In 2004 Bart Ramakers made a case for the performative analysis of literary, non- dramatic texts from the Middle Ages.Through a reading of the first allegory in the Gruuthuse manuscript from the perspective of theatrical performance, he analyzed the primary affects and reactions the spectacle in the narrative might have provoked amongst the audience. Above all, he shows how the allegorical meaning of this text depends on performative aspects. In this article I reaffirm Ramaker’s claims by explo- ring another aspect of the performance of the same Gruuthuse text: the use of voice. By studying the dramatic effects of the use of voice and the way these effects function on the level of the allegorical meaning, I further show how this text functioned wit- hin the cultural-historical context in which it originated.
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