Performing Medieval Narrative Today

A Video Showcase


Useful studies bearing on performance of medieval narrative

Note: For more extensive bibliographies on related issues of orality and literacy, see the work of Joyce Coleman and Evelyn Birge Vitz.

Ahern, John. 2005. “Dioneo’s Repertory: Performance and Writing in Boccaccio’s Decameron.” Vitz, Regalado, and Lawrence. 41-58.

—. 1981. “Singing the Book: Orality in the Reception of Dante’s Comedy.” Annals of Scholarship 2: 17-40. Rpt. 1997 in Dante: Contemporary Perspectives. Ed. Amilcare A. Iannucci. Toronto: University of Toronto Press. 214-39.

Allen, Rosamund. 2000. “Performance and Structure in the Alliterative Morte Arthure.” New Perspectives on Middle English Texts: A Festschrift for R. A. Waldron. Eds. Susan Powell and Jeremy J. Smith. Woodbridge, Suffolk: Brewer. 133-47.

Azéma, Anne. 2005. “‘Une aventure vous dirai’: Performing Medieval Narrative.” Vitz, Regalado, and Lawrence. 209-22.

Bagby, Benjamin. 2005. “Beowulf, the Edda, and the Performance of Medieval Epic: Notes from the Workshop of a Reconstructed ‘Singer of Tales.’” Vitz, Regalado, and Lawrence. 181-93.

Baugh, Albert C. 1967. “The Middle English Romance: Some Questions of Creation, Presentation, and Preservation.” Speculum 42: 1-31.

—. 1959. “Improvisation in the Middle English Romance.” Proceedings of the American Philosophical Society 103: 418-54.

Bauman, Richard. 1986. Story, Performance, and Event: Contextual Studies of Oral Narrative. Cambridge: Cambridge University Press.

—. 1977. Verbal Art as Performance. Prospect Heights, Illinois: Waveland.

Bauman, Richard and Charles L. Briggs. 1991. “Poetics and Performance as Critical Perspectives on Language and Social Life.” Annual Review of Anthropology 19: 59-88.

Bäuml, Franz H. 1984. “Medieval Texts and the Two Theories of Oral-formulaic Composition: A Proposal for a Third Theory.” New Literary History 16: 31-49.

Beer, Marina, et al, eds. 1996. La novella, la voce, il libro: dal “cantare” trecentesco alla penna narratrice barocca. Naples: Liguori.

Boulton, Maureen Barry McCann. 1993. The Song in the Story: Lyric Insertions in French Narrative Fiction, 1200-1400. Philadelphia: University of Pennsylvania Press.

Bowden, Betsy. 1987. Chaucer Aloud: The Varieties of Textual Interpretation. Philadelphia: University of Pennsylvania Press.

Bradbury, Nancy Mason. 1998. Writing Aloud: Storytelling in Late Medieval England. Urbana: University of Illinois Press.

Bronson, Bertrand H. 1940. “Chaucer’s Art in Relation to His Audience.” Five Studies in Literature. Berkeley: University of California Publications in English. 1-53.

Bruford, Alan. 1981. “Memory, Performance, and Structure in Traditional Tale.” ARV: Scandinavian Yearbook of Folklore 37: 103-9.

Busby, Keith. 2005. “Mise en texte as Indicator of Oral Performance in Old French Verse Narrative.” Vitz, Regalado, and Lawrence. 61-71.

—. 2002. Codex and Context: Reading Old French Verse Narrative in Manuscript. 2 vols. Amsterdam: Rodopi.

Camille, Michael. 1985. “Seeing and Reading: Some Visual Implications of Medieval Literacy and Illiteracy.” Art History 8: 26-49.

Carlson, Marvin. 1996. Performance: A Critical Introduction. 2nd ed. New York: Routledge.

Clanchy, Michael T. 1993. From Memory to Written Record: England, 1066-1307. 2nd ed. Oxford: Blackwell.

Coleman, Joyce. 2011. “Teaching Gower Aloud.” Eds. R.F. Yeager and Brian W. Gastle. Approaches to Teaching the Poetry of John Gower. New York: MLA Publications. 67-76.

—. 2010.  “Reading the Evidence, in Text and Image: How History Was Read in Late Medieval France.” Eds. Anne Hedeman and Elizabeth Morrison. Imagining the Past in France 1250-1500. Los Angeles: J. Paul Getty Museum. 53-67.

—.  2007. “Aurality.” 21st-Century Approaches to Literature: Middle English. Ed. Paul Strohm. Oxford: Oxford University Press. 68-85.

—. 2007. “The Making and Breaking of Language in Sir Thomas Malory’s Morte Darthur.“ Medieval English Mirror 3: 93-110.

—. 2005. “The Complaint of the Makers: Wynnere and Wastoure and the ‘Misperformance Topos’ in Medieval England.” Vitz, Regalado, and Lawrence. 27-39.

—. 2003. “Reading Malory in the Fifteenth Century: Aural Reception and Performance Dynamics.” Arthuriana 13: 48-70.

—. 2003. “Strange Rhyme: Prosody and Nationhood in Robert Mannyng’s Story of England.” Speculum 78: 1214-38.

—. 2002. “Handling Pilgrims: The Gilbertine Cult and Robert Mannyng.” Philological Quarterly 81: 311-26.

—. 2002. “Lay Readers and Hard Latin: How Gower May Have Intended the Confessio Amantis to Be Read.” Studies in the Age of Chaucer 24: 209-35.

—. 2000. “The Text Recontextualized in Performance: Deschamps’ Prelection of Machaut’s Voir Dit to the Count of Flanders.” Viator 31: 233-48.

—. 1997. “On Beyond Ong: Taking the Paradox out of ‘Oral Literacy’ (and ‘Literate Orality’).” Script Oralia 97: Medieval Insular Literature Between the Oral and the Written II: Continuity of Transmission. Ed. Hildegard L.C. Tristram. Tübingen: Gunter Narr. 155-76.

—. 1996. Public Reading and the Reading Public in Late Medieval England and France. Cambridge: Cambridge University Press.

—. 1995. “Interactive Parchment: The Theory and Practice of Medieval English Aurality.” Yearbook of English Studies 25: 63-79.

—. 1994. “Talking of Chronicles: The Public Reading of History in Late Medieval England and France.”Cahiers de Littérature Orale 36: 91-111.

—. 1990. “The Solace of Hearing: Medieval Views on the Reading Aloud of Literature.” ARV: Scandinavian Yearbook of Folklore 46: 123-34.

—. 1990. “The Audible Caxton: Reading and Hearing in the Writings of England’s First Publisher.” Fifteenth-Century Studies 16: 83-109.

Crosby, Ruth. 1938. “Chaucer and the Custom of Oral Delivery.” Speculum 13: 413-32.

—. 1936. “Oral Delivery in the Middle Ages.” Speculum 11: 88-110.

Davies, Sioned.  2005. “‘He was the best teller of tales in the world’: Performing Medieval Welsh Narrative.” Vitz, Regalado, and Lawrence. 15-26.

—. 1998. “Written Text as Performance: The Implications for Middle Welsh Prose Narratives.” Literacy in Medieval Celtic Societies. Ed. Huw Pryce. Cambridge: Cambridge University Press. 133-148.

Delcorno, Carlo. 1993. “Professionisti della parola: predicatori, giullari, concionatori.” Tra storia e simbolo: studi dedicati a Ezio Raimondi dai direttori, redattori e dall’editore di Lettere italiane. Florence: Olschki. 1-21.

Dobozy, Maria. 2005. Re-Membering the Present: The Medieval German Poet-Minstrel in Cultural Context. Turnhout: Brepols.

—. 1986. “Minstrel Books: The Legacy of Thomas Wright in German Research.” Neuphilologische Mitteilungen 87: 523-36.

Doss-Quinby, Eglal, E. Jane Burns, and Roberta Krueger, eds. 2007. Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado. Cambridge: D.S. Brewer.

Dubuis, Roger. 1989. “Jeu narratif et jeu dramatique dans la littérature française du moyen âge.” Michigan Romance Studies: Contemporary Readings of Medieval Literature 8: 203-26.

Duggan, Hoyt N. 1976. “The Role of Formulas in the Dissemination of a Middle English Alliterative Romance.” Studies in Bibliography 29: 265-88.

Duggan, Joseph J. 1989. “Performance and Transmission, Aural and Ocular Reception in the Twelfth- and Thirteenth-Century Vernacular Literature of France.” Romance Philology 43: 49-58.

Duys, Kathryn A. 1994. “Captenh: jongleurs et hiérarchie professionnelle.” Cahiers de littérature orale 36: 65-90.

Faral, Edmond. 1987. Les jongleurs en France au moyen âge. 1964. Geneva: Slatkine Reprints.

Fichte, Jörg O. 1988. “Hearing and Reading the Canterbury Tales.” Mündlichkeit und Schriftlichkeit im englischen Mittelalter. Eds. Willi Erzgräber and Sabine Volk. Tübingen: Gunter Narr. 121-31.

Finnegan, Ruth. 1988. Literacy and Orality: Studies in the Technology of Communication. Oxford: Blackwell.

—. 1977. Oral Poetry: Its Nature, Significance, and Social Context. Cambridge: Cambridge University Press.

Fleischman, Suzanne. 1990. Tense and Narrativity: From Medieval Performance to Modern Fiction. London: Routledge.

Foley, John M. 1995. The Singer of Tales in Performance. Bloomington: Indiana University Press.

—. 1990. Traditional Oral Epic: The OdysseyBeowulf, and the Serbo-Croatian Return Song. Berkeley: University of California Press.

—. 1988. “Toward an Oral Aesthetics: A Response to Jesse Gellrich.” Philological Quarterly 67: 475-79.

Gasparri, Françoise, Geneviève Hasenohr, and Christine Ruby. 1993. “De l’écriture à la lecture: réflexion sur les manuscrits d’Erec et Enide.” Les manuscrits de Chrétien de Troyes. Eds. Keith Busby, Terry Nixon, Alison Stones, and Lori Walters. Vol. 1. Amsterdam: Rodopi. 97-148.

Giffin, Mary. 1956. Studies on Chaucer and His Audience. Hull, Quebec: Editions L’Eclair.

Gnaedinger, Louise. 1967. Musik und Minne im Tristan Gottfrieds von Straßburg. Düsseldorf: Schwann.

Green, Dennis Howard. 1994. Medieval Listening and Reading: The Primary Reception of German Literature, 800-1300. Cambridge: Cambridge University Press.

—. 1990. “Orality and Reading: The State of Research in Medieval Studies.” Speculum 65: 267-80.

—. 1984. “On the Primary Reception of Narrative Literature in Medieval Germany.” Forum for Modern Language Studies 20: 289-308.

Harris, Joseph. 2012. “Performance and Performers.” Reichl 2012.  141-202.

—. 2000. “The Performance of Old Norse Eddic Poetry: A Retrospective.” Reichl 2000. The Oral Epic. 225-232.

Hobar, Donald. 1967. “The Oral Tradition in Malory’s Morte Darthur“. Diss. University of Pittsburgh.

Huot, Sylvia. 1989. “Voices and Instruments in Medieval French Secular Music: On the Use of Literary Texts as Evidence for Performance Practice.” Musica disciplina 43: 63-113.

Hymes, Dell. 1974. “Models of the Interaction of Language and Social Life.” Directions in Sociolinguistics: The Ethnography of Communication. Eds. John. J. Gumperz and Dell Hymes. New York: Holt. 35-71.

Kurbanova, Dzhamilya. 2000. “The Singing Traditions of Turkmen Epic Poetry.” Reichl 2000. The Oral Epic.

Lacy, Norris J. 2002. “Subject to Object: Performance and Observation in the Fabliaux.” Symposium 56: 17-24.

—. 1993. Reading Fabliaux. New York: Garland.

Lawrence, Marilyn. 2007. “Yseut’s Legacy: Women Writers and Performers in the Medieval French Romance Ysaÿe le Triste.” Postlewate. 321-37.

—. 2007. “The Protean Performer: Defining Minstrel Identity in Tristan Narratives.” Doss-Quinby, Burns, and Krueger. 109-19.

—. 2005. “Oral Performance of Written Narrative in the Medieval French Romance Ysaÿe le Triste.” Vitz, Regalado, and Lawrence. 89-102.

—. 2004. “Postmodern Performance: A Pre-Modern Heritage?” Movement Research Performance Journal, 25th Anniversary Issue. New York: Movement Research. A22.

—. 2002. “Comic Functions of the Parrot as Minstrel in Le Chevalier du Papegau.” Arthurian Literature. Suffolk: D.S. Brewer. 135-51.

—. 2001. “Parole, pouvoir, plaisir, et déguisement du goupil dans Renart jongleur.” Reinardus 14: 173-88.

Levy, Brian J. 2005. “Performing Fabliaux.”  Vitz, Regalado, and Lawrence. 123-40.

—. 2002. “Du fabliau à la farce: encore la question performancielle?” Reinardus 15: 87-100.

Lindahl, Carl. 1995. “The Oral Undertones of Late Medieval Romance.” Oral Tradition in the Middle Ages. Ed. W. F. H. Nicolaisen. Binghamton, New York: Medieval and Renaissance Texts and Studies. 59-75.

Lord, Albert. 1973. The Singer of Tales. 1960. New York: Atheneum.

Loysen, Kathleen. 2004. Conversation and Storytelling in Fifteenth- and Sixteenth-Century French Nouvelles. New York: Peter Lang.

Macdonald, D. A. 1981. “Some Aspects of Visual and Verbal Memory in Gaelic Storytelling.” ARV: Scandinavian Yearbook of Folklore 37: 117-24.

Machan, Tim William. 1991. “Editing, Orality, and Late Middle English Texts.” Vox Intexta: Orality and Textuality in the Middle Ages. Eds. Alger N. Doane and Carol Braun Pasternack. Madison: University of Wisconsin Press. 229-45.

McGillivray, Murray. 1990. Memorization in the Transmission of the Middle English Romances. New York: Garland.

Morris, Desmond. 1994. Bodytalk: A Worldwide Guide to Gestures. London: Cape.

Noguchi, Shunichi. 2000. “Reading Malory’s Text Aloud.” The Malory Debate: Essays on the Texts of the Morte Darthur. Eds. Bonnie Wheeler, Robert L. Kindrick, and Michael N. Salda. Cambridge: D.S. Brewer. 301-14.

Noomen, Willem. 1992. “Auteur, narrateur, récitant des fabliaux: le témoignage des prologues et des épilogues.” Cahiers de civilisation médiévale 35: 313-50.

—. 1990. “Performance et mouvance: à propos de l’oralité des fabliaux.” Reinardus 3: 127-42.

Ong, Walter. 1991. Orality and Literacy: The Technologizing of the Word. London: Routledge.

Page, Christopher. 1989. The Owl and the Nightingale: Musical Life and Ideas in France, 1100-1300. London: Dent.

—. 1987. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France, 1100-1300. London: Dent.

Picone, Michelangelo. 1994. “La carriera di un giullare medievale: il caso di Ruggiero Apugliese.”Versants 25: 27-51.

Pinchart, Alexandre. 1855 and 1857. “Etudes sur l’histoire des arts au moyen âge: La cour de Jeanne et de Wenceslas, et les arts en Brabant pendant la seconde moitié du XIVe siècle.” Revue trimestrielle 6th volume, 2nd year, 2nd tome, 5-31 and 13th volume, 4th year, 1st tome, 25-67.

Pizarro, Joaquín Martínez. 1989. A Rhetoric of the Scene: Dramatic Narrative in the Early Middle Ages. Toronto: University of Toronto Press.

Postlewate, Laurie, ed. 2007. Performance and Ritual in the Middle Ages and Renaissance: Acts and Texts. Amsterdam: Rodopi.

Quinn, William A. 1994. Chaucer’s Rehersynges: The Performability of The Legend of Good Women. Washington, DC: Catholic University of America Press.

— and Audley S. Hall. 1982. Jongleur: A Modified Theory of Oral Improvisation and its Effects on the Performance and Transmission of Middle English Romance. Washington, DC: University Press of America.

Regalado, Nancy Freeman.  2011. “Writing Festive Performances in Early Fourteenth-Century Paris and Metz: Advice – Prestige – Identity – Memory [Festbeschreibungen in Paris und Metz im frühen 14. Jahrhundert: Unterweisung – Ansehen – Identität – Gedächtnis]. Theater und Fest in Europa. Perspektiven von Identität und Gemeinschaft (Theater and Festivity in Europe: Perspectives on Identity and Community). Eds. Erika Fischer-Lichte, Matthias Warstat, Anna Littmann. Theatralität 11. Tübingen/Basel. 161-80.

—. 2007. “A Contract for a Festival Book: Sarrasin’s Le Roman du Hem (1278).” Postlewate. 249-65.

—. 2006. “Picturing the Story of Chivalry in Jacques Bretel’s Tournoi de Chauvency (Oxford, Bodleian MS Douce 308).” Tributes to Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Eds. Susan L’Engle and Gerald B. Guest. London: Harvey Miller. 341-52.

—. 2005. “Performing Romance: Arthurian Interludes in Sarrasin’s Le roman du Hem (1278).” Vitz, Regalado, and Lawrence. 103-19.

—. 1995. “Staging the Roman de Renart: Medieval Theater and the Diffusion of Political Concerns into Popular Culture.” Mediævalia 18: 111-42.

Reichl, Karl, ed. 2012. Medieval Oral Literature. Berlin/Boston: Walter de Gruyter.

—, ed. and trans. 2007. Edige: A Karakalpak Oral Epic as Performed by Jumabay Bazarov. FF Communications 292. Helsinki: Academia Scientiarum Fennica.

—. 2005. “Turkic Bard and Medieval Entertainer: What a Living Epic Tradition Can Tell Us about Oral Performance of Narrative in the Middle Ages.” Vitz, Regalado, and Lawrence. 167-78.

—. 2004. “Comparative Notes on the Performance of Middle English Popular Romance.” Western Folklore 62: 63-81.

—, ed. 2000. The Oral Epic: Performance and Music. Berlin: VWB.

—. 2000. Singing the Past: Turkic and Medieval Heroic Poetry. Ithaca: Cornell University Press.

Rowland, Beryl. 1982. “Pronuntiatio and Its Effect on Chaucer’s Audience.” Studies in the Age of Chaucer 4: 33-51.

—. 1981. “Chaucer’s Speaking Voice and Its Effect on His Listeners’ Perception of Criseyde.” English Studies in Canada 7: 129-40.

Saenger, Paul. 1997. Space Between Words: The Origins of Silent Reading. Stanford: Stanford University Press.

—. 1982. “Silent Reading: Its Impact on Late Medieval Script and Society.” Viator 13: 367-414.

Schechner, Richard. 1988. Performance Theory, 2nd edition. New York: Routledge.

—. 1985. Between Theater and Anthropology. Philadelphia: University of Pennsylvania Press.

Scholz, M. J. 1980. Hören und LesenStudien zur primären Rezeption der Literatur im 12. und 13. Jahrhundert. Wiesbaden: Athenaion.

Southworth, John. 1989. The English Medieval Minstrel. Woodbridge, Suffolk: Boydell.

Stevens, John. 1986. Words and Music in the Middle Ages: Song, Narrative, Dance, and Drama, 1050-1350. Cambridge: Cambridge University Press.

Slyomovics, Susan. 1987. The Merchant of Art: An Egyptian Hilali Oral Epic Poet in Performance. Berkeley: University of California Press.

Symes, Carol Lynne. 2007. A Common Stage: Theater and Public Life in Medieval Arras. Ithaca: Cornell University Press.

Tannen, Deborah. 1982. “Oral and Literate Strategies in Spoken and Written Narratives.” Language 58: 1-21.

Taylor, Andrew. 2001. “Was There a Song of Roland?” Speculum 76: 28-65.

—. 1992. “Fragmentation, Corruption, and Minstrel Narration: The Question of the Middle English Romances.” The Yearbook of English Studies 22: 38-62.

—. 1991. “The Myth of the Minstrel Manuscript.” Speculum 66: 43-73.

Thorndike, Lynn. 1926. “Public Readings of New Works in Mediaeval Universities.” Speculum 1: 101-3.

Thorpe, Lewis. 1978. “Gerald of Wales: A Public Reading in Oxford in 1188 or 1189.”  Neophilologus 62: 455-58.

Tudor, Adrian P. 2005. “Preaching, Storytelling, and the Performance of Short Pious Narratives.” Vitz, Regalado, and Lawrence. 141-53.

Van den Boogaard, Nico H. J. 1985. “Les jongleurs et leur public.” Autour de 1300. Etudes de philologie et de littérature médiévales. Eds. Sorin Alexandrescu, Fernand Drijkoningen, and Willem Noomen. Amsterdam: Rodopi. 59-70.

Varty, Kenneth. 2005. “Reading, Reciting, and Performing the Renart.” Vitz, Regalado, and Lawrence. 155-66.

Vitz, Evelyn Birge.  “’The Seven Sleepers of Ephesus’: Can We Reawaken Performance of this Hagiographical Folktale?” Medieval and Early Modern Performance in the Eastern Mediterranean. Eds. Arzu Ozturkmen and Evelyn Birge Vitz. Turnhout, Belgium: Brepols. In press.

—. “Theatricality and Its Limits: Dialogue and the Art of the Storyteller in the Romances of Chrétien de Troyes.” Le Dialogue au Moyen Age. Ed. Corinne Denoyelle. Orléans: Paradigme. In press.

—. “Le Roman de la Rose, Performed in Court.” [Surprise] Festschrift. In press.

—. 2012. “Vernacular Verse Paraphrases of the Bible.” The New Cambridge History of the Bible: The Middle Ages. Eds. Richard Marsden and Ann Matter. Cambridge: Cambridge University Press. 835-59.

—. 2009. “Performing Saintly Lives and Emotions in Medieval French Narrative.” The Church and Vernacular Literature in Medieval France. Ed. Dorothea Kullman.  Toronto: University of Toronto Press. 201-13.

—. 2006 [2009]. “La Performabilité de la voix et du déguisement dans le récit et au théâtre: Wistasse le moine.” Pris-Ma (University of Poitiers), XXII n° 43-44; Janvier-Décembre [parution retardée 2009]. 3-17.

—.  2008. “Tales with Guts: A ‘Rasic’ Esthetic in French Medieval Storytelling.” TDR [The Drama Review] 52:4, Winter. 145-73.

—. 2007. “Performing Aucassin et Nicolette.” Doss-Quinby, Burns and Krueger. 239-49.

—. 2007.  “Experimenting with the Performance of Medieval Narrative,” with Linda Marie Zaerr.  Postlewate. 303-15.

—. 2005. “Erotic Reading in the Middle Ages: Performance and Re-performance of Romance.” Vitz, Regalado, and Lawrence.  73-88.

—. 2005. “Performance in, and of, Flamenca.” “De sens rassis”: Essays in Honor of Rupert T. Pickens. Eds. Keith Busby, Bernard Guidot, and Logan E. Whalen. Amsterdam: Rodopi. 683-98.

—. 2005. “Réplique” to a review of Orality and Performance in Early French Romance. Revue critique 6: 153-8.

—. 2005. ”Teaching Arthurian Literature through Performance.” Arthuriana 15: 31-6.

—. 2004. “La lecture érotique au moyen âge et la performance du roman.” Poétique 137: 35-51.

—. 2002. “Minstrel Meets Clerk in Early French Literature: Medieval Romance as the Meeting-Place between Two Traditions of Verbal Eloquence and Performance Practice.” Cultures in Contact. Ed. Richard Gyug. New York: Fordham Unive5rsity Press. 169-88.

—. 1999. Orality and Performance in Early French Romance. Cambridge: D. S. Brewer.

—. 1998. “Old French Literature.” Teaching Oral Traditions. Ed. John Miles Foley. New York: Modern Language Association. 373-81.

—. 1991. “From the Oral to the Written in Medieval and Renaissance Saints’ Lives.” Images of Sainthood in Medieval Europe. Eds. Renate Blumenfeld-Kosinski and Timea Szell. Ithaca: Cornell University Press. 97-114.

—. 1987. “Vie, légende, littérature. Traditions orales et écrites dans les histoires des saints.” Poétique18: 387-402.

Vitz, Evelyn Birge, and Marilyn Lawrence. Forthcoming. “Medieval Storytelling and Analogous Oral Traditions Today: Two Digital Databases.” Oral TraditionCenter for Studies in Oral Tradition.

Vitz, Evelyn Birge, and Marilyn Lawrence. 2012. “Bringing Medieval Stories to Life Digitally: Two Performance Websites.” The Digital World of Art History. Ed. Colum Hourihane. Princeton: Princeton University, The Index of Christian Art, 2012.

Vitz, Evelyn Birge, and Marilyn Lawrence. 2012. “Bringing the Middle Ages to Life in the Classroom: Teaching through Performance.” The Once and Future Classroom 10.2.

Vitz, Evelyn Birge, and Marilyn Lawrence, eds. 2012. The Once and Future Classroom: Resources for Teaching the Middle Ages in Grades K-12.  Special issue on both Performing Medieval Narrative Today: A Video Showcase and Arthurian Legend in Performance websites, published by The Consortium for the Teaching of the Middle Ages. 10.2.

Vitz, Evelyn Birge, Nancy Freeman Regalado, and Marilyn Lawrence, eds. 2005. Performing Medieval Narrative. Cambridge: D.S. Brewer.

Zaerr, Linda Marie. 2012. Performance and the Middle English Romance. Cambridge: D.S. Brewer.

—. 2009. “When Silence Plays Vielle: The Metaperformance Scenes of the Roman de Silence in Performance.” Mosaic: 47.1. 99-116.

—. 2008. “A Stylistic Analysis of Le Roman de Silence,” with Mary Ellen Ryder. Arthuriana 18.1. 22-40.

—. 2008. “Songs of Love and Love of Songs: Music and Magic in Medieval Romance.” Words of Love and Love of Words in the Middle Ages and the Renaissance. Ed. Albrecht Classen. Tempe: Arizona Center for Medieval and Renaissance Studies. 291-317.

—. 2007. “Experimenting with the Performance of Medieval Narrative,” with Evelyn Birge Vitz. Postlewate. 303-15.

—. 2005. “The Weddynge of Sir Gawen and Dame Ragnell: Performance and Intertextuality in Middle English Popular Romance.”  Vitz, Regalado, and Lawrence. 193-208.

—. 2004. “Music and Magic in Le Bel Inconnu and Lybeaus Desconus.” Medieval Forum 4.  December.

—. 2003. “Medieval and Modern Deletions of Repugnant Passages in Medieval Texts.” Improvisation in the Arts. Ed. Timothy McGee. Kalamazoo: Medieval Institute Publications. 222-46.

—. 2000. “Meter Change as a Relic of Performance in the Middle English Romance Sir Beves.”  Quidditas 21. 105-26.

Zumthor, Paul. 1994. “Body and Performance.” Materialities of Communication. Eds. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer. Trans. William Whobrey. Stanford: Stanford University Press. 217-26.

—. 1988. “The Vocalization of the Text: The Medieval ‘Poetic Effect.’” Viator 19: 273-82.

—. 1985. “Les traditions poétiques.” Jeux de mémoire: aspects de la mnémotechnie médiévale. Eds. Bruno Roy and Paul Zumthor. Montreal: Presses de l’Université de Montréal. 11-21.

—. 1984. La poésie et la voix dans la civilisation médiévale. Paris: Presses Universitaires de France.

—. 1983. Introduction à la poésie orale. Paris: Seuil.

—. 1981. “Intertextualité et mouvance.” Littérature 41: 8-16.