The ancient English morris dance /

This book traces the history of morris dancing in England, from its introduction in the 15th century, through the contention of the Reformation and Civil War, when morris dancing and maypoles became potent symbols of the older ways of living, to its re-invention as an emblem of Victorian concepts of...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Heaney, Michael (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Oxford : Archaeopress, [2023]
Temas:
Morris dance > History.
Morris dance > Histoire.
Manners and customs
Morris dance
England > Social life and customs.
Angleterre > Mœurs et coutumes.
England
History
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cover
  • Title Page
  • Copyright Page
  • Contents Page
  • List of Figures
  • Figure 1.1: Israhel von Meckenhem, The Morris Dancers (The Art Institute of Chicago, CC 0 public domain).
  • Figure 1.2: Erasmus Grasser, Morris dancer with headgear like a hunting cap
  • Morris dancer with a white headband, from the ballroom of the Old Town Hall, Munich, 1480 (Münchner Stadtmuseum, Sammlung Angewandte Kunst, Inventory nos K-Ic/228, K-Ic/223, CC B
  • Figure 3.1: Morris activity, 1507-1569.
  • Figure 4.1: The Betley window (Image © Victoria and Albert Museum, London, C.248-1976).
  • Figure 4.2: Lancaster Castle panel (Image courtesy of Vaughan Williams Memorial Library, Picture Folders/Folder 6/20).
  • Figure 4.3: Israhel van Meckenem, Panel with the Dance of the Lovers (in Francis Douce, Illustrations of Shakspeare, plate VIII, London: Longman Hurst, Rees & Orme, 1807).
  • Figure 4.4: Correspondences of van Meckenem, Betley and Lancaster Castle images.
  • Figure 4.5: Van Meckenem' s third dancer image and its correlates in Betley window and Lancaster Castle panel.
  • Figure 5.1: Civic and church support and opposition, 1570-1599.
  • Figure 6.1: Civic and church support and opposition, 1600-1629.
  • Figure 6.2: William Kemp, Kemps Nine Daies Wonder, cover. London: Printed by E.A. from Nicholas Ling, 1600.
  • Figure 6.3: Gray's Inn antimasque: May Lord and Lady, Fools and Baboons, performed by lightningtree (Photo © Michael Heaney).
  • Figure 6.4: Woodcut from Money is my Master. London: for Francis Coules, n.d.
  • Figure 6.5: 'The Thames at Richmond, with the Old Royal Palace', c. 1620 (detail) (Image © The Fitzwilliam Museum, Cambridge, accession number: 61).
  • Figure 7.1: Civic and church support and opposition, 1630-1659.
  • Figure 7.2: Woodcut from Recreation for Ingenious Head-peeces, sig. X1v. London: Printed by M. Simmons, 1650.
  • Figure 7.3: Attitudes to morris dancing, 1550s to 1650s.
  • Figure 8.1: Civic events and other encounters with morris dancers, 1660-1685.
  • Figure 8.2: 'Cromwell Pypeth unto Fairfax' (in Edmund Goldsmid, Explanatory Notes of a Pack of Playing Cards, Temp Charles II, 9. Edinburgh: E. & G. Goldsmid, 1886).
  • Figure 8.3: Woodcut from The Jovial May-pole Dancers, or, The Merry Morris. [London]: Printed for J. Deacon, [c. 1690].
  • Figure 8.4: Moorish dance (in Elkanah Settle, The Empress of Morocco, plate facing p. 13. London: Printed for William Cadema, 1673).
  • Figure 8.5: 'Stanes Morris' (in The English Dancing Master, p. 87. London: Printed by Thomas Harper, 1651).
  • Figure 8.6: 'Maids Morris' (in The Dancing Master, 7th ed., 3rd supplement, p. 1. London: Printed by E. Jones, 1689).

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