Thus, the extraterritorial and extemporal
now-time becomes the refuge for these frustrated subjects, which pulls them out of their traumatic constellations.
to ascertain certain "correct" ways of performing things, and to appreciate/apprehend a singer's poetically florid word-use or a didjeriduists virtuosic rhythms', Steven Knopoff (2004:183-4) speaks of recordings having the potential, depending on the intentions of the original performers, to 'distort performance practice--by reinforcing notions of "fixed" authoritative versions of songs over the traditionally oral, extemporal
, and fluid approaches to performance'.
A writer and performer of ballad medleys, (1) Tarleton was celebrated for his extemporal
clowning in an era when audiences expected and playwrights explicitly invited clowns to improvise comical riffs.
Indeed, it may have formed merely the reprise of an earlier, impromptu scuffle between them in the street, exactly where the battles of fishwives occurred: reminding Fennor of his lowly origins, Taylor says "Thou hast forgot thou Rym'st to me of late / For sixteen Oysters once at Billingsgate," adding that "I gaue thee my old breeches, / Because thou sung'st & spok'st extrum'pry speeches." (18) Yet even confinement to rhyme may have been variable, and contingent on the idiosyncratic designs of the parties; Meres' praise of Wilson's "extemporal
wit" does not specify verse as its vehicle.
Hall discussed two distinct kinds of Protestant meditation, "deliberate" meditations on doctrines or biblical texts and "extemporal
" (or occasional) meditations.
In its place, Cheney argues that "extemporal
intertextuality" typifies "Shakespeare's impromptu evocation of either a past or contemporary text," thus granting "agency to both the author and the cultural field within which the author works; it also draws attention to performance and theatricality" (17).
as Utopia," wherein they stress the strange 6e3epemenbe (extemporal
As Marie-Louise Coolahan has described, Joseph Hall in his The Arte of Divine Meditation (1606) was one of the first to explain the difference between set or deliberate meditation (what Halkett calls select meditation) and occasional or extemporal
The prose that follows further fills in Ike's extemporal
fantasy with "tall unaxed trees and sightless brakes where the wild strong immortal game ran forever before the tireless belling immortal hounds, falling and rising phoenix-like to the soundless guns" ("Delta Autumn," GDM 337-38), an immortal landscape that Richard Godden identifies as a "Keatsian frieze" (4).
In desperation they launch into 'extemporal
' patter and rude songs.