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Provider: University of Victoria
Database: The Map of Early Modern London
Content: text/plain; charset="utf-8"
TY - ELEC
A1 - Joslin, Dalyce
ED - Jenstad, Janelle
T1 - Pageant Books
T2 - The Map of Early Modern London
ET - 7.0
PY - 2022
DA - 2022/05/05
CY - Victoria
PB - University of Victoria
LA - English
UR - https://mapoflondon.uvic.ca/edition/7.0/PAGE8.htm
UR - https://mapoflondon.uvic.ca/edition/7.0/xml/standalone/PAGE8.xml
ER -
The city of London, not to be confused with the allegorical character (
Until the development of the pageant book in early modern London, all pageant performances were lost forever except to the memories of those in attendance, with each spectator having seen only a portion of the entire show. As Darryl W. Palmer remarks, performance pageantry fades in an instant and we struggle to construct its manners
, but when converted into an authorized text that claims to simply report the entertainment
(Palmer 119-120). In the the printed booklet becomes an invariable part
(Johnson 157) of royal and mayoral processions.
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Research Assistant, 2020-present. Amogha Lakshmi Halepuram Sridhar is a fourth year student at University of Victoria, studying English and History. Her research interests include Early Modern Theatre and adaptations, decolonialist writing, and Modernist poetry.
Project Manager, 2020-2021. Assistant Project Manager, 2019-2020. Research Assistant, 2018-2020. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. She published papers in
Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC). Martin ported the MOL project from its original PHP incarnation to a pure eXist database implementation in the fall of 2011. Since then, he has been lead programmer on the project and has also been responsible for maintaining the project schemas. He was a co-applicant on MoEML’s 2012 SSHRC Insight Grant.
Student contributor enrolled in
King of Scotland
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Until the development of the pageant book in early modern London, all pageant performances were lost forever except to the memories of those in attendance, with each spectator having seen only a portion of the entire show. As Darryl W. Palmer remarks in
performance pageantry fades in an instant and we struggle to construct its manners, but when
converted into an authorized text that claims to simply report the entertainment(Palmer 119-120). In thethese texts mystify their own part in a secondary shaping of everyone and everything included in the original performance
the printed booklet becomes an invariable part(Johnson 157) of royal and mayoral processions.
David Bergeron points out that earlier texts contain only the speeches given in the pageant—no prefatory material, no elaboration, no description, no marginalia
(Bergeron 168), but he asserts playwrights increasingly intend pageant texts for readers
(Bergeron 163). Critics argued that the creation of genuine art was not compatible with prescribed content and the audience’s inability to view the show in its entirety (Bergeron 963). Bergeron argues that these texts exhibit a growing self-consciousness as books and that these publications do not obliterate the theatrical performance so much as they complete it
(Bergeron 165). Within the pamphlet book, the narrative takes on a continuing life with the reader. The texts ask the reader to pretend that they are at the event. The pamphlet book creates a textual space for the event to recur separately from the past. Bergeron describes a fundamental paradox
where as the book seeks to
. The playwright adds digressions, descriptions and discourses
on other topics and increasingly combines developing customs and writing styles so that readers come to experience the pageant text as an [entire] event itself, resembling but differing from the show
(Bergeron 167).
Bergeron divides authorial intrusions into four categories: how the dramatist conducts an imagined dialogue with his readers, how he engages in a dialogue with himself, what materials he adds to the event, and how the dramatist attempts to present the actual performance of the pageant what Paula Johnson has called the
(Bergeron 168). Each playwright develops a personal style of asserting his authorial presence within the pamphlet book. The manner in which he contributes additional material appears in many forms: dedications, prefaces, explanations, lists, historical accounts, addresses to readers, marginal notes, judgements, personal information, glosses, interpretations, acknowledgements, self-criticisms, and self-justifications. Johnson asserts that the rhetoric of presence
, or the playwright’s insertion of his presence as both former spectator and present narrator, keeps the reader in touch with the ephemeral actuality
(Johnson 166-167) of the pageant. Bergeron contends that the inclusions of this seemingly extraneous material
distances the pageant books from previous criticisms and aligns these publications with other books, thus increasing the pamphlet books’ status in the market place (Bergeron 182).