Studies on the influence of the middle ages, and in particular the Arthurian legends, on the culture of North America. Fifteen essays trace North America's enthusiastic engagement with the middle ages from the Revolution to Disney. There are eight studies of the American reception of Arthur: in art (Abbey, Rosenthal), literature (Canadian writers,John Ciardi), scholarship (R.S. Loomis), politics (JFK), and popular culture (Arthurian youth groups, Disneyland, the Excalibur Casino). Other topics include Tom Paine, Elbertus Hubbard, Edgar Rice Burroughs, C.B. DeMille, popular treatments of Villon, the roots of the New Mexican cuento, and the rhetoric of the Gulf War. Contributors: ROGER WOOD, KYMBERLEY N. PINDER, ERICA E. HIRSHLER, ALAN LUPACK, CHARLOTTE OBERG, RAYMOND H. THOMPSON,STAN GALLOWAY, ROBIN BLAETZ, ROBERT D. PECKHAM, JEFF RIDER, KLAUS P. JANKOFSKY, MARY MORSE, PAMELA S. MORGAN, SUSAN ARONSTEIN, NANCY COINER, JONATHAN M. ELUKIN

An examination of medieval historican writings through the prism of violence. The concept of medieval historiography as "usable past" is here challenged and reassessed. The contributors' shared claim is that the value of medieval historiographical texts lies not only in the factual information the texts contain but also in the methods and styles they use to represent and interpret the past and make it ideologically productive. Violence is used as the key term that best demonstrates the making of historical meaning in the Middle Ages, through the transformation of acts of physical aggression and destruction into a memorable and usable past. The twelve chapters assembled here explore a wide range of texts emanating from throughout the francophone world. They cover a range of genres (chansons de geste, histories, chronicles, travel writing, and lyric poetry), and range from the late eleventh to the fifteenth century. Through examination of topics as varied as rhetoric, imagery, humor, gender, sexuality, trauma, subversion, and community formation, each chapter strives to demonstrate how knowledge of the medieval past can be enhanced by approaching medieval modes of historical representation and consciousness on their own terms, and by acknowledging - and resisting - the desire to subject them to modern conceptions of historical intelligibility. Noah D. Guynn is Associate Professor of French at the University of California, Davis; Zrinka Stahuljak is Associate Professor of French and Comparative Literature at the University of California, Los Angeles. Contributors: Noah D. Guynn, Zrinka Stahuljak, James Andrew Cowell, Jeff Rider,Leah Shopkow, Matthew Fisher, Karen Sullivan, David Rollo, Deborah McGrady, Rosalind Brown-Grant, Simon Gaunt

Galbert of Bruges's De multro, traditione, et occisione gloriosi Karoli comitis Flandriarum (The Murder of Charles the Good) has been studied extensively over the last hundred years. Considered one of the most important and original works of medieval historiography, the De multro is an eyewitness account of the assassination of Charles the Good, Count of Flanders, in 1127 and of the ensuing civil war. It is written in the form of a journal, the only work of its kind from Europe in the twelfth century, and provides a continuous, detailed account of events in Flanders from March 1127 to July 1128. Scholars have long considered the De multro to be a true journal, written hastily as events unfolded and never revised. In God's Scribe, the first book devoted to Galbert and his chronicle, Jeff Rider challenges that view. He argues that the De multro is not the transparent and objective testimony it has been taken to be; rather it is a complex and sophisticated work of astonishing originality that is an outstanding example of medieval historical writing. Intended as a companion volume to the De multro, the book provides an outline of the Flemish crisis of 1127-28 and summarizes what is known about Galbert. It traces the elaboration of the De multro from a set of wax notes to a nearly completed chronicle. Rider studies Galbert's sources, the way he took and organized his notes, the distinct stages in which the chronicle was written, its literary qualities, and the conceptual tools he used to comprehend the events he related in it. Rider concludes that Galbert's efforts to understand an extended series of events in light of the theology of history and authority common in his day, and to apply that theology to the practice of historical writing, made the De multro one of the most intellectual and experimental histories of its time, while its style, form, and viewpoint made it one of the most popular ones.