First published in 2003 Consuming the Past covers pilgrimages to popular festivals, from modern spectacles to advertising, from the work of avant-garde painters to the novels of Emile Zola, and explores the complexity of the fin-de-siecle French fascination with the Middle Ages. The authors map the cultural history of the period from the end of the Franco-Prussian war to the 1905 separation of Church and State illuminating the powerful appeal that the medieval past held for a society undergoing the rapid changes of industrialisation.

Why did writers' private homes become so linked to their work that contemporaries began preserving them as museums? Photojournalism and the Origins of the French Writer House Museum addresses this and other questions by providing an overview of the social forces that brought writers' homes to the forefront of the French imagination at the end of the nineteenth century and the beginning of the twentieth. This study analyzes representations of the apartments and houses of Corneille, Hugo, Balzac, Dumas, Sand, Zola, Loti, Montesquiou, Mallarme, and Proust, among others, arguing that the writer's home became a contested space and an important part of the French patrimony at this time. This is the first book to emphasize the house museum as an essentially modern construct, and to trace the history of ideas leading to its institutionalization in twentieth-century France. The interdisciplinary study also brings new attention to the importance of photojournalism for fin-de-siecle France - and brings to light fascinating and forgotten examples of 'at home' photography by Dornac and Henri Mairet. Elizabeth Emery provides a fresh and compelling perspective on conjunctions between visual, literary, and material cultures.

Why did writers' private homes become so linked to their work that contemporaries began preserving them as museums? Photojournalism and the Origins of the French Writer House Museum addresses this and other questions by providing an overview of the social forces that brought writers' homes to the forefront of the French imagination at the end of the nineteenth century and the beginning of the twentieth. This study analyzes representations of the apartments and houses of Corneille, Hugo, Balzac, Dumas, Sand, Zola, Loti, Montesquiou, Mallarme, and Proust, among others, arguing that the writer's home became a contested space and an important part of the French patrimony at this time. This is the first book to emphasize the house museum as an essentially modern construct, and to trace the history of ideas leading to its institutionalization in twentieth-century France. The interdisciplinary study also brings new attention to the importance of photojournalism for fin-de-siecle France - and brings to light fascinating and forgotten examples of 'at home' photography by Dornac and Henri Mairet. Elizabeth Emery provides a fresh and compelling perspective on conjunctions between visual, literary, and material cultures.

Essays on the use, and misuse, of the Middle Ages for political aims. Like its two immediate predecessors, this volume tackles the most pressing and contentious issue in medievalism studies: how the Middle Ages have been subsequently deployed for political ends. The six essays in the first section directly address that concern with regard to Numa Denis Fustel de Coulanges's contemporaneous responses to the 1871 Commune; the hypocrisy of the Robinhood App's invocation of their namesake; misunderstood parallels and differences between the Covid-19 pandemic and medieval plagues; Peter Gill's reworking of a major medieval Mystery play in his 2001 The York Realist; celebrations of medieval monks by the American alt-right; and medieval references in twenty-first-century novels by the American neo-Nazi Harold A. Covington. The approaches and conclusions of those essays are then tested in the second section's seven articles as they examine widely discredited alt-right claims that strong kings ruled medieval Finland; Norse medievalism in WWI British and German propaganda; post-war Black appropriation of white jousting tournaments in the Antebellum South; early American references to the Merovingian Dynasty; Rudyard Kipling's deployment of the Middle Ages to defend his beliefs; the reframing of St. Anthony by Agustina Bessa-Luis's 1973 biography of him; and post-medieval Portuguese reworkings of the Goat-Foot-Lady and other medieval legends.

Essays on the post-modern reception and interpretation of the Middle Ages, with a particular focus on its relationship with business and finance. In the wake of the many passionate responses to its predecessor, Studies in Medievalism 22 also addresses the role of corporations in medievalism. Amid the three opening essays, Amy S. Kaufman examines how three modern novelists have refracted contemporary corporate culture through an imagined and highly dystopic Middle Ages. On either side of that paper, Elizabeth Emery and Richard Utz explore how the Woolworth Company and Google have variously promoted, distorted, appropriated, resisted, and repudiated post-medieval interpretations of the Middle Ages. And Clare Simmons expands on that approach in a full-length article on the Lord Mayor's Show in London. Readers are then invited to find other permutations of corporate influence in six articles on the gendering of Percy's Reliques, the Romantic Pre-Reformation in Charles Reade's The Cloister and the Hearth, renovation and resurrection in M.R. James's "Episode of Cathedral History", salvation in the Commedia references of Rodin's Gates of Hell, film theory and the relationship of the Sister Arts to the cinematic Beowulf, and American containment culture in medievalist comic-books. While offering close, thorough studies of traditional media and materials, the volume directly engages timely concerns about the motives and methods behind this field and many others inacademia. Karl Fugelso is Professor of Art History at Towson University in Baltimore, Maryland. Contributors: Aida Audeh, Elizabeth Emery, Katie Garner, Nickolas Haydock, Amy S. Kaufman, Peter W. Lee, Patrick J. Murphy, Fred Porcheddu, Clare A. Simmons, Mark B. Spencer, Richard Utz.

New examinations of the role storytelling played in medieval life. The storyteller stands at the crossroads of orality and performance, surrounded by a circle of rapt listeners. Evelyn Birge Vitz has challenged a generation of scholars to join the circle, listen as they read, and exchange pen forperformance. A tribute to her work, the fifteen essays in this volume attend to the qualities of voice, their registers and dynamics, whether practiced or impromptu, falsified, overlapping, interrupted or whispered. They examinehow the book became a performance venue and reshaped the storyteller's image and authority, and they investigate the mutability of stories that move from book to book, place to place and among competing cultures to stimulate cultural and political change. They show storytelling as far more than entertainment, but central to law, religious ritual and teaching, as well as the primary mode of delivering news. Themes that crisscross the volume include tensionsamong amateurs and professionals, dominant and minority languages and cultures, women and children's engagement with storytelling, animality, religion, translation, travel, didacticism and entertainment. Kathryn A. Duys is Associate Professor and Chair of the Department of English and Foreign Languages at the University of St. Francis in Joliet, Illinois; Elizabeth Emery is Professor of French and Graduate Coordinator at Montclair State University; Laurie Postlewate is Senior Lecturer in French at Barnard College of Columbia University. Contributors: Elizabeth Archibald, Maureen Boulton, Cristian Bratu, Simonetta Cochis, Joyce Coleman, Mark Cruse, Kathryn A.Duys, Elizabeth Emery, Marilyn Lawrence, Kathleen Loysen, Laurie Postlewate, Nancy Freeman Regalado, Samuel N. Rosenberg, E. Gordon Whatley, Linda Marie Zaerr.

Japonisme, the 19th-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the 21st-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clemence d'Ennery (1823-98), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the "Musee d'Ennery" to the state as a free public museum in 1893. A friend of the Goncourt brothers and a 50-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand-Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Therese Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musee Guimet, the Musee Cernuschi, the Musee Unterlinden, and the Metropolitan Museum of Art.

Essays on the post-modern reception and interpretation of the middle ages. This volume not only defines medievalism's margins, as well as its role in marginalizing other fields, ideas, people, places, and events, but also provides tools and models for exploring those issues and indicates new subjects towhich they might apply. The eight opening essays address the physical marginalizing of medievalism in annotated texts on medieval studies; the marginalism of oneself via medievalism; medievalism's dearth of ecotheory and religious studies; academia's paucity of pop medievalism; and the marginalization of races, ethnicities, genders, sexual orientations, and literary characters in contemporary medievalism. The seven subsequent articles build on this foundation while discussing: the distancing of oneself (and others) during imaginary visits to the Middle Ages; lessons from the margins of Brazilian medievalism; mutual marginalization among factions of Spanish medieval studies; and medievalism in the marginalization of lower socio-economic classes in late-eighteenth- and early nineteenth-century Spain, of modern gamers, of contemporary laborers, and of Alfred Austin, a late-nineteenth- and early twentieth-century poet also known as Alfred the Little. In thus investigating the margins of and marginalization via medievalism, the volume affirms their centrality to the field. Karl Fugelso is Professor of Art History at Towson University in Baltimore, Maryland. Contributors: Nadia R. Altschul, Megan Arnott, Jaume Aurell, Juan Gomis Coloma, Elizabeth Emery, Vincent Ferre, Valerie B. Johnson, Alexander L. Kaufman, Erin Felicia Labbie, VickieLarsen, Kevin Moberly, Brent Moberly, Alicia C. Montoya, Serina Patterson, Jeff Rider, Lindsey Simon-Jones, Richard Utz, Helen Young.

New essays attempt to survey and map out the increasingly significant discipline of medievalism. Medievalism has been attracting considerable scholarly attention in recent years. But it is also suffering from something of an identity crisis. Where are its chronological and geographical boundaries? How does it relate to the Middle Ages? Does it comprise neomedievalism, pseudomedievalism, and other "medievalisms"? Studies in Medievalism XVII directly addresses these and related questions via a series of specially-commissioned essays from some of the most well-known scholars in the field; they explore its origins, survey the growth of the subject, and attempt various definitions. The volume then presents seven articles that often test the boundaries of medievalism: they look at echoes of medieval bestiaries in J. K. Rowling's Harry Potter books, the influence of the Niebelungenlied on Wagner's Ring cycle, representations of King Alfred in two works by Dickens, medieval tropes in John Bale's Reformist plays, authenticity in Sigrid Undset's novel Kristin Lavransdatter, incidental medievalism in Handel's opera Rodelinda, and editing in the audio version of Seamus Heaney's Beowulf. CONTRIBUTORS: KATHLEEN VERDUIN, CLARE A. SIMMONS, NILS HOLGER PETERSEN, TOM SHIPPEY, GWENDOLYN A. MORGAN, M. J. TOSWELL, ELIZABETH EMERY, KARL FUGELSO, EMILY WALKER HEADY, MARK B. SPENCER, GAIL ORGELFINGER, DOUGLAS RYAN VAN BENTHUYSEN, THEA CERVONE, WERNER WUNDERLICH, EDWARD R. HAYMES

Definitions of key words and terms for the study of medievalism. The discipline of medievalism has produced a great deal of scholarship acknowledging the "makers" of the Middle Ages: those who re-discovered the period from 500 to 1500 by engaging with its cultural works, seeking inspiration from them, or fantasizing about them. Yet such approaches - organized by time period, geography, or theme - often lack an overarching critical framework. This volume aims to provide such a framework, by calling into question the problematic yet commonly accepted vocabulary used in Medievalism Studies. The contributions, by leading scholars in the field, define and exemplify in a lively and accessible style the essential terms used when speaking of the later reception of medieval culture. The terms: Archive, Authenticity, Authority, Christianity, Co-disciplinarity, Continuity, Feast, Genealogy, Gesture, Gothic, Heresy, Humor, Lingua, Love, Memory, Middle, Modernity, Monument, Myth, Play, Presentism, Primitive, Purity, Reenactment, Resonance, Simulacrum, Spectacle, Transfer, Trauma, Troubadour Elizabeth Emery is Professor of French and Graduate Coordinator at Montclair State University (Montclair, NJ, USA); Richard Utz is Chair and Professor of Medievalism Studies in the School of Literature, Media, and Communication at Georgia Tech (Atlanta, GA, USA). Contributors: Nadia Altschul, Martin Arnold, Kathleen Biddick, William C. Calin, Martha Carlin, Pam Clements, Michael Cramer, Louise D'Arcens, Elizabeth Emery, Elizabeth Fay, Vincent Ferre, Matthew Fisher, Karl Fugelso, Jonathan Hsy, Amy S. Kaufman, Nadia Margolis, David Matthews,Lauryn S. Mayer, Brent Moberly, Kevin Moberly, Gwendolyn Morgan, Laura Morowitz, Kevin D. Murphy, Nils Holger Petersen, Lisa Reilly, Edward Risden, Carol L. Robinson, Juanita Feros Ruys, Tom Shippey, Clare A. Simmons, Zrinka Stahuljak, M. Jane Toswell, Richard Utz, Angela Jane Weisl.

First published in 2003 Consuming the Past covers pilgrimages to popular festivals, from modern spectacles to advertising, from the work of avant-garde painters to the novels of Emile Zola, and explores the complexity of the fin-de-siecle French fascination with the Middle Ages. The authors map the cultural history of the period from the end of the Franco-Prussian war to the 1905 separation of Church and State illuminating the powerful appeal that the medieval past held for a society undergoing the rapid changes of industrialisation.

Enthusiasm for the operas of composer Richard Wagner (1813-1883) flourished in fin-de-siecle France, fed by fascination for the medieval history and literature that inspired his work. By the 1890s, ""pilgrimages"" to Wagner's burial city of Bayreuth, Germany, home of a regular festival of his work, were a rite of passage for musicians and the upper crust. French admirers promoted Wagner's ideas in journals such as La Revue wagnerienne, launched in 1885. These writings fueled a mystique about Wagner, his music, and his beliefs. Philosopher Marcel Hebert developed his Religious Experience in the Work of Richard Wagner (1895) from this background of sustained popular interest in Wagner, an interest that had intensified with the return of his operas to the Paris stage. Newspaper debates about the impact of Wagner's ideas on French society often stressed the links between Wagner and religion. These debates inspired works like Hebert's, intended to explain the complex myth and allegory in Wagner's work and to elucidate it for a new generation of French spectators. Hebert's discussion of Wagner, written for a popular audience, might seem an anomaly in light of his better-known academic philosophical writings. Yet Wagner's use of myth and symbol, as well as his ability to write musical dramas that evoked emotional as well as cognitive response, resonated with Hebert's symbolist approach to dogma, and the appeal to religious experience characteristic of Modernist thinkers in general. By writing about Wagner to discuss these themes, Hebert caught the interest of the educated readership who shared his concern about the clash of ancient faith and modern thinking, and who were receptive to his argument that both could be reconciled through his revisionist approach. Thus, Hebert turned Wagner and his work into a vehicle for popularizing the Modernist vision of framing religion through experience as well as knowledge.

French Cultural Studies for the Twenty-First Century brings together current scholarship on a diverse range of topics-from French postcards and Third Republic menus to Haitian literary magazines and representation of race in vaudeville theater-in order to provide methodological insight into the current practice of French cultural studies. The essays in the volume show how scholars of French studies can effectively analyze what we term "non-traditional sources" in their historical and geographical contexts. In doing so, the volume offers a compelling vision of the field today and maps out potential paradigms for future research. This book builds upon previous scholarship that defined the stakes of using an interdisciplinary approach to analyze cultural objects from France and Francophone regions and aims to evaluate the current state of this complex and constantly evolving field and its current methodological practices.

Synopsis: In his autobiography Joseph Turmel (1859-1943) has left an intensely personal account of his struggles to reconcile his Catholic faith with the results of historical-critical methods as those impacted biblical exegesis and the history of dogma. Having lost his faith in 1886, he chose to remain as a priest in the Church, even while he worked to undermine its teachings. He did so initially in writings published under his own name and, as his conclusions became increasingly radical, under a veritable team of pseudonyms. He was excommunicated in 1930. His account of his life is less a discussion and defense of his ideas than it is a moral justification of his conduct. Turmel is associated with the left wing of Roman Catholic Modernism along with Albert Houtin, Marcel Hebert, and Felix Sartiaux Endorsements: "Disillusioned as a young priest in his twenties by discovering the incongruity of Catholic dogma with serious critical scholarship on Scripture and church history, Joseph Turmel dedicated the rest of his life to destroying church authority by remaining a priest while at the same time pseudonymously publishing scholarly books and articles undermining church dogma. Only as an old man was he discovered and excommunicated." --Lawrence Barman, Saint Louis University "'Martyr to the Truth' is an important book that, for the first time, gives English readers direct access to one of the more intriguing characters involved in the modernist crisis. Turmel's account of his painful loss of faith, and his effort to justify his decision to remain in the Catholic Church under false pretenses, illustrate both the human dimension and the moral issues at stake in a controversy sometimes seen as purely intellectual." --Harvey Hill, UST School of Theology Author Biography: C. J. T. Talar is Professor of Systematic Theology at the University of Saint Thomas, Houston. He has published extensively on Roman Catholic Modernism. Elizabeth Emery is Professor of French at Montclair State University. She has published works dedicated to nineteenth- and early twentieth-century European and American literature, art, and history.

The twenty well-known scholars featured in this Festschrift for William Calin engage in personal reflection about the ways scholars, writers, musicians, and artists from different periods have "made" the Middle Ages by exploring it in their own work. Contributors: Barbara K. Altman, Pam Clements, Elizabeth Emery, Karl Fugelso, Caroline Jewers, Alicia C. Montoya, Gwendolyn A. Morgan, E.L. Risden, Nils Holger Petersen, William D. Paden, F. Regina Psaki, Carol L. Robinson, Roy Rosenstein, Tom Shippey, Jesse G. Swan, M.J. Toswell, Richard Utz, Kathleen Verduin, Veronica Ortenberg West-Harling, Gayle Zachmann

Legends, tales, and mysteries featuring saints captivated the French at the end of the nineteenth century. As Jean Lorrain pointed out in an 1891 article for the popular weekly Le Courrier Francais, the seemingly simple language of the saints lives, their noble battles between good and evil and the atmosphere of religious mysticism appealed to many, especially those involved in the visual and performing arts. Ironically The Third Republic (1870-1940), a regime that claimed to reinforce and institute the secular ideas of the French Revolution, was witness to this great popular interest in the saints and religious imagery.

The eight essays in this work explore the popularity of the saints from the 1850s to the 1920s. The essays evaluate the role they played in literature, art, music, science, history and politics, examine portrayals of the saints lives in both low and high culture (from childrens literature, shadow plays and the popular press to literature, opera and theological studies), and reveal the prevalence of the saints in fin-de-siecle France.

French Cultural Studies for the Twenty-First Century brings together current scholarship on a diverse range of topics-from French postcards and Third Republic menus to Haitian literary magazines and representation of race in vaudeville theater-in order to provide methodological insight into the current practice of French cultural studies. The essays in the volume show how scholars of French studies can effectively analyze what we term "non-traditional sources" in their historical and geographical contexts. In doing so, the volume offers a compelling vision of the field today and maps out potential paradigms for future research. This book builds upon previous scholarship that defined the stakes of using an interdisciplinary approach to analyze cultural objects from France and Francophone regions and aims to evaluate the current state of this complex and constantly evolving field and its current methodological practices.