goliard


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Words related to goliard

a wandering scholar in medieval Europe

References in periodicals archive ?
But let me come back to Cape Goliard with what I've already offered to you and Tarn: It Was and Arise, Arise.
Unless otherwise noted, the textual references to The Last Words of Dutch Schulz are to the 1993 Arcade edition, based on the 1975 Richard Seaver Book (Viking Press); the Cape Goliard (London) 1970 edition has notable stylistic differences.
Partly because the poem is so famous, and partly because the Zukofskys' two spiral notebook pages for it are reproduced on the dust cover to the Cape Goliard edition (and in Yao, 222-3), this is a translation that gets talked and written about.
At this point, he became the editor of one of the more enduringly interesting publishing ventures of the time: Tom Raworth's experimental Goliard Press teamed with the more staid Jonathan Cape publishers to produce Cape Editions, a series of small, handsome paperbacks of a rich variety of subjects, themes, and writers for the times: from the poetry of Neruda, to Olson's Mayan Letters, to Barthes, Levi-Strauss, to Malcom Lowry, to Francis Ponge, to Trakl, to Fidel Castro, to Adalbert Stifter.
71) Thirdly, the parallel between the early troubadours and goliards depends upon the evidence of ecclesiastical condemnations of the clericus vagus, joculator and goliard, and the problems involved in interpreting these pronouncements are considerable.
In the 1930s, German composer Orff came across 13th century manuscripts written by the Goliards, a group of Benedictine monks who protested their disaffection with the ecclesiastical and political regimes with libidinous poetry and song.
Helen Waddell was to achieve literary fame as expositor of the world of the medieval goliards.
The poems were written in the twelfth and thirteenth centuries by students and clergy known as Goliards, who satirized and mocked the Catholic Church, mostly in Medieval Latin, but also in Middle High German and Provencal French.
There were itinerant scholars, such as the Goliards, who flourished in the twelfth and thirteen centuries.
His description of the goliards who so fascinated her--'intellectuals with transnational outlooks, multilingual, not afraid to travel, university-trained but without secure occupations or careers, intelligent inhabitants of borderlands who, in some sense, wanted to belong but found it difficult to belong on the terms that society demanded'--is intentionally suggestive of her own position.
This paraliturgical repertory was transmitted in a different way from the music of the liturgy itself: it was part of the international currency of those whom we now call goliards, the wandering scholars whose stock-in-trade was as much scurrilous parody (or worse), as liturgical drama, the paraliturgical verses of the Circumcision festivities, and the like.
Hunting and military signals, fanfares at tournaments and feasts were certainly part of court life, where people could also listen to the music of the itinerant musicians known as joculatores, histriones, spielmans, jongleurs, goliards and so on.