There are few studies on medieval dance, let alone studies that illuminate premodern dance with critical theory. Seeta Chaganti’s Strange Footing: Poetic Form and Dance in the Late Middle Ages fills this void. Chaganti focuses on a specific medieval dance form, the carole, which was a m elange of dance, poetry, and music (vocal and instrumental). While previous scholars have isolated the poetic component for rigorous philological scrutiny, Chaganti integrates movement and poetic form in her analysis. As she states in her introduction, “These media occur in situations that more dynamically integrate them” (p. 2). Put differently, a study of dance is necessary to understand how medieval poetry was crafted and experienced. Chaganti’s methodology goes further than comparing the diverse components of the carole: Strange Footing construes poetic form not as analogous to dance, “but rather as constituted within the perceptual habits produced by dance. . . . The form of a poem is not a textual attribute. Rather, it is an experience reliant upon a consciousness of medial multiplicity, an experience generated when an audience familiar with the spectatorship of, and participation in, dance encounters poetic text” (p. 3). Moreover, this book highlights how medieval dance and poetry produced harmony, but also “arrhythmia, disorientation, and strangeness” (p. 3). In other words, because medieval subjects had a keen familiarity with dancing, they experienced poetry differently from modern audiences. Chaganti demonstrates how dance conditioned the medieval mentalit e. In chapter 1, Chaganti introduces several methodological avenues. Among them is the notion of ductus (from the Latin term ducere, to lead), which opens up a space for thinking about poetic engagement: the reader/ viewer’s experience of a work of art is one of being led. As Chaganti continues, she asserts that the ductile experience of medieval dance produces a kind of virtuality. “Virtuality,” Chaganti explains, “describes a complex interaction of material and immaterial components . . . integrated with the real world by occupying another plane, [producing] strangeness for

中文翻译：

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前现代舞蹈的虚拟性

关于中世纪舞蹈的研究很少，更不用说用批判理论阐明前现代舞蹈的研究了。Seeta Chaganti 的奇怪立足点：中世纪晚期的诗意形式和舞蹈填补了这一空白。Chaganti 专注于一种特定的中世纪舞蹈形式，卡罗尔，它是舞蹈、诗歌和音乐（声乐和器乐）的结合。虽然以前的学者为了严格的语言学审查而孤立了诗的成分，但查甘蒂在她的分析中整合了运动和诗的形式。正如她在介绍中所说，“这些媒体发生在更动态地整合它们的情况下”（第 2 页）。换句话说，为了理解中世纪诗歌是如何被制作和体验的，舞蹈研究是必要的。Chaganti 的方法不仅仅是比较卡罗尔的不同组成部分：奇怪的立足点并不把诗的形式解释为类似于舞蹈，“而是在舞蹈产生的知觉习惯中构成的。. . . 诗歌的形式不是文本属性。相反，它是一种依赖于媒介多样性意识的体验，一种当熟悉舞蹈的观看和参与的观众遇到诗意文本时产生的体验”（第 3 页）。此外，这本书强调了中世纪的舞蹈和诗歌如何产生和谐，但也强调了“心律失常、迷失方向和陌生感”（第 3 页）。换句话说，由于中世纪的主体对舞蹈非常熟悉，他们对诗歌的体验与现代观众不同。Chaganti 展示了舞蹈如何调节中世纪的心态 e。在第 1 章中，Chaganti 介绍了几种方法论途径。其中包括 ductus 的概念（来自拉丁语 ducere，引导），它为思考诗意的参与开辟了空间：读者/观众对一件艺术品的体验是一种被引导。随着查甘蒂的继续，她断言中世纪舞蹈的柔韧体验产生了一种虚拟性。“虚拟性，”Chaganti 解释说，“描述了物质和非物质成分之间复杂的相互作用。. . 通过占据另一个位面与现实世界融合，[产生]陌生感 “描述了物质和非物质成分的复杂相互作用。. . 通过占据另一个位面与现实世界融合，[产生]陌生感 “描述了物质和非物质成分的复杂相互作用。. . 通过占据另一个位面与现实世界融合，[产生]陌生感