Abstract The female lacemaker who sings at her work is a European literary trope from Shakespeare to Nerval. However, there is considerable evidence from many countries that pillow lacemakers did sing while working, and that their repertoire of songs was in part learnt in the lace schools that many of them attended from about the age of six. Such schools were often under some kind of religious authority. In the English Midlands, the Erzgebirge region of Saxony, and Flanders, trainee lacemakers learnt “tells” that provided a rhythm to the production process; many of these tells were noted down in the 19th century. This article examines the corpus of Flemish tells to explore lacemakers’ own responses to the strict environment of the lace school. Singing together helped establish a corporate identity that lacemakers were proud to proclaim, and reinforced bonds of mutual sympathy between workers. But tells in particular were meant to foster competition. Tells could be used to voice resistance to, or at least the fantasy of escape from, the lace mistress as well as the parents who forced their children into this occupation. But lace mistresses also used tells to teach moral and religious lessons, and to break young girls to the discipline of the school and the relentless expectations of production.

中文翻译：

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在 19 世纪佛兰芒枕头花边行业工作、唱歌和讲述

摘要 在作品中唱歌的女花边工匠是从莎士比亚到内瓦尔的欧洲文学比喻。然而，来自许多国家的大量证据表明，枕头花边制造商确实在工作时唱歌，而且他们的曲目部分是在花边学校学习的，他们中的许多人大约从 6 岁开始就读。这样的学校往往处于某种宗教权威之下。在英格兰中部、萨克森州的厄尔士山脉和佛兰德斯，花边实习生学习了“告诉”，这为生产过程提供了节奏；其中许多故事在 19 世纪被记录下来。本文考察了佛兰芒语的语料库，以探索花边制造商自己对花边学校严格环境的反应。一起唱歌有助于建立一个花边制造商引以为豪的企业形象，并加强了工人之间相互同情的纽带。但马戏团尤其是为了促进竞争。Tells 可以用来表达对蕾丝情妇以及强迫孩子从事这一职业的父母的抵制，或者至少是逃避的幻想。但蕾丝情妇也用告白来教授道德和宗教课程，让年轻女孩遵守学校的纪律和对生产的无情期望。