"It's a nice piece of pageantry. . . . Rationally it's lunatic, but in practice, everyone enjoys it, I think."-HRH Prince Philip, Duke of Edinburgh Founded by Edward III in 1348, the Most Noble Order of the Garter is the highest chivalric honor among the gifts of the Queen of England and an institution that looks proudly back to its medieval origins. But what does the annual Garter procession of modern princes and politicians decked out in velvets and silks have to do with fourteenth-century institutions? And did the Order, in any event, actually originate in the wardrobe malfunction of the traditional story, when Edward held up his mistress's dropped garter for all to see and declared it to be a mark of honor rather than shame? Or is this tale of the Order's beginning nothing more than a vulgar myth? With steady erudition and not infrequent irreverence, Stephanie Trigg ranges from medieval romance to Victorian caricature, from imperial politics to medievalism in contemporary culture, to write a strikingly original cultural history of the Order of the Garter. She explores the Order's attempts to reform and modernize itself, even as it holds onto an ambivalent relationship to its medieval past. She revisits those moments in British history when the Garter has taken on new or increased importance and explores a long tradition of amusement and embarrassment over its formal processions and elaborate costumes. Revisiting the myth of the dropped garter itself, she asks what it can tell us about our desire to seek the hidden sexual history behind so venerable an institution. Grounded in archival detail and combining historical method with reception and cultural studies, Shame and Honor untangles 650 years of fact, fiction, ritual, and reinvention.

This collection is designed too open up a new field of academic and general interest: Australian medievalism. That is, the heritage and continuing influence of medieval and gothic themes, ideas and narratives in Australian culture. Geographically removed from Europe, and distinguished by its eighteenth-century colonial settlement, Australia is a fascinating testing-ground on which to explore the cultural residues of medieval heritage and tradition. These traditions take distinctive form, once they have been 'transported' to a different topographical setting, and a cultural context whose relationship with Europe has always been dynamic and troubled. Early colonists attempted to make the unfamiliar landscape of Australia familiar by inscribing it with European traditions: in contrast, modern gothic and medievalist re-enactment groups celebrate their own modernity and their separation from tradition by consciously embracing the medieval and the gothic as an opportunity for postmodernist pastiche or simulation. The contributors represent a range of scholarly disciplines and traditions. Their subject matter includes the early narratives of Australian discovery, and the settlement of what was perceived as a hostile, gothic environment; exercises in medieval revivalism contemporaneous with the British nineteenth-century rediscovery of chivalric ideals and aesthetic, spiritual and architectural practices and models; the conscious invocation of medieval and gothic tropes in Australian fiction and poetry, including some Aboriginal fiction and children's literature; the transformation of the medieval and the gothic fantasy literature, role-playing games and subcultural groups, and finally, theimplications of medieval and gothic tropes for discussion of Australian nationalism.

"It's a nice piece of pageantry. . . . Rationally it's lunatic, but in practice, everyone enjoys it, I think."--HRH Prince Philip, Duke of EdinburghFounded by Edward III in 1348, the Most Noble Order of the Garter is the highest chivalric honor among the gifts of the Queen of England and an institution that looks proudly back to its medieval origins. But what does the annual Garter procession of modern princes and politicians decked out in velvets and silks have to do with fourteenth-century institutions? And did the Order, in any event, actually originate in the wardrobe malfunction of the traditional story, when Edward held up his mistress's dropped garter for all to see and declared it to be a mark of honor rather than shame? Or is this tale of the Order's beginning nothing more than a vulgar myth?With steady erudition and not infrequent irreverence, Stephanie Trigg ranges from medieval romance to Victorian caricature, from imperial politics to medievalism in contemporary culture, to write a strikingly original cultural history of the Order of the Garter. She explores the Order's attempts to reform and modernize itself, even as it holds onto an ambivalent relationship to its medieval past. She revisits those moments in British history when the Garter has taken on new or increased importance and explores a long tradition of amusement and embarrassment over its formal processions and elaborate costumes. Revisiting the myth of the dropped garter itself, she asks what it can tell us about our desire to seek the hidden sexual history behind so venerable an institution.Grounded in archival detail and combining historical method with reception and cultural studies, "Shame and Honor" untangles 650 years of fact, fiction, ritual, and reinvention.

This book investigates the troubled relationship between medieval studies and medievalism. Acknowledging that the medieval and medievalism are mutually constitutive, and that their texts can be read using similar strategies, it argues that medieval writers offer powerful models for the ways in which contemporary desire determines the constitution of the past. This desire can not only connect us with the past but can reconnect readers in the present with the lost history of what may be called the 'medievalism of the medievals'. In other words, to come to terms with the history of the medieval is to understand that it already offers us a model of how to relate to the past. -- .

This book investigates the troubled relationship between medieval studies and medievalism. Acknowledging that the medieval and medievalism are mutually constitutive, and that their texts can be read using similar strategies, it argues that medieval writers offer powerful models for the ways in which contemporary desire determines the constitution of the past. This desire can not only connect us with the past but can reconnect readers in the present with the lost history of what may be called the 'medievalism of the medievals'. In other words, to come to terms with the history of the medieval is to understand that it already offers us a model of how to relate to the past. -- .

Chaucer has been a persistently popular subject for editors, scholars and readers. This detailed and often challenging study, parts of which have been published before or presented as lectures, examines the changing nature of Chaucerian studies and the significance of Chaucer's works as a bridge between the medieval and modern worlds. The congenial souls' are Chaucer's readers, a Chaucerian community' from which no one is excluded.

These essays examine the early narratives of Australian 'discovery' and the settlement of what was perceived as a hostile, gothic environment; exercises of medieval revivalism and association consonant with the British nineteenth-century rediscovery of chivalric ideals and aesthetic, spiritual and architectural practices and models; the conscious invocation and interrogation of medieval and gothic tropes in Australian fiction and poetry, including children's literature; the transformation of those tropes in fantasy, role-playing games and subcultural groups; and finally, the implication of the medieval past for discussions of Australian nationalism.