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Essays on the post-modern reception and interpretation of the
Middle Ages, This volume continues the theme of its predecessor,
addressing how the Middle Ages have been invoked to score political
points, particularly with reference to the rise of populism fueled
by recent recessions and a pandemic. The nine essays in the first
portion of the volume directly address political medievalism in
Tariq Ali's 2005 novel on Mideast instability, A Sultan in Palermo;
attempts by twentieth-century Czech politicians to anchor their
causes in the fifteenth-century Czech hero Petr Chelcicky;
far-right deployment of Robin Hood memes to slander Hillary Rodham
Clinton and Barack Obama; the ways Rory Mullarkey's 2017 play Saint
George and the Dragon comments onEnglish national identity relative
to Brexit; how national stereotypes have come into play amid
cross-channel reporting on Brexit; nationalism in the medievalizing
German monument to their fallen at the 1942 Battle of El
Alamein;the English-speaking world's reception of Anthony Munday's
1589 book on conduct, Palmendos; nationalism in the
self-characterization of two contemporary British Pagan movements;
and how various communities in the television series Game of
Thrones comment on medieval and/or contemporary nations. Nor are
politics entirely absent from the final four articles in the
volume, as they examine attempts to promote such particular agendas
as toxic masculinity in Game of Thrones; misogyno-feminism there
and in the George R.R. Martin book series on which the television
program is based, A Song of Ice and Fire; the potential for
audience self-realization amid the tension between the individual
and the collective in The Mere Wife, Maria Dahvana Headley's 2018
adaptation of Beowulf; and ideal individual and collective behavior
as modeled in the Ringling Brothers' 1912-13 spectacles about Joan
of Arc.
This volume explores the reciprocal relationships that can develop
between medieval women writers and the modern scholars who study
them. Taking up the call to 'research the researcher', the authors
indicate not only what they bring to their study from their own
personal experience, but how their methodologies and ways of
thinking about and dealing with the past have been influenced by
the medieval women they study. Medieval women writers discussed
include those writing in the vernacular such as Christine de Pizan
and Margaret Paston, those writing in Latin such as Hildegard of
Bingen, Heloise, and Birgitta of Sweden, and the works transcribed
from women mystics such as Margery Kempe, Hadewijch, and Julian of
Norwich. Attention is also given to medieval women as the readers,
consumers and patrons of written works. Issues considered in this
volume include the place of ethics, interestedness and social
justice in contemporary medieval studies, questions of alterity,
empathy, essentialism and appropriation in dealing with figures of
the medieval past, the permeable boundaries between academic
medieval studies and popular medievalism, questions of situatedness
and academic voice, and the relationship between feminism and
medieval studies. Linked to these issues is the interrelation
between medieval women and medieval men in the production and
consumption of written works both for and about women and the
implications of this for both female and male readers of those
works today. Overarching all these questions is that of the
intellectual and methodological heritage - sometimes ambiguous,
perhaps even problematic - that medieval women continue to offer
us.
First full-length critical study of humour in medievalism. The role
of laughter and humour in the postmedieval citation, interpretation
or recreation of the middle ages has hitherto received little
attention, a gap in scholarship which this book aims to fill.
Examining a wide range of comic texts and practices across several
centuries, from Don Quixote and early Chaucerian modernisation
through to Victorian theatre, the Monty Python films, television
and the experience of visiting sites of "heritage tourism" such as
the Jorvik Viking Museum at York, it identifies what has been
perceived as uniquely funny about the Middle Ages in different
times and places, and how this has influenced ideas not just about
the medieval but also aboutmodernity. Tracing the development and
permutations of its various registers, including satire, parody,
irony, camp, wit, jokes, and farce, the author offers fresh and
amusing insight into comic medievalism as a vehicle for critical
commentary on the present as well as the past, and shows that for
as long as there has been medievalism, people have laughed at and
with the middle ages. Louise D'Arcens is Associate Professor in
English Literaturesat the University of Wollongong.
Voice is a fleeting physical phenomenon that leaves behind traces
of its existence. Medieval literary voices offers a wide-reaching
approach to the concept of literary voices, both the vanished
authorial ones and the implicit textual ones. Its impressive lineup
deepens our understanding of how literary voices evoke the elusive
voices lurking beyond the text, capturing the absent authorial
voice, the traces of scribal voices and the soundscape of the
uttered text. It explores multiple dimensions of medieval voice and
vocalisations, and the interactions between literary voices and
their authorial, scribal and socio-political settings. It contends
that through the theorizing of literary voices we can begin to
understand the ways in which medieval voices mediate or proclaim an
embodied selfhood or material presence, how they dictate or contest
moral conventions, and how they create and sustain narrative
soundscapes. -- .
This volume is the first close examination of the rich and diverse
body of medievalist texts produced in late colonial and early
Federal (ie post-1901) Australia. It examines the many ways in
which early Australian novelists, poets, and dramatists drew on the
motifs, events, and personages of the medieval past, and places
particular emphasis on how they used the European past to
illuminate their sense of the Australian present. Broadly stated,
the book argues that a study of early Australian medievalist
literature and theatre uncovers a rich and revealing drama in which
the forces of cultural nostalgia and cultural amnesia sometimes
contended against one another, and sometimes harmonised, to produce
a unique and distinctive corpus. The book significantly extends
current knowledge about nineteenth-century literary and theatrical
medievalism by offering an exploration of how medievalist
discourses and idioms came to be taken up within a major, but as
yet under-examined, branch of Anglophone literature. It aims also
to broaden the cultural ambit of nineteenth-century medievalism by
offering analyses of popular and ephemeral instances alongside more
'serious' medievalist texts. The study balances an interest in how
this medievalism responded to local conditions with an interest in
its international complexion, examining how Australian medievalist
novels, poems, and plays, participated in imperial and transpacific
intellectual and entertainment circuits.While the emphasis of the
volume is on close, historically-contextualising interpretations of
texts, it has woven through its arguments a series of meditations
on such theoretical matters as how we determine the boundaries of
medievalism, how we might develop an account of colonial
medievalism as non-derivative, whether medievalist discourses are
equally amenable across gender, class, and ideological lines, and
how the premodern past is evoked as a means for formulating the
present and the future. Louise D'Arcens is an Associate Professor
in the English Literatures Program. Her two main current research
areas are medievalism and medieval women's writing.
The second part of Medievalism and the Academy identifies the four
specific questions that have come to focus recent scholarship in
medievalism: What is difference? what is theory? woman? God? The
impact of cultural studies on contemporary medieval studies is
investigated in this latest volume of Studies in Medievalism, which
also offers an account of the developing interest of contemporary
cultural theorists inthe medieval period. Rather than dismissing
the connection between medieval studies and cultural criticism as
an expression of academic self-interest, the essays identify
specific questions which engage both, such as race, history, women,
religion, and literature. Topics include the use of Augustine by
postcolonial theorists; the influence of studies in medieval
mysticism on the development of women's studies programs; and the
influence of Foucault and NewHistoricism on the study of medieval
history. Contributors: ELLIE RAGLAND, TIMOTHY RICHARDSON, MICHAEL
BERNARD-DONALS, CLAY KINSNER, LINDA SEXSON, REBECCA DOUGLASS,
LOUISE SYLVESTER, RICHARD GLEJZER, CHARLES WILSON, ANDREW J.
DELL'OLIO
World Medievalism: The Middle Ages in Modern Textual Culture
explores the ways in which a range of modern textual cultures have
continued to engage creatively with the medieval past in order to
come to terms with the global present. Building its argument
through four case studies-from the Middle East, France, Southeast
Asia, and Indigenous Australia-it shows that to understand
medievalism as a cultural idiom with global reach, we need to
develop a more nuanced grasp of the different ways 'the Middle
Ages' have come to signify beyond Europe as well as within a Europe
that has been transformed by multiculturalism and the global
economy. The book's case studies are explored within a conceptual
framework in which medievalism itself is formulated as
'world-disclosing' a transhistorical encounter that enables the
modern subject to apprehend the past 'world' opened up in medieval
and medievalist texts and objects. The book analyses the cultural
and material conditions under which its texts are produced,
disseminated, and received, and examines literature alongside
films, television programs, newspapers and journals, political
tracts, as well as such material and artefactual texts as
photographs, paintings, statues, buildings, rock art, and fossils.
While the case studies feature distinctive localised forms of
medievalism, taken together they reveal how imperial and global
legacies have ensured that the medieval period continues to be
perceived as a commonly held past that can be retrieved, reclaimed,
or revived in response to the accelerated changes and uncertainties
of global modernity.
Today medievalism is increasingly intelligible as a cultural lingua
franca, produced in trans- and international contexts with a view
to reaching popular international audiences, some of mass scope.
This book offers new perspectives on international relations and
how global concerns are made available through contemporary
medievalist texts. It questions how research in medievalism may
help us rethink the terms of internationalism and globalism within
popular cultures, ideologies, and political formations. It
investigates how the diverse media of medievalism (print; film and
television; arts and crafts; fashion; digital media; clubs and
fandom) affect its cultural meaning and circulation, and its social
function, and engage questions of desire, gender and identity
construction. As a whole, International Medievalism and Popular
Culture differs from those studies which have concentrated on
imaginative appropriations of the middle ages for domestic cultural
contexts. It investigates rather how contemporary cultures engage
with medievalism to map and model ideas of the international, the
trans-national, the cosmopolitan and the global. This book includes
examples from Europe, Britain, North America, Australia and the
Arab world. It discusses the formation and the impact of popular
medievalism in the globalised worlds of Braveheart, Disney and
Harry Potter, but it also explores how the contemporary medieval
imaginary generates international cultural perspectives, for
example in considering Middle Eastern reception of Ridley Scott's
Kingdom of Heaven, the Byzantinism of Julia Kristeva, and Hedley
Bull's postnationalist 'new medievalism'. International Medievalism
in Popular Culture is an important contribution to medieval
studies, cultural studies, and historical studies. It will be of
value to undergraduate, postgraduate and academic readers, as well
as to all interested in popular culture or medievalism.
Medievalism - the creative interpretation or recreation of the
European Middle Ages - has had a major presence in the cultural
memory of the modern West, and has grown in scale to become a
global phenomenon. Countless examples across aesthetic, material
and political domains reveal that the medieval period has long
provided a fund of images and ideas that have been vital to
defining 'the modern'. Bringing together local, national and global
examples and tracing medievalism's unpredictable course from early
modern poetry to contemporary digital culture, this authoritative
Companion offers a panoramic view of the historical, aesthetic,
ideological and conceptual dimensions of this phenomenon. It
showcases a range of critical positions and approaches to
discussing medievalism, from more 'traditional' historicist and
close-reading practices through to theoretically engaged methods.
It also acquaints readers with key terms and provides them with a
sophisticated conceptual vocabulary for discussing the medieval
afterlife in the modern.
Medievalism - the creative interpretation or recreation of the
European Middle Ages - has had a major presence in the cultural
memory of the modern West, and has grown in scale to become a
global phenomenon. Countless examples across aesthetic, material
and political domains reveal that the medieval period has long
provided a fund of images and ideas that have been vital to
defining 'the modern'. Bringing together local, national and global
examples and tracing medievalism's unpredictable course from early
modern poetry to contemporary digital culture, this authoritative
Companion offers a panoramic view of the historical, aesthetic,
ideological and conceptual dimensions of this phenomenon. It
showcases a range of critical positions and approaches to
discussing medievalism, from more 'traditional' historicist and
close-reading practices through to theoretically engaged methods.
It also acquaints readers with key terms and provides them with a
sophisticated conceptual vocabulary for discussing the medieval
afterlife in the modern.
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