Danse macabre and the virtual churchyard

Chaganti, Seeta

doi:10.1057/pmed.2011.22

Cited by 8 publications

(3 citation statements)

References 11 publications

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“…These messages were destined for multilingual speech communities, because the Grand Duchy of Luxembourg has three "administrative languages": French, German, and Luxembourgish. Wagener and de Pape's reflective reception of the Danse Macabre echoes the new salience that this tradition had acquired during the global pandemic, a point made and developed by Chaganti (2020). Her studies of the Danse Macabre and its modern reception in the contemporary arts help illuminate the continuing relevance of the tradition (Chaganti, 2012: 14-5;Chaganti, 2018, 99-143, 145-87).…”

Section: Léglumentioning

confidence: 92%

Translanguaging, Word and Image, and the Danse Macabre

Léglu

2023

JLM

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The late medieval Danse Macabre, a bilingual word-and-image tradition, may be understood through the theoretical lens of translanguaging. This article begins with an analysis of the visual reception of this tradition in a public art installation in Luxembourg City during the coronavirus pandemic, and is followed by the challenges of applying paratranslation to a page of the early printed Danse Macabre (1486). Returning to the earliest translations of the Danse, the article also examines evidence of untranslatability and tensions between three literary languages in the Catalan Dança de la Mort (c. 1490).

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Section: Léglumentioning

confidence: 92%

Translanguaging, Word and Image, and the Danse Macabre

Léglu

2023

JLM

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“…48 Pearsall 1970, 169-183; see also , Cornell 1988and Chaganti 2012. 49 See Trapp 1955 andDavis 2017.…”

Section: The Levedi Tok That Ring An Hond and Loked Theron And Gan Withstondmentioning

confidence: 99%

Writing Beyond Pen and Parchment

Wagner¹,

Neufeld²,

Lieb³

2019

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The editors would like to thank the CRC 933 "Material Text Cultures", financed by the German Research Foundation / Deutsche Forschungsgemeinschaft, for supporting this volume. The generous financial assistance of the CRC 933 enabled two collaborators, Katja Schulz and Christine Neufeld, to spend several months at Heidelberg University as Mercator Fellows in 2015 and 2016. Their work was indispensable for this book project, which had to break new ground in many respects. We would also like to thank Eastern Michigan University for Christine Neufeld's 2018 Summer Research Fellowship supporting her work on this project. Furthermore we express our deepest gratitude to Michael R. Ott for his unstinting generosity, not just as a contributor, but as an important collaborator in this endeavour. We also gratefully acknowledge the efforts of Maria Krümpelmann, Tamara Ludwig and Björn Thesing, who have helped to prepare the manuscript for publication and have entered numerous references into our database. We thank the Editorial Board of the CRC 933 for including the volume in the MTK series and Nicolai Schmitt for diligently typesetting the manuscript.

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“…Recent scholarship on medieval danse macabre , however, has introduced more explicitly theorized perspectives on dance into medieval studies. See Appleford 2008; Chaganti 2012; Gertsman 2010; Kinch, 2002; and Oosterwijk and Knöll 2011. This enhanced attention to theory will ultimately make dance more available to metacritical discourses on historical period as well.…”

Section: Notesmentioning

confidence: 99%

Proleptic Steps: Rethinking Historical Period in the Fifteenth-Century Dance Manual

Chaganti¹

2012

Dance Res. J.

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F or some time now, scholarly medieval studies have been preoccupied with questions about the relationship between the modern and the premodern, and even about the very meanings of these terms. 1 Medievalists in different fields have thoughtfully re-examined the critical paradigms that rely on a break between the medieval as premodernity, on the one hand, and the early modern as an initiation of modernity, on the other. 2 Such new perspectives on periodization and the Middle Ages have tended to originate in studies of literature, theater, history, and art. The discipline of medieval studies has not, for the most part, considered what dance might contribute to our understanding of the constitution of historical periods such as "medieval" and "early modern." 3 And yet, basse danse and bassadanza, due to their placement in a fifteenthcentury moment variously claimed by both the Middle Ages and the Renaissance, potentially offer much to such discussions of periodization. As a performance, this fifteenth-century dance situates itself in a dynamic transition between the medieval and the early modern, raising questions about the nature, location, and even existence of this periodization boundary. At the same time, however, the instructional and codifying techniques associated with basse danse and bassadanza reinforce a more traditional periodization dynamic, whereby a culture looks back mainly in order to look forward, organizing its ideas about time and history around the mechanism of anticipation. I shall argue in this essay that basse danse and bassadanza reveal a suggestively conflicted perspective on time through the distinction they establish between the temporality of execution and that of instruction. Furthermore, in their espousal of anticipatory strategies, the instruction manuals in particular show how representations of early dance can construct perspectives on historical periodization. Casting into relief thus an occluded narrative about how period borders form and solidify, basse danse and bassadanza additionally offer early period scholarship some new ways to reconsider and dissolve such borders.Before proceeding to my readings of the dances and manuals, I will first say a few words about the anticipatory impulse to which I refer above, as this concept recurs throughout my argument and will benefit from some explanation at the outset. In scholarly studies of early modernity and its construction, one increasingly finds readings that identify an impulse toward anticipation and futurity in the culture at large-an impulse that helps to define early modernity's sense of its relationship to Seeta Chaganti is an associate professor in the Department of English at the University of California-Davis. Her first book, The Medieval Poetics of the Reliquary: Enshrinement, Inscription, Performance, was published in 2008. She spent 2009-2010 as a Fellow at Cornell University's Society for the Humanities, beginning a second book on memory and representations of dance in late-medieval northern Europe. Her articles on Eng...

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Danse macabre and the virtual churchyard

Cited by 8 publications

References 11 publications

Translanguaging, Word and Image, and the Danse Macabre

Translanguaging, Word and Image, and the Danse Macabre

Writing Beyond Pen and Parchment

Proleptic Steps: Rethinking Historical Period in the Fifteenth-Century Dance Manual

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