goliard


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Words related to goliard

a wandering scholar in medieval Europe

References in periodicals archive ?
The text proceeds from long and stately verses with rich rhymes to short, staccato stanzas, from lines with many liturgical overtones to lines reminiscent of the goliards.
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.
The goliards described themselves as followers of the legendary Bishop Golias; they were renegade clerics of no fixed abode who were chiefly interested in riotous living.
The avant-garde inclusions are clustered in two or three groups (although it shou ld be borne in mind that these "groups" are my sleight-of-hand; they should not be considered "movements"): (1) the poets who came to initial prominence in the 1960s, through publication by the pioneering Fulcrum and Goliard small presses (Roy Fisher, Gael Turnbull, Lee Harwood, Tom Raworth, and Tom Pickard); (2) the Cambridge group to which the absent J.
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.
Ruiz derived his material from a wide range of literary and other sources, including the Bible, Spanish ecclesiastical treatises, Ovid and other ancient authors, the medieval goliard poets, fabliaux, various Arabic writings, and popular poetry and songs, impressing upon all these the cheerful cast of mind of a worldly, ribald, curiously learned priest.
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.
Here Thiolier-Mejean looks at the troubadours as moralists and outlines what they shared with moralizing goliards, preachers, and other ecclesiastical writers.
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.
Ziolkowski even points to the emergence of the Goliards in the twelfth and thirteenth centuries, poets "who were affiliated not with the old monasteries but rather with courts, cathedral schools, rising universities, and urban centers" (232).