speech instead of standard procedures. This potentially extends the number of SLPs who might administer some Spanish testing.

The available literature on the uprising of 1857 is fairly voluminous. Successive generations of historians have studied the subject in its varied aspects. Their concern, however, quite often lay with long-term political issues, with questions of the growth of the colonial state, of nationalism, of the unity and integrity of the country. These problems were made central to the study of the rebellion not because they were of any relevance to the rebels but because contending imperialist and nationalist historians were seeking to accommodate the event in a longer time span of history.The rebellion of 1857 was thereby assimilated to a linear order related to a context that largely lay outside of the occurrence itself. To most early English writers the mutiny marked the watershed between Company rule and Crown rule, an interlude in the transition to a better imperial system. For Indian writers it was the beginning of India's struggle for national independence

La Celestina (Rojas, 1499/ ca.1502) fue pronto traducida al inglés, en formas literarias muy diferentes, que han de entenderse como «recreaciones» más que traducciones, estrictamente hablando (Murillo, 1994, 1992): la versión de Rastell (1525), escrita como un interludio, y The Bawd of Madrid, de John Stevens (1707), como una obra narrativa. Únicamente Celestine, de Mabbe (1631), es formalmente similar a la obra de Rojas. La crítica siempre ha considerado la ironía como un elemento esencial del mensaje expresado por Rojas. De forma general, cabrá esperar que los cambios en el género tanto de la obra de Rastell como de la de Stevens influyan en la manera en la que se transmite la ironía. Por otra parte, aunque la versión de Mabbe sigue la misma estructura y los mismos temas del original, algunos de sus aspectos esenciales subyacerán en ciertas interpretaciones de la ironía peculiares.

The study presented here examines the problems of composition and architectonics of a work of fiction. The author analyses the correlation of these notions. A close examination of the types of compositional organization of a work of fiction has been carried out. It is noted that the problem of the composition of a work of fiction has a fairly long tradition. At the time, the problem was considered by Aristotle (4th century BC), who focused on the fact that the perfection of a work could be achieved by motivated selection and combination of separate elements into a single whole, which forms complete harmony. A study has been made of the theoretical aspects of the notion of «composition», as well as a demarcation with similar values such as «structure» and «architectonics», and a description of compositional techniques that clarify the functions of composition in a work of fiction. The article discusses the features of the composition and architectonics of «Canterbury Tales», a work by Geoffrey Chaucer, which was written at the end of the 14th century in Middle English, but remained unfinished. Chaucer’s literary skill is manifested in the fact that the stories reflect the individual traits and individual manner of narrating of the characters. The author depicts a wide canvas of English reality of his contemporary era. The book consists of a «Prologue», 22 verse and two prose stories, which are interconnected by interludes. The framing story reports on the development of the action. Borrowing the themes from numerous stories by other authors, Chaucer complicates the plot, saturates it with realistic details. At the same time, he connects the dynamics of action with psychological analysis. It is emphasized that the composition of a work of fiction is structured from the following main elements: plot — a series of events that are depicted in the work of fiction; conflict is a clash of characters and circumstances, views and principles of being, which are the basis of action. The conflict may arise between the individual and society or between characters. And in the mind of the hero, it can be explicit, hidden or imaginary. Plot elements reflect the stages of development of the conflict; prologue — a kind of introduction to the work, which tells about the events of the past and it emotionally sets the reader to perceive the work; exposition — an introduction to the main action, an description of the conditions and circumstances that preceded the beginning of the action (it can be expanded, non-deployed, integral and «torn», located at the beginning, in the middle or at the end of the work); familiarization with the characters of the work, the circumstances and chronology against which the action takes place; starting point of the plot — the beginning of the plot movement (the event from which the conflict begins, further events develop); development of action — a system of events that are the result of the starting point of the plot; the conflict escalates, and contradictions appear more clearly and sharply; climax — the moment of the highest tension of the action, the peak of the conflict — after the climax, the action weakens; denouement — the resolution of the main conflict, or an indication of possible ways to resolve it. This is the final moment of the action of the work of fiction. At this stage of the composition, either the resolution of the conflict is demonstrated or the impossibility of its resolution is shown; epilogue — the final part of the work of fiction, which indicates the direction of further development of events and the fate of the characters. A short message about what happened to the acting characters of the work of fiction after the end of the main storyline. The study considers plot options: the plot can be presented in a direct sequence of events with digressions into the past — retrospectives. In addition, the plot may depict «excursions» into the future or deliberately show an altered sequence of events. Non-plot elements are: inserted episodes, author’s digressions. Therefore, it should be noted that the main function of the plot is to expand the scope of the depicted events and, thus, to reflect the position of the author in relation to various phenomena of life. The work of fiction may lack individual elements of the plot, and sometimes there are several storylines. Architectonic techniques used by the author create a special unique author’s style. And it is the author himself who chooses the main compositional elements. Thus, the composition of a work of fiction can be multifaceted, linear, circular, «a thread with beads». Masterful architectonics is not just the unity of the constituent parts of a work, it is the originality of a particular work, its beauty and uniqueness. It has been determined that the most important property of the composition of this work of Chaucer is its logical sequence. It is with the help of the composition that one can determine that in the «Canterbury Tales» the center of events is the journey of the pilgrims to the holy place. Architectonics is consequently the relationship between the parts of the work. For example, the prologue and epilogue are traditionally small, the prologue being located at the beginning and the epilogue at the end of the work. And the larger elements are located between the prologue and the epilogue. Thus, the architectonics of the elements of the work is logically consistent with each other. In the «Canterbury Tales», the event type of composition has a chronological form. There is a time distance between separate events, but there is no violation of the natural chronology.

The major aim of this paper is to emphasise the importance of implementing statistical tools in the field of linguistic research, as well as to acquaint the reader with the basic statistical methods that can be used while conducting linguistic studies. The article introduces the idea of five steps in data analysis that any researcher of applied linguistics can take in order to carry out relevant studies. The steps include choosing statistical programmes, eliciting data, selecting some visual methods and applying normality tests, as well as choosing applicable parametric or nonparametric tests, all of which requires appropriate planning, designing, analysing and interpreting data. The theoretical part is an interlude to the practical realisation of the above-mentioned five steps, which is based on the part of linguistic research conducted on the students of English Philology. The major purpose of it was to prove (or refute) that there is a positive correlation between participants’ level of musical intelligence and their L2 pronunciation skills. The practical use of statistical methods enables the readers to familiarise themselves with one of the patterns of statistical analysis in the field of applied linguistics.

There is an independent Scottish legal system today because, until the Union of the English and Scottish Crowns in 1603 and the Union of the Parliaments of the two countries in 1707, Scotland was an independent sovereign state. When King James VI of Scotland became James I of England and Great Britain in 1603, there was considerable interest in the possibility of establishing a single legal system for the newly united kingdoms, while during the Cromwellian interlude of the 1650s the possibility moved some way towards actuality. But the 1707 Act of Union showed a recognition that the establishment of a single legal system and body of law for the whole of the United Kingdom was not really a practical proposition, in articles which remain the formal basis for the continuing existence and independence of the Scottish law and legal system. Article XVIII provided for the continuation of Scots law after the Union, excepting only the ‘Laws concerning Regulation of Trade, Customs and … Excises', which were to ‘be the same in Scotland, from and after the Union, as in England.’ Change to Scots law was allowed under the Article, but in matters of ‘private right’ such change had to be for the ‘evident utility’ of the Scottish people. Only in matters of ‘public right’ might the aim be simply to make the law the same throughout the United Kingdom. Article XIX laid down that the principal Scottish courts, the Court of Session and the High Court of Justiciary, should ‘remain in all time coming’ as they were then constituted, and further provided that Scottish cases were not to be dealt with by the English courts ‘in Westminster-hall’ (which likewise continued to exist post-Union).

Background. This article discusses the features of the program, the origins and symbolism of extra-musical images of the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by the Iranian-American composer of the XX–XXI centuries Reza Vali. There are also some features of the Concerto’s musical material analyzed: the form, instrumentation, and thematic, as well as the influence of Iranian musical traditions. There are no published scientific musicological materials devoted to the consideration of this Concerto from the point of view the comprehensive analysis. In periodical non-scientific literature, only four publications were found regarding this work. These include the article by the American writer Marakay Rogers, in which she gave a brief overview of the music of the Concerto and expressed her favorable impression of the composition. We also have the short article-annotation of American musicologist Brent Reidy and the article by American writer and journalist Lee Passarella written in connection with the release of the album, and the fragment of the interview by American musicologist Ellen Moysan with Reza Vali, where the composer spoke about the using Persian musical system in the Concerto for Ney and Orchestra. The purpose of this article is to consider the specifics of the Concert for Ney and Orchestra by R. Vali in the aspect of the author’s embodiment of the chosen program, as well as the peculiarities of Iranian traditional culture and music and their influence on professional academic music. Methods. The historical method was used to uncover the genesis of the “Sama” genre, also to study the genre features of the Concerto cycle; for considering the features of the structure and thematism of the Concerto the system-analytical method was used. Research results. The Concerto for Persian Ney and Orchestra “Toward That Endless Plain” was created by Reza Vali in Boston in 2003. In the composer’s legacy, this is the second big work in the concerto genre (for solo instrument and orchestra) and the first his work for an orchestra, which he composed on the base of the Persian traditional musical system. In addition to this Concerto, the composer wrote the Concerto for Flute and Orchestra (1992) and the Concerto for Kamanche and Ney with Orchestra (2009). The peculiarities of the musical material and its development are determined by the composer’s comprehension of the poem “Call of the Beginning” of the 20th century Iranian poet Sohrab Sepehri. Recreating the main images of the poem in the Concerto – the images of a mystic lonely traveler and aggressive surrounding world opposed to him – R. Vali touches on the topics of conflicting relations between an individuality and a society, the tragic panhuman events of our time, and also – of the searches of a lonely person on his spiritual path to God. Understanding the origins of the Concerto’s program and the essence of the images will allow performers and listeners to more deeply penetrate the spirit and idea of the composition. The program of the Concerto is presented as following: the name, epigraph, headings for each part and the author’s notes to the program. The theme, the idea, the content and the images of the Concerto and its connection with the tragic events of the modern world are expressed through the philosophy of Sufism and the symbols contained in it, that was used around 800 years ago by Jalal ad-Din Muhammad Rumi. Reza Vali believes that Sohrab Sepehri contacts the philosophy of ancient poets to the literature of the 20th century. To express the basic musical idea – the search for the path of a human to God and the achievement of unity with him – the composer turns to the solo timbre of the Persian wood wind instrument Ney, which is the bearer of the image of sadness, loneliness, separation from the motherland. The sound of Ney, associated with spiritual search, is presented in Parts I, II and III of the Concerto. In Prelude and Interlude, Ney does not play anything. The theme of the danger is embodied in the Prelude and Interlude through the atonal technique and dissonant sounds of the instruments of the symphony orchestra that associates with the tragic war events that threaten all of humanity and their consequences. R. Vali used both, the European musical (three-part) form and the structures inherent in Iranian music (the mosaic form in Parts I and III based on the classical repertoire of Iranian music (Radif), and the Nobat form in Part II). The structure of the cycle is due to the program concept; its specifics are two additional sections designated as Prelude (before Part I) and Interlude (between Parts II and III). The program led to a change in the sequence of tempo characteristics of the parts in the overall composition of the cycle, which is different from genre customary in a concerto of Western European music. In the R. Vali’s Concert, Parts I and III are slow and Part II is fast. All the headings of the parts correlate with the mystical philosophy of Sufism. The author represents the headings in the score in two languages – Iranian and English that allows a deeper clarification of their semantic characteristics: “Prelude” – “Сhezolmát” / “The Abyss”; Part I – “Gozar” / “Passage”; Part II – “Sámâ” / “Ecstatic Dance”; “Interlude” – “Bargasht” / “Return to the Abyss”; Part III – “Foroud va Fánâ” / “Descent and Dissolve”. In figuratively semantic plan, Prelude and Interlude are in opposition to the three main parts of the Concerto. The cruel, destructive images of the material world that presented in Prelude and Interlude are set against the world of concentrated contemplation, the search of spiritual path for a person, recreated in the I, II and III Parts of the cycle. The musical language of the Concerto has roots in the vocal and instrumental Iranian traditional music – the ancient Dastgāh modal system and maqam forms. The medium size of the symphony orchestra is used in the Concerto. The group of brass and percussion instruments is especially important in creating the atmosphere of cruelty and violence and achieving the wild harsh sound. For showing an impending catastrophe, in finish fragment of Prelude, the composer introduces large and small electronic sirens into the orchestra. Conclusions. The extra-musical content and images of the R. Vali’s Concerto for Persian Ney and Orchestra and its connection with the tragic events of the modern world history are expressed through the philosophy of Sufism and its symbols. These philosophical ideas, images and symbols are embodied by the composer on various levels of the work as the structural and artistic integrity: 1) at the level of the structure of the modified three-part cycle; 2) in cycle’s tempo organization; 3) in the use of the system of the traditional Iranian music (dastgāh and maqam) in I, II, III parts; 4) in the use of principally distinct thematism in the Prelude and Interlude in comparison with the main parts; 5) at the level of the timbre and texture organization – in the semantization of the Ney‘s timbre and in multifarious, in terms of imagery, interpretation of the orchestra.

Abstract This essay proposes that Hyckescorner and The Worlde and the Chylde, playbooks printed by Wynkyn De Worde in 1515–1522, were made to resemble his Latin schoolbooks, or grammars, in order to function like textbooks of virtue and vice. Using De Worde’s output as a linchpin, the essay considers the plays’ personified abstractions (such as Contemplation, Manhood, and Free Will) in ‘grammatical’ terms and refers to standard school-texts of the day—from the so-called Auctores octo to the contemporary grammars of Robert Whittington—which might have helped lay readers to mine the plays for moral teaching. The teaching of elementary Latin provides a surprisingly apt metaphor throughout. I also suggest that The Worlde and the Chylde was published because it transposed the recent pedagogical controversy of the Grammarians’ War of 1519–1521 into the sphere of spiritual education, depicting the dangers of blind imitation and the fruits of preceptive instruction. The essay challenges the prevailing scholarly view that dramatic dialogue was the foremost feature which printers sought to emphasize when they first began publishing English plays. It also posits ‘pedagogical’ reading, shaped explicitly by schoolroom practice, as one tool which printers and book designers anticipated in publishing didactic works, and demonstrates how interpretatively fruitful De Worde’s sometimes confusing, and often maligned, blackletter quartos can be.

The paper examines the Vice character of English drama from non-cycle interludes - both interpretations of the character as well as Vices from specific plays, such as The Play of the Weather, Cambises, Appius and Virginia and others, and it argues for a complex view of the character, where his typical villainy, his humour and mockery and his histrionic skills form a unique merger, which is essential in understanding the figure. According to the argument the Vice may but does not have to sustain the moral message of the play, and examples are given for showing that his characteristic comedy is misunderstood as mere buffoonery or condemnable evil. Instead of trying to separate the dark and vicious Vice from the buffoonish evil who is not harmful, it is suggested that we take into account the strong connections between the Vice and the popular fool, and see the Vice as the specimen of the trickster-archetype.

Cotler, Steve. Cheesie Mack Is Not a Genius or Anything. Illus. Adam McCauley. New York: Random House, 2011. Print. The protagonist of this story is Ronald “Cheesie” Mack, an energetic boy who, at ten years and ten months of age, has just finished Grade 5. In his own words, his story is about “a mysterious old coin, an evil sister…a dead sister…runaway rodents, a super-best friend, a fifth-grade graduation disaster, some really unusual words (including a few that I made up), and The Haunted Toad”. The plot is equal parts mystery novel, elementary school pranks, and sibling rivalry, with a running commentary on friendship woven through the book. The strength of this novel is the first-person narration, which stays lively from Chapter 0 (“This Story is Over!”) to the very last page (“This is not a Chapter. Visit CheesieMack.com if…”). Cheesie Mack is a self-aware narrator who makes frequent asides to the reader, in order to provide foreshadowing, define words, explain character motives, and encourage readers to visit his website. Readers who enjoy plot-driven books may find Cheesie’s interludes annoying, since they act as frequent distractions from a plot that seems meandering at times. The book weaves multiple plot threads together, but takes its time doing so. Readers may feel as though the author will never return to earlier plot threads to resolve them (although he does successfully tie these pieces together at the end). However, young readers who appreciate a light-hearted character-driven story will definitely enjoy this book. Readers of a similar age will be able to relate to Cheesie’s sentiments towards his best friend and to his ongoing battles with his sister. His comical interjections and mock dialogue with his readers ensure that the book remains playful and engaging, even when the plot may not be. For those who don’t want the story to end, there is always the CheesieMack.com website. Recommended: 3 out of 4 starsReviewer: Dale StorieDale Storie is Public Services Librarian at the John W. Scott Health Sciences Library at the University of Alberta. He has a BA in English, and has also worked in a public library as a children's programming coordinator, where he was involved with story times, puppet shows, and book talks.

This essay examines the role that George Ticknor (1791-1891), a pioneer in American Hispanism and author of the classic work History of Spanish Literature (1849), played as mentor and intellectual guide to Henry Wadsworth Longfellow (1807-1882), the person selected in 1836 to succeed him as Smith Professor of European Languages and Literatures at Harvard. Longfellow’s greatest eminence ultimately came as a poet of international renown whose works would be widely translated and admired through most of the nineteenth century, but before achieving stature as the author of such classics as Evangeline, a tale of Acadie and The Song of Hiawatha, he devoted twenty-five years to teaching and translating European works into English, with Spanish—“the language of Cervantes,” as he put it—being one of his specialties. The time Longfellow spent in Europe as a young scholar learning the subjects he was appointed to teach, including, in particular, an extended, transitional interlude in Spain, was key to the person he became, and the values he embraced.

Abstract Over the last thirty years, historians have made several important contributions to our understanding of the short but dramatic restoration of Catholicism in 1550s England. United by a shared rejection of the hitherto dominant interpretation of Mary I's reign as a retrograde and unfortunate interlude in the history of the English Reformation, so-called ‘revisionists’ have convincingly argued that Mary in fact presided over a remarkably dynamic and innovative revival of Catholicism. Whilst this scholarship has been extremely valuable in tackling the teleological assumption that Marian Catholicism was predestined to fail, this review suggests that the revisionist programme continues to be preoccupied by somewhat ill-conceived and unhelpful questions about how ‘successful’ Mary's church was in providing for a Catholic future. Such questions demonstrate just how far the historiography of Marian religion continues to operate within a framework still subtly shaped by sixteenth-century, confessionally charged polemic. This review suggests that, rather than debates about ‘successes’ or ‘failures’, we need to start working outwards from the valuable findings of revisionists regarding the dynamism of Marian religion, exploring their broader implications for how we understand the long-term development of Catholicism in England, as well as the Marian church's place within European Christendom more broadly.

In this article I discuss a story told by the South Australian Ngarrindjeri Aboriginal elder, Aunty Hilda Wilson (nee Varcoe), about the time when, at not quite sixteen, she was sent from the Point Pearce Aboriginal Station to work in the Adelaide Hills, some 500 kilometres away, as a housekeeper for “one of Adelaide’s leading doctors”. Her secondment was part of a widespread practice in early and mid-twentieth century Australia of placing young Aboriginal women “of marriageable age” from missions and government reserves into domestic service. Consciously deploying Indigenous storytelling practices as pedagogy, Hilda Wilson recounted this episode in a number of distinct ways during the late 1990s and early 2000s. Across these iterations, each building on the other, she exhibited a personal resilience in her subjectivity, embedded in Indigenous knowledge systems of relationality, kin and work, which informed her agency and determination in a challenging situation in which she was both caring for a white socially-privileged family of five, while simultaneously grappling with the injustices of a state system of segregated indentured labour. Kirmayer and colleagues propose that “notions of resilience emerging from developmental psychology and psychiatry in recent years address the distinctive cultures, geographic and social settings, and histories of adversity of indigenous peoples”. Resilience is understood here as an ability to actively engage with traumatic change, involving the capacity to absorb stress and to transform in order to cope with it (Luthar et al.). Further to this, in an Indigenous context, Marion Kickett has found the capacity for resilience to be supported by three key factors: family connections, culture and belonging as well as notions of identity and history. In exploring the layers of this autobiographical story, I employ this extended psychological notion of resilience in both a domestic ambit as well as the broader social context for Indigenous people surviving a system of external domination. Additionally I consider the resilience Aunty Hilda demonstrates at a pivotal interlude between girlhood and womanhood within the trajectory of her overall long and productive life, and within an intergenerational history of resistance and accommodation. What is especially important about her storytelling is its refusal to be contained by the imaginary of the settler nation and its generic Aboriginal-female subject. She refuses victimhood while at the same time illuminating the mechanisms of injustice, hinting also at possibilities for alternative and more equitable relationships of family and work across cultural divides. Considered through this prism, resilience is, I suggest, also a quality firmly connected to ideas of Aboriginal cultural-sovereignty and standpoint and to, what Victoria Grieves has identified as, the Aboriginal knowledge value of sharing (25, 28, 45). Storytelling as Pedagogy The story I discuss was verbally recounted in a manner that Westphalen describes as “a continuation of Dreaming Stories”, functioning to educate and connect people and country (13-14). As MacGill et al. note, “the critical and transformative aspects of decolonising pedagogies emerge from storytelling and involve the gift of narrative and the enactment of reciprocity that occurs between the listener and the storyteller.” Hilda told me that as a child she was taught not to ask questions when listening to the stories of an Elder, and her own children were raised in this manner. Hilda's oldest daughter described this as a process involving patience, intrigue and surprise (Elva Wanganeen). Narratives unfold through nuance and repetition in a complexity of layers that can generate multiple levels of meaning over time. Circularity and recursivity underlie this pedagogy through which mnemonic devices are built so that stories become re-membered and inscribed on the body of the listener. When a perceived level of knowledge-transference has occurred, a narrator may elect to elaborate further, adding another detail that will often transform the story’s social, cultural, moral or political context. Such carefully chosen additional detail, however, might re-contextualise all that has gone before. As well as being embodied, stories are also emplaced, and thus most appropriately told in the Country where events occurred. (Here I use the Aboriginal English term “Country” which encompasses home, clan estate, and the powerful complex of spiritual, animate and inanimate forces that bind people and place.) Hilda Wilson’s following account of her first job as a housekeeper for “one of Adelaide’s leading doctors”, Dr Frank Swann, provides an illustration of how she expertly uses traditional narrative forms of incrementally structured knowledge transmission within a cross-cultural setting to tell a story that expresses practices of resilience as resistance and transformation at its core. A “White Doctor” Story: The First Layer Aunty Hilda first told me this story when we were winding along the South Eastern Freeway through the Adelaide hills between Murray Bridge and Mount Barker, in 1997, on our way home to Adelaide from a trip to Camp Coorong, the Ngarrindjeri cultural education centre co-founded by her granddaughter. She was then 86 years old. Ahead of us, the profile of Mt Lofty rose out of the plains and into view. The highest peak in the Mount Lofty ranges, Yurrebilla, as it is known to Kaurna Aboriginal people, or Mt Lofty, has been an affluent enclave of white settlement for Adelaide’s moneyed elite since early colonial times. Being in place, or in view of place, provided the appropriate opportunity for her to tell me the story. It belongs to a group of stories that during our initial period of working together changed little over time until one day two years later she an added contextual detail which turned it inside out. Hilda described the doctor’s spacious hill-top residence, and her responsibilities of caring for Dr Swann’s invalid wife (“an hysteric who couldn't do anything for herself”), their twin teenage boys (who attended private college in the city) along with another son and younger daughter living at home (pers. com. Hilda Wilson). Recalling the exhilaration of looking down over the sparkling lights of Adelaide at night from this position of apparent “privilege” on the summit, she related this undeniably as a success story, justifiably taking great pride in her achievements as a teenager, capable of stepping into the place of the non-Indigenous doctor's wife in running the large and demanding household. Successfully undertaking a wide range of duties employed in the care of a family, including the disabled mother, she is an active participant crucial to the lives of all in the household, including to the work of the doctor and the twin boys in private education. Hilda recalled that Mrs Swann was unable to eat without her assistance. As the oldest daughter of a large family Hilda had previously assisted in caring for her younger siblings. Told in this way, her account collapses social distinctions, delineating a shared social and physical space, drawing its analytic frame from an Indigenous ethos of subjectivity, relationality, reciprocity and care. Moreover Hilda’s narrative of domestic service demonstrates an assertion of agency that resists colonial and patriarchal hegemony and inverts the master/mistress-servant relationship, one she firmly eschews in favour of the self-affirming role of the lady of the house. (It stands in contrast to the abuse found in other accounts for example Read, Tucker, Kartinyeri. Often the key difference was a continuity of family connections and ongoing family support.) Indeed the home transformed into a largely feminised and cross-culturalised space in which she had considerable agency and responsibility when the doctor was absent. Hilda told me this story several times in much the same way during our frequent encounters over the next two years. Each telling revealed further details that fleshed a perspective gained from what Patricia Hill Collins terms an “epistemic privilege” via her “outsider-within status” of working within a white household, lending an understanding of its social mechanisms (12-15). She also stressed the extent of her duty of care in upholding the family’s well-being, despite the work at times being too burdensome. The Second Version: Coming to Terms with Intersecting Oppressions Later, as our relationship developed and deepened, when I began to record her life-narrative as part of my doctoral work, she added an unexpected detail that altered its context completely: It was all right except I slept outside in a tin shed and it was very cold at night. Mount Lofty, by far the coldest part of Adelaide, frequently experiences winter maximum temperatures of two or three degrees and often light snowfalls. This skilful reframing draws on Indigenous storytelling pedagogy and is expressly used to invite reflexivity, opening questions that move the listener from the personal to the public realm in which domestic service and the hegemony of the home are pivotal in coming to terms with the overlapping historical oppressions of class, gender, race and nation. Suddenly we witness her subjectivity starkly shift from one self-defined and allied with an equal power relationship – or even of dependency reversal cast as “de-facto doctor's wife” – to one diminished by inequity and power imbalance in the outsider-defined role of “mistreated servant”. The latter was signalled by the dramatic addition of a single signifying detail as a decoding device to a deeper layer of meaning. In this parallel stratum of the story, Hilda purposefully brings into relief the politics in which “the private domain of women's housework intersected with the public domain of governmental social engineering policies” (Haskins 4). As Aileen Moreton-Robinson points out, what for White Australia was cheap labour and a civilising mission, for Indigenous women constituted stolen children and slavery. Protection and then assimilation were government policies under which Indigenous women grew up. (96) Hilda was sent away from her family to work in 1927 by the universally-feared Sister Pearl McKenzie, a nurse who too-zealously (Katinyeri, Ngarrindjeri Calling, 23) oversaw the Chief Protector’s policies of “training” Aboriginal children from the South Australian missions in white homes once they reached fourteen (Haebich, 316—20). Indeed many prominent Adelaide hills’ families benefited from Aboriginal labour under this arrangement. Hilda explained her struggle with the immense cultural dislocation that removal into domestic service entailed, a removal her grandfather William Rankine had travelled from Raukkan to Government House to protest against less than a decade earlier (The Register December 21, 1923). This additional layer of story also illuminates Hilda’s capacity for resilience and persistence in finding a way forward through the challenge of her circumstances (Luthar et al.), drawing on her family networks and sense of personhood (Kickett). Hilda related that her father visited her at Mount Lofty twice, though briefly, on his way to shearing jobs in the south-east of the state. “He said it was no good me living like this,” she stated. Through his active intervention, reinforcement was requested and another teenager from Point Pearce, Hilda’s future husband’s cousin, Annie Sansbury, soon arrived to share the workload. But, Hilda explained, the onerous expectations coupled with the cultural segregation of retiring to the tin shed quickly became too much for Annie, who stayed only three months, leaving Hilda coping again alone, until her father applied additional pressure for a more suitable placement to be found for his daughter. In her next position, working for the family of a racehorse trainer, Hilda contentedly shared the bedroom with the small boy for whom she cared, and not long after returned to Point Pearce where she married Robert Wilson and began a family of her own. Gendered Resilience across Cultural Divides Hilda explicitly speaks into these spaces to educate me, because all but a few white women involved have remained silent about their complicity with state sanctioned practices which exploited Indigenous labour and removed children from their families through the policies of protection and assimilation. For Indigenous women, speaking out was often fraught with the danger of a deeper removal from family and Country, even of disappearance. Victoria Haskins writes extensively of two cases in New South Wales where young Aboriginal women whose protests concerning their brutal treatment at the hands of white employers, resulted in their wrongful and prolonged committal to mental health and other institutions (147-52, 228-39). In the indentured service of Indigenous women it is possible to see oppression operating through Eurocentric ideologies of race, class and gender, in which Indigenous women were assumed to take on, through displacement, the more oppressed role of white women in pre-second world war non-Aboriginal Australian society. The troubling silent shadow-figure of the “doctor’s wife” indeed provides a haunting symbol of - and also a forceful rebellion against – the docile upper middle-class white femininity of the inter-war era. Susan Bordo has argued that that “the hysteric” is archetypal of a discourse of ‘pathology as embodied protest’ in which the body may […] be viewed as a surface on which conventional constructions of femininity are exposed starkly to view in extreme or hyperliteral form. (20) Mrs Swann’s vulnerability contrasts markedly with the strength Hilda expresses in coping with a large family, emanating from a history of equitable gender relations characteristic of Ngarrindjeri society (Bell). The intersection of race and gender, as Marcia Langton contends “continues to require deconstruction to allow us to decolonise our consciousness” (54). From Hilda’s brief description one grasps a relationship resonant with that between the protagonists in Tracy Moffat's Night Cries, (a response to the overt maternalism in the film Jedda) in which the white mother finds herself utterly reliant on her “adopted” Aboriginal daughter at the end of her life (46-7). Resilience and Survival The different versions of story Hilda deploys, provide a pedagogical basis to understanding the broader socio-political framework of her overall life narrative in which an ability to draw on the cultural continuity of the past to transform the future forms an underlying dynamic. This demonstrated capacity to meet the challenging conditions thrown up by the settler-colonial state has its foundations in the connectivity and cultural strength sustained generationally in her family. Resilience moves from being individually to socially determined, as in Kickett’s model. During the onslaught of dispossession, following South Australia’s 1836 colonial invasion, Ngarrindjeri were left near-starving and decimated from introduced diseases. Pullume (c1808-1888), the rupuli (elected leader of the Ngarrindjeri Tendi, or parliament), Hilda’s third generation great-grandfather, decisively steered his people through the traumatic changes, eventually negotiating a middle-path after the Point McLeay Mission was established on Ngarrindjeri country in 1859 (Jenkin, 59). Pullume’s granddaughter, the accomplished, independent-thinking Ellen Sumner (1842—1925), played an influential educative role during Hilda’s youth. Like other Ngarrindjeri women in her lineage, Ellen Sumner was skilled in putari practice (female doctor) and midwifery culture that extended to a duty of care concerning women and children (teaching her “what to do and what not to do”), which I suggest is something Hilda herself drew from when working with the Swann family. Hilda’s mother and aunties continued aspects of the putari tradition, attending births and giving instruction to women in the community (Bell, 171, Hughes Grandmother, 52-4). As mentioned earlier, when the South Australian government moved to introduce The Training of Children Act (SA) Hilda’s maternal grandfather William Rankine campaigned vigorously against this, taking a petition to the SA Governor in December 1923 (Haebich, 315-19). As with Aunty Hilda, William Rankine used storytelling as a method to draw public attention to the inequities of his times in an interview with The Register which drew on his life-narrative (Hughes, My Grandmother, 61). Hilda’s father Wilfred Varcoe, a Barngarrla-Wirrungu man, almost a thousand kilometres away from his Poonindie birthplace, resisted assimilation by actively pursuing traditional knowledge networks using his mobility as a highly sought after shearer to link up with related Elders in the shearing camps, (and as we saw to inspect the conditions his daughter was working under at Mt Lofty). The period Hilda spent as a servant to white families to be trained in white ways was in fact only a brief interlude in a long life in which family connections, culture and belonging (Kickett) served as the backbone of her resilience and resistance. On returning to the Point Pearce Mission, Hilda successfully raised a large family and activated a range of community initiatives that fostered well-being. In the 1960s she moved to Adelaide, initially as the sole provider of her family (her husband later followed), to give her younger children better educational opportunities. Working with Aunty Gladys Elphick OBE through the Council of Aboriginal Women, she played a foundational role in assisting other Aboriginal women establish their families in the city (Mattingly et al., 154, Fisher). In Adelaide, Aunty Hilda became an influential, much loved Elder, living in good health to the age of ninety-six years. The ability to survive changing circumstances, to extend care over and over to her children and Elders along with qualities of leadership, determination, agency and resilience have passed down through her family, several of whom have become successful in public life. These include her great-grandson and former AFL football player, Michael O’Loughlin, her great-nephew Adam Goodes and her-grand-daughter, the cultural weaver Aunty Ellen Trevorrow. Arguably, resilience contributes to physical as well as cultural longevity, through caring for the self and others. Conclusion This story demonstrates how sociocultural dimensions of resilience are contextualised in practices of everyday lives. We see this in the way that Aunty Hilda Wilson’s self-narrated story resolutely defies attempts to know, subjugate and categorise, operating instead in accord with distinctively Aboriginal expressions of gender and kinship relations that constitute an Aboriginal sovereignty. Her storytelling activates a revision of collective history in ways that valorise Indigenous identity (Kirmayer et al.). Her narrative of agency and personal achievement, one that has sustained her through life, interacts with the larger narrative of state-endorsed exploitation, diffusing its power and exposing it to wider moral scrutiny. Resilience in this context is inextricably entwined with practices of cultural survival and resistance developed in response to the introduction of government policies and the encroachment of settlers and their world. We see resilience too operating across Hilda Wilson’s family history, and throughout her long life. The agency and strategies displayed suggest alternative realities and imagine other, usually more equitable, possible worlds. References Bell, Diane. Ngarrindjeri Wurruwarrin: A World That Is, Was and Will Be. Melbourne: Spinifex, 1998. 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Becker. “The Construct of Resilience: A Critical Evaluation and Guidelines for Future Work.” Child Development 71.3 (2000): 543-62. MacGill, Bindi, Julie Mathews, Ellen Trevorrow, Alice Abdulla, and Deb Rankine. “Ecology, Ontology, and Pedagogy at Camp Coorong,” M/C Journal 15.3 (2012). Mattingly, Christobel, and Ken Hampton. Survival in Our Own Land, Adelaide: Wakefield, 1988. Moreton-Robinson, Aileen. Talkin’ Up to the White Woman. St Lucia: UQP, 2000. Night Cries, A Rural Tragedy. Dir. Tracy Moffatt. Chili Films, 1990. Read, Peter. A Rape of the Soul So Profound. Crows Nest: Allen & Unwin, 2002. Tucker, Margaret. If Everyone Cared. Sydney: Ure Smith, 1977. Wanganeen, Elva. Personal Communication, 2000. Westphalen, Linda. An Anthropological and Literary Study of Two Aboriginal Women's Life Histories: The Impacts of Enforced Child Removal and Policies of Assimilation. New York: Mellen Press, 2011.