Böcker i Medievalism-serien

A survey of the rituals of the year in Victorian England, showing the influence of the Middle Ages.

A novel perspective on a hitherto neglected aspect of Victorian medievalism.

How ideas and ideals of an imagined, protean, national Middle Ages have once again become a convergence point for anxieties about politics, history and cultural identity in our time - and why.

An examination of how greatly the sagas and other literature of Iceland shaped the poems of William Morris.The work of William Morris (1834-1896) was hugely influenced by the medieval sagas and poetry of Iceland; in particular, they inspired his long poems "e;The Lovers of Gudrun"e; and Sigurd the Volsung. Between 1868 and 1876, Morris not only translated several major sagas into English for the first time with his collaborator the Icelander Eirikur Magnusson (1833-1913) but he also travelled on horseback twice across the Icelandic interior, journeys which led him through the best known of the saga sites. By looking closely at his translations of the sagas and the texts on which he based them, the journals of his travels in Iceland, and his saga-inspired long poems and lyric poetry, this book shows how Morris conceived a unique ideal of heroism through engaging with Icelandic literature. It shows the sagas and poetry of Iceland as crucial in shaping his view of the best life a man could live and spurring him on in the subsequent passions on which much of his legacy rests. IAN FELCE gained his PhD from Cambridge University.

First exploration of Jarman's engagement with the medieval, revealing its importance to his work.FINALIST IN THE HISTORIANS OF BRITISH ART BOOK AWARDS 2020 The artist and filmmaker Derek Jarman (1942-1994) had a lifelong appreciation of medieval culture. But with the possible exception of Edward II, Jarman's films have not been identified to date as making a major contribution to the depiction of the Middle Ages in cinema. This book is the first to uncover a rich seam of medievalism in Jarman's art. Taking in major features such as Caravaggio, The Garden and The Last of England, as well as some of the unrealised screenplays and short experimental films, the book proposes an expanded definition of medieval film that includes not just worksset in or about the Middle Ages, but also projects inspired more broadly by the period. It considers Jarman's engagement with Anglo-Saxon poetry (notably The Wanderer); with works by fourteenth-century poets such as Chaucer, Dante and Langland; with saints and mystics from Joan of Arc to Julian of Norwich; and with numerous paintings, buildings and objects from this so-called "e;middle"e; time. Organised around several key themes - periodisation,anachronism, ruins and wandering - the book also asks what happens when (with Jarman, but also more broadly) we think the categories "e;medieval"e; and "e;modern"e; together. As such, it will be of interest to film scholars, art historians and medievalists of all stripes who wish to rattle the temporal cages of their fields. ROBERT MILLS is Professor of Medieval Studies at University College London.

The essays here, united by their appreciation of the centrality of translation to the interpretation of the medieval past, add to our understanding of how the old is continually made anewThe first decades of the twenty-first century have seen an unprecedented level of creative engagement with early medieval literature, ranging from the long-awaited publication of Tolkien's version of Beowulf and the reworking of medieval lyrics by Ireland's foremost poets to the adaptation of Eddic and Skaldic poetry for the screen. This collection brings together scholars and accomplished translators working with Old English, Old Norse and MedievalIrish poetry, to take stock of this extraordinary proliferation of translation activity and to suggest new ways in which to approach these three dynamic literary traditions. The essays in this collection include critical surveysof texts and traditions to the present day, assessments of the practice and impact of individual translators from Jorge Luis Borges to Seamus Heaney, and reflections on the particular challenges of translating poetic forms and vocabulary into different languages and media. Together they present a series of informed and at times provocative perspectives on what it means to "e;carry across"e; early medieval poetry in our contemporary cultural climate.Dr Tom Birkett is lecturer in Old English at University College Cork; Dr Kirsty March-Lyons is a scholar of Old English and Latin poetry and co-organiser of the Irish Research Council funded conference and translation project "e;Eald to New"e;. Contributors: Tom Birkett, Elizabeth Boyle, Hannah Burrows, Gareth Lloyd Evans, Chris Jones, Carolyne Larrington, Hugh Magennis, Kirsty March-Lyons, Lahney Preston-Matto, Inna Matyushina, Rory McTurk, Bernard O'Donoghue, Heather O'Donoghue, Tadhg O Siochain, Bertha Rogers, M.J. Toswell.

The medieval in the modern world is here explored in a variety of media, from film and book to gaming.Medievalism - the ways in which post-medieval societies perceive, interpret, reimagine, or appropriate the Middle Ages - permeates popular culture. From Disney princesses to Game of Thrones, medieval fairs to World of Warcraft, contemporary culture keeps finding new ways to reinvent and repackage the period. Medievalism itself, then, continues to evolve while it is also subject to technological advances, prominent invocations in political discourse,and the changing priorities of the academy. This has led some scholars to adopt the term "e;neomedievalism"e;, a concept originating in part from the work of the late Umberto Eco, which calls for new avenues of inquiry into the wayswe think about the medieval. This book examines recent evolutions of (neo)medievalism across multiple media, from Tolkien's Lord of the Rings to the film Beowulf and medieval gaming. These evolutions can take the form of what one might consider to be pop culture objects of critique (art, commodity, amusement park, video game) or academic tools of critique (monographs, articles, lectures, university seminars). It is by reconciling theseseemingly disparate forms that we can better understand the continual, interconnected, and often politicized reinvention of the Middle Ages in both popular and academic culture. KELLYANN FITZPATRICK is an affiliated researcher at the Georgia Institute of Technology.

Identifies and investigates international medievalism through three distinct strands: "e;Internationally Nationalist"e;, "e;Someone Else's Past?"e;, and "e;Activist Medievalism"e;.Medievalism - the reception of the Middle Ages - often invokes a set of tropes generally considered 'medieval', rather than consciously engaging with medieval cultures and societies. International medievalism offers an additional interpretative layer by juxtaposing two or more national cultures, at least one of which is medieval. 'National' can be aspirational: it might refer to the area within agreed borders, or to the people who live there, but it might also describe the people who understand, or imagine, themselves to constitute a nation. And once 'medieval' becomes simply a collection of ideas, it can be re-formed as desired, cast as more geographically than historically specific, or function as a gateway to an even more nebulous past.This collection identifies and investigates international medievalism through three distinct strands, 'Internationally Nationalist', 'Someone Else's Past?', and 'Activist Medievalism', exploring medievalist media from the textual to the architectural. Subjects range from The Green Children of Woolpit to Refugee Tales, and from Viking metal to Joan of Arc. As the contributors to each section make clear, for centuries the medieval has provided material for countless competing causes and cannot be contained within historical, political, or national borders. The essays show how the medieval is repeatedly co-opted and recreated, formed as much as formative: inviting us to ask why, and in service of what.

A fresh new approach to Victorian medievalism, showing it to be far from the preserve of the elite.This book offers a challenge to the current study of nineteenth-century British medievalism, re-examining its general perception as an elite and conservative tendency, the imposition of order from above evidenced in the work of Walter Scott, in the Eglinton Tournament, and in endless Victorian depictions of armour-clad knights. Whilst some previous scholars have warned that medievalism should not be reduced to the role of an ideologically conservative discourse which always and everywhere had the role of either obscuring, ignoring, or forgetting the ugly truths of an industrialised modernity by appealing to a green and ordered Merrie England, there has been remarkably little exploration of liberal or radical medievalisms, still less of working-class medievalisms. Essays in this book question a number of orthodoxies. Can it be imagined that in the world of Ivanhoe, the Eglinton Tournament, Dante Gabriel Rossetti, Alfred Tennyson, the working class remained largely oblivious to, or at best uninterested in, medievalism? What, if any, was the working-class medievalist counter-blast to conservatism? How did feminism and socialismdeploy the medieval past? The contributions here range beyond the usual canonical cultural sources to investigate the ephemera: the occasional poetry, the forgotten novels, the newspapers, short-lived cultural journals, fugitive Chartist publications. A picture is created of a richly varied and subtle understanding of the medieval past on the part of socialists, radicals, feminists and working-class thinkers of all kinds, a set of dreams of the Middle Agesto counter what many saw as the disorder of the times. DAVID MATTHEWS is Professor of Medieval and Medievalism Studies in the English Department at the University of Manchester; MICHAEL SANDERS is Senior Lecturer in Nineteenth-Century Writing in the English Department at the University of Manchester. Contributors: Stephen Basdeo, Carolyn Collette, Ingrid Hanson, Stephen Knight, David Matthews, Stuart McWilliams, Rosemary Mitchell, Matthew Roberts, Michael Sanders, Colin Trodd.

A survey of the rituals of the year in Victorian England, showing the influence of the Middle Ages.What does a maypole represent? Why eat hot cross buns? Did Dick Whittington have a cat? All these questions are related to a larger one that nineteenth-century Britons asked themselves: which was more fun: living in their own time, or living in the Middle Ages? While Britain was becoming the most industrially-advanced nation in the world, many vaunted the superiority of the present to the past-yet others felt that if shadows of past ways of life haunted the present, they were friendly ghosts. This book explores such ghosts and how real or imagined remnants of medieval celebration in a variety of forms created a cultural idea of the Middle Ages. As Britons found, or thought that they found, traces of the medieval in traditions tied to times of the year, medievalism became not only the justification but also the inspiration for community festivity, from Christmas and Boxing Day through Maytime rituals toHallowe'en, as show in the writings of amongst many others Keats, Browning and Dickens. CLARE A. SIMMONS is a Professor of English at The Ohio State University.

A consideration of Petrarch's influence on, and appearance in, French texts - and in particular, his appropriation by the Avignonese.Was Petrarch French? This book explores the various answers to that bold question offered by French readers and translators of Petrarch working in a period of less well-known but equally rich Petrarchism: the nineteenth century. It considers both translations and rewritings: the former comprise not only Petrarch's celebrated Italian poetry but also his often neglected Latin works; the latter explore Petrarch's influence on and presence in French novels aswell as poetry of the period, both in and out of the canon. Nineteenth-century French Petrarchism has its roots in the later part of the previous century, with formative contributions from Voltaire, Rousseau, and, in particular, the abbe de Sade. To these literary catalysts must be added the unification of Avignon with France at the Revolution, as well as anniversary commemorations of Petrarch's birth and death celebrated in Avignon and Fontaine-de-Vaucluse across the period (1804-1874-1904). Situated at the crossroads of reception history, medievalism, and translation studies, this investigation uncovers tensions between the competing construction of a national, French Petrarch and a local, Avignonese or Provencal poet. Taking Petrarch as its litmus test, this book also asks probing questions about the bases of nationality, identity, and belonging. Jennifer Rushworth is a Junior Research Fellowat St John's College, Oxford.

Offers new insights into the political and modern uses of public monuments devoted to figures from the past and the role of historical culture in the creation of national identity.

Old English scholars of the mid-seventeenth century lived through some of the most turbulent times in English history, but the upheaval inspired them to produce landmark texts in early Old English studies.

The influence on Enlightenment thought of medievalism has been underestimated; it is here reappraised and its significance brought out.

An exploration across thirteen essays by critics, translators and creative writers on the modern-day afterlives of Old English, delving into how it has been transplanted and recreated in the twentieth and twenty-first centuries.

An examination of the ways in which the fluid concept of "chivalry" has been used and appropriated after the Middle Ages.

An examination of the ways in which the fluid concept of "chivalry" has been used and appropriated after the Middle Ages.

Definitions of key words and terms for the study of medievalism.

An accessibly-written survey of the origins and growth of the discipline of medievalism studies.

First full-length critical study of humour in medievalism.

First full-length investigation into Canadian literary medievalism as a discrete phenomenon.

The importance of the Anglo-Saxon past to England in the eighteenth century, politically and culturally, is here brought out.

Responses from the nineteenth century onwards to the medieval French poet.

Game of Thrones is famously inspired by the Middle Ages - but how "authentic" is the world it presents? This volume offers different angles to the question.

First full-length study of the impact of the Gothic Revival across the arts, from literature and architectural theory to houses, furniture and interiors.