Sarah Kay | New York University (original) (raw)
Papers by Sarah Kay
La diffusion ou la divulgation de ce document et de son contenu via Internet ou tout autre moyen ... more La diffusion ou la divulgation de ce document et de son contenu via Internet ou tout autre moyen de communication ne sont pas autorisées hormis dans un cadre privé.
Communautés textuelles La poésie et la construction sociale du savoir Type de publication: Chapit... more Communautés textuelles La poésie et la construction sociale du savoir Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Pages: 213 à 253 Collection: Recherches littéraires médiévales, n° 16 Série: Le lyrisme de la fin du Moyen Âge, n° 3
Provocation and Negotiation, 2013
Royal Academy, and was awarded a CBE in 2013 for her services to art history. She has been respon... more Royal Academy, and was awarded a CBE in 2013 for her services to art history. She has been responsible for some of the most important exhibitions in London and overseas over the past 30 years, including Dada and Surrealism Reviewed (1978), Art in Latin America (1989), the Salvador Dalí centenary at the Palazzo Grassi in Venice (2004), The Colour of my Dreams: The Surrealist Revolution in Art at the Vancouver Art Gallery (2011) and Dalí/Duchamp at the Royal Academy (2017). She was Associate Curator for Manifesta 9 (2012). Her publications include standard works on photomontage, Dada, Surrealism, women artists and Mexican muralists. Sarah Kay teaches French, comparative literature and medieval studies at New York University. A former Fellow of the British Academy, she has written widely on medieval texts across genres and languages, particularly on poetry and its connections with philosophy and literary theory. Her most recent books are Animal Skins and the Reading Self in Medieval Latin and French Bestiaries, and Philology's Vomit: An Essay on the Immortality and Corporeality of Texts (both 2017); her current work is on medieval song from Aristotle to opera.
Paragraph, 2018
This paper proposes an alternative view to the influential one of air or breath as inspiration th... more This paper proposes an alternative view to the influential one of air or breath as inspiration that produces an imagined inner vision of the desired object. Instead, it outlines a poetics where air and inspiration connect with voice, language and music, thereby privileging sound over sight. A genealogy for this account is traced through Aristotle and various treatises connected to him, and an example of its operation is discussed in a song by the troubadour Bernart Marti. Voice is theorized as a kind of sound, including non-human sound, made by striking air, which expresses the soul's passions and marks both the boundary and the connection between air and soul. Poetry and song form soundscapes whose implications exceed the acoustic.
Reinardus, 2016
In two of his songs (421.1 and 421.2) the troubadour Rigaut de Berbezilh aspires to sing in respo... more In two of his songs (421.1 and 421.2) the troubadour Rigaut de Berbezilh aspires to sing in response to a voice that is bestial yet somehow metaphysical. Scholars have attributed these animal images to the influence of the Physiologus, but Rigaut’s likeliest source in that tradition has not yet been identified. This article proposes to fill that lacuna by contending that the bestiary redaction closest to Rigaut’s imagery is the Physiologus Theobaldi, a verse text that unlike other bestiaries was used to teach Latin poetry and even song. In both the Physiologus Theobaldi and (though in a different way) Rigaut’s songs, animals’ breath and voice are identified with life and spirit, an identification that places these works within the wider medieval context of natural philosophical interest in pneuma. Whereas Theobaldus allegorizes his beasts in the third person, Rigaut’s first-person lyrics assume their voice, breath, life or spirit as potentially his own. He thereby opens his songs to...
New Medieval Literatures, 2007
Troubadour Quotations and the Development of European Poetry, 2014
Subjectivity in Troubadour Poetry
The Cambridge Companion to Medieval French Literature
Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Type de publication : Ouvrag... more Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Type de publication : Ouvrage Auteurs : Armstrong (Adrian), Kay (Sarah) Résumé : À travers l'étude de textes composés de 1270 à 1530, les auteurs démontrent que la poésie est un moyen privilégié pour transmettre le savoir et discuter de notions-clés (subjectivité, corporalité, temps). Le vers survit ainsi non seulement face à l'expansion de la prose, mais acquiert une vérité supplémentaire. Nombre de pages : 327
Table des illustrations Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poés... more Table des illustrations Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Pages: 323 à 323 Collection: Recherches littéraires médiévales, n° 16 Série: Le lyrisme de la fin du Moyen Âge, n° 3
The Modern Language Review, 1982
La diffusion ou la divulgation de ce document et de son contenu via Internet ou tout autre moyen ... more La diffusion ou la divulgation de ce document et de son contenu via Internet ou tout autre moyen de communication ne sont pas autorisées hormis dans un cadre privé.
Communautés textuelles La poésie et la construction sociale du savoir Type de publication: Chapit... more Communautés textuelles La poésie et la construction sociale du savoir Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Pages: 213 à 253 Collection: Recherches littéraires médiévales, n° 16 Série: Le lyrisme de la fin du Moyen Âge, n° 3
Provocation and Negotiation, 2013
Royal Academy, and was awarded a CBE in 2013 for her services to art history. She has been respon... more Royal Academy, and was awarded a CBE in 2013 for her services to art history. She has been responsible for some of the most important exhibitions in London and overseas over the past 30 years, including Dada and Surrealism Reviewed (1978), Art in Latin America (1989), the Salvador Dalí centenary at the Palazzo Grassi in Venice (2004), The Colour of my Dreams: The Surrealist Revolution in Art at the Vancouver Art Gallery (2011) and Dalí/Duchamp at the Royal Academy (2017). She was Associate Curator for Manifesta 9 (2012). Her publications include standard works on photomontage, Dada, Surrealism, women artists and Mexican muralists. Sarah Kay teaches French, comparative literature and medieval studies at New York University. A former Fellow of the British Academy, she has written widely on medieval texts across genres and languages, particularly on poetry and its connections with philosophy and literary theory. Her most recent books are Animal Skins and the Reading Self in Medieval Latin and French Bestiaries, and Philology's Vomit: An Essay on the Immortality and Corporeality of Texts (both 2017); her current work is on medieval song from Aristotle to opera.
Paragraph, 2018
This paper proposes an alternative view to the influential one of air or breath as inspiration th... more This paper proposes an alternative view to the influential one of air or breath as inspiration that produces an imagined inner vision of the desired object. Instead, it outlines a poetics where air and inspiration connect with voice, language and music, thereby privileging sound over sight. A genealogy for this account is traced through Aristotle and various treatises connected to him, and an example of its operation is discussed in a song by the troubadour Bernart Marti. Voice is theorized as a kind of sound, including non-human sound, made by striking air, which expresses the soul's passions and marks both the boundary and the connection between air and soul. Poetry and song form soundscapes whose implications exceed the acoustic.
Reinardus, 2016
In two of his songs (421.1 and 421.2) the troubadour Rigaut de Berbezilh aspires to sing in respo... more In two of his songs (421.1 and 421.2) the troubadour Rigaut de Berbezilh aspires to sing in response to a voice that is bestial yet somehow metaphysical. Scholars have attributed these animal images to the influence of the Physiologus, but Rigaut’s likeliest source in that tradition has not yet been identified. This article proposes to fill that lacuna by contending that the bestiary redaction closest to Rigaut’s imagery is the Physiologus Theobaldi, a verse text that unlike other bestiaries was used to teach Latin poetry and even song. In both the Physiologus Theobaldi and (though in a different way) Rigaut’s songs, animals’ breath and voice are identified with life and spirit, an identification that places these works within the wider medieval context of natural philosophical interest in pneuma. Whereas Theobaldus allegorizes his beasts in the third person, Rigaut’s first-person lyrics assume their voice, breath, life or spirit as potentially his own. He thereby opens his songs to...
New Medieval Literatures, 2007
Troubadour Quotations and the Development of European Poetry, 2014
Subjectivity in Troubadour Poetry
The Cambridge Companion to Medieval French Literature
Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Type de publication : Ouvrag... more Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Type de publication : Ouvrage Auteurs : Armstrong (Adrian), Kay (Sarah) Résumé : À travers l'étude de textes composés de 1270 à 1530, les auteurs démontrent que la poésie est un moyen privilégié pour transmettre le savoir et discuter de notions-clés (subjectivité, corporalité, temps). Le vers survit ainsi non seulement face à l'expansion de la prose, mais acquiert une vérité supplémentaire. Nombre de pages : 327
Table des illustrations Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poés... more Table des illustrations Type de publication: Chapitre d'ouvrage Ouvrage: Une Muse savante ?. Poésie et savoir, du Roman de la Rose jusqu'aux grands rhétoriqueurs Pages: 323 à 323 Collection: Recherches littéraires médiévales, n° 16 Série: Le lyrisme de la fin du Moyen Âge, n° 3
The Modern Language Review, 1982