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THE REINVENTION of the ROUND TABLE Literary Adaptations Throughout the Arthurian Legends

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Quoc-Trong Huynh THE REINVENTION OF THE ROUND TABLE Literary Adaptations Throughout the Arthurian Legends Faculty of Information Technology and Communication Sciences Master’s Thesis ctober "#"# ABSTRACT Quoc-Trong Huynh$ The %ein&ention of the %ound Ta!le Master’s Thesis Tampere 'niversity Master’s (rogramme in )nglish Language and Literature cto!er "#"# The aim of this thesis is to find out ho* literary adaptations have shaped and developed the Arthurian narra- tive from its earliest forms into *hat it is today+ The Arthurian narrative as *e kno* it today is actually a patch*ork of multiple- individual literary *orks and is a nota!le example of medie&al literature+ In a prototypi- cal Arthurian narrative- Arthur manages to pull out the S*ord in the Stone and is cro*ned king- esta!lishes his kingdom and the /nights of the %ound Ta!le and encounters ad&ersity *ith them at his side and finally falls in !attle in Camlann+ Ho*e&er- these familiar plot elements are originally separate narratives, !ut *ere !ased on the same narrative conventions. The current elements of /ing Arthur and the Arthurian narrative *as formed through these individual adaptations !y a myriad of authors. The Arthurian genre *as e&entually de&eloped through the efforts of these individual authors. There *as no authorati&e !ody that could have o*ned in the earliest stages of the Arthurian literary scene that could ha&e claimed o*nership of it- nor regulate *hat the contents of an Arthurian text should !e+ Instead- the authors e&entually esta!lished the Arthurian genre con&entions through adaptations that reprised the same popular narrative elements of earlier *orks and omitted elements that *ere not appealing enough+ This entire phenomenon is an example of intertextuality, or the communication !et*een literary *orks. Certain narratives are adapted further !y different authors, *ho extends the original narrati&e further *ith their o*n versions+ ver time these narrati&es may achie&e great popularity and eventually the reoccurring plot ele- ments of these adaptations !egin to !ecome esta!lished as central elements of an Arthurian narrative+ There are three main methods of adaptation0 expansion- reprisal and reinvention+ Expansion introduces ne* narra- tive elements that *ere a!sent from earlier narratives, such as through the creation of ne* characters and storylines+ Reprisal is mainly the repetition of an earlier narrative *ithout any su!stantial changes or addi- tions, !ut performs the important functions of reinforcing certain narrati&es and their contents+ Reinterpreta- tion approaches earlier narrati&es from a different vie*point- *hich generally alters the content of the texts in a su!stantial manner- for e.ample T.H+ 1hite’s 2345 adaptation has a more pacifistic approach than earlier *orks. Ho*e&er- I *ish to highlight the fact that there more than one form of adaptation present in a literary adaptation+ A literary adaptation’s main form of adaptation is then determined !y a given te.t’s ultimate goal and purpose+ The conclusions of this thesis sho* that the modern Arthurian legends are indeed the result of multiple authors’ handi*or,+ 6eoffrey of Monmouth 722##82249: had esta!lished the Anglophonic Arthurian literary tradition c+ 22;< !y attri!uting the name =Arthur> to the unnamed %omano-?riton victor of the ?attle of ?adon in his Historia Regum Britanniae+ 6eoffrey had expanded upon an earlier author’s *or,- @ennius’ Histora Brittonum- *here the victorious *ar leader *as originally unnamed+ 6eoffrey’s *or, inspired numerous con- temporary authors to produce additional chivalric narratives, such as ChrAtien de Troyes 722;#82232:- fur- ther expanded Arthur’s court and introduced key characters such as Lancelot- *ho is a!sent from 6eoffrey’s *or,+ The Arthurian legends of today is largely !ased on Sir Thomas Malory’s 729#4829B2: adaptation from the Late Middle Ages. Malory had collected many of the popular !ut scattered Arthurian narratives into a more coherent compilation- the Le Morte d’Arthur 72954:+ Ho*ever- Malory did not invent anything su!stan- tially ne* into the narrative and mainly reprised the contents of the earlier narratives. Modern adaptations of Malory’s *or, are for e.ample- Mar, Twain’s A Connecticut Yankee in ing Arthur’s Court 72553:- T+H+ 1hite’s !he "nce and Future ing 72345: and Marion Zimmer ?radley’s !he Mists o$ Avalon 7235;:+ Twain’s adaptation is a more satirical adaptation of Malory’s *or,- *hereas 1hite’s adaptation is more pacifistic in comparison to the original *or,+ Zimmer ?radley’s adaptation approaches the Arthurian legends from a more feminist point of vie*- *hich aimed to provide a voice for the female characters of the Arthurian legends, *ho *ere thus far more shallo* and largely su!ordinated compared to the male characters. Adaptation and the innovations that it provides to earlier *orks continues till this day+ In addition to literature- the Arthurian leg- ends have e&en !een adapted into movies and videogames. /eywords: Arthurian literature- genre- adaptation- intertextuality The originality of this thesis has !een checked using the Turnitin riginalityCheck service+ TIIVISTELMÄ Quoc-Trong Huynh$ The %ein&ention of the %ound Ta!le (ro gradu -tutkielma Tampereen yliopisto )nglannin kielen Da kirDallisuuden maisteriohDelma Lokakuu "#"# Tässä tutkielmassa pyritEEn selvittEmEEn miten erinEiset sovitukset o&at muokanneet Da kehittEneet arturiaanista tarua &arhaisemmista &ersioista nykyiseen muotoonsa+ @ykyaikainen arturiaaninen kertomus on itse asiassa useamman eri kirDailiDoiden teoksien kooste+ /uningas Arthurin Da hEnen (yFreEn pFydEn ritareidensa taru on huomionarvoinen esimerkki keskiai,aisesta tarukirDallisuudesta+ Tyypillisessä arturiaanisessa ,ertomuksessa Arthur &etEE kuuluisan miekan ki&estE Da kruunataan ,unin,aaksi- myöhemmin hEn Doutuu ritareidensa kanssa erinEisiin seikkailuihin Da lopulta saa surmansa Camlannin taistelussa+ @EmE tutut kertomukset o&at kuitenkin alun perin erillisiE taruDa- mutta perustui&at samaan tarumaailmaan+ /uningas Arthurin Da arturiaanisen kirDallisuuden nykyiset piirteet syntyi&Et lukuisien eri kirDailiDoiden adaptaatioden eli sovituksien työn tuloksena+ Arturiaaninen genre eli kirDallisuuden laDi kehittyi itsenEisten kirDailiDoiden sovituksien myötE+ Garhaisessa arturiaanisessa kirDallisuudessa ei ollut min,EEnlaista virallista auktoriteettiE- Doka olisi &oinut omistaa Da sEEdellE mi,E on oikein tai &EErin teoksien sisällFissE- tai mEErittEE mitE laDityyppiin kuuluu+ Sen siDaan kirDailiDat perusti&at &Ehitellen arturiaanisen laDityypin Dat,osovittamalla Da levittEmEllE suosittuDa kertomuksia Da DuonenpiirteitE+ Myös epEsuositut piirteet karsiutuvat &Ehitellen tEmEn kautta+ TEmE ko,o ilmiF on esimerkki intertekstuaalisuudesta- eli tekstien 7Da kirDailiDoiden: &Elisiin vuorovaikutuksiin+ Suositut kertomuksen saa&at Datkoa erinEisten tekiDFiden toimesta- Dotka sovitta&at lEhdekertomuksista omia Datko- osiaan+ ADan myötE nEmE saattavat levitE suureen suosioon Da tiettyjen Duonenpiirteiden Dat,uva toistaminen &Ehitellen vakiinnuttaa ne keskeiseksi osaksi arturiaanista ,ertomusta+ Sovituksen muotoDa on ilmennyt kolme$ laa%ennus- toisto Da uudelleentulkinta+ Laa%ennuksessa kehitetEEn uutta sisältFE- Dota ei ollut aikaisemmissa teoksissa- kuten uusia hahmoDa tai Duonia+ !oistossa taas aikaisempaa teosta toistetaan uudelleen miltei ,okonaisuudessaan- ei,E sovituksessa kehitetE mitEEn merkittE&En uutta- mutta toteuttaa tErkeEn tehtE&En aikaisemman teoksen sisällFn &akiinnuttamisen laDityypin kannalta+ &udelleentulkinnassa taas lEhestytEEn ai,aisempia teoksia uudesta nE,Fkulmasta- Do,a usein muuttaa teoksen sisEltFE suuresti kuten esimerkiksi T.H+ 1hiten 2345 sovitus on pasifistisempi sisällFltEEn ,uin al,uperEiset teokset+ Muistuttanen kuitenkin- ettE sovituksissa ilmenee enemmEn ,uin yksi nEistE ,olmesta menetelmistE- mutta teoksien lopulliset pEEmEErEt mEErittE&Et niiden pEEasiallisen sovituksen muodon+ Tutkielman loppupEEtelmissä ,Ey ilmi- ettE nykyaikainen arturiaaninen taru todellakin on useamman eri kirDailiDan työn tulosta+ 6eoffrey MonmouthilEinen 722##82249: perusti englanninkielisen arturiaanisen perinteen noin &uonna 22;< nimeEmEllE ?adonicuksen taistelun &oittaneen DohtaDan Arthuriksi Historia Regum Britanniae -teoksessaan+ 6eoffreyn teos laa%ensi aikaisemman kirDoittaDan- @enniuksen- Histora Brittonum -teosta- Dossa kyseinen roomalais-!rittilEinen DohtaDa oli alun perin DEEnyt nimeEmEttE+ 6eoffreyn teoksen ritarilliset teemat innostivat useita muita sen aDan kirDailiDoita luomaan lisäE ritarillisia kertomuksia- kuten Chretien de Troyes 722;#82232: muun muussa loi Lancelotin- Dota ei alun perin ollut 6eoffreyn teoksessa mu,ana+ Troyesin teoksen suosion myötE Lancelotista on muodostunut keskeinen hahmo arturiaanisessa tarinan,erronnassa aDan saatossa+ @ykypEi&En arturiaaninen taru on pit,Elti Sir Thomas Maloryn 729#4829B2: myöhEiskeskiaikaisen sovituksen mukainen+ Malory oli ,oonnut haDanaisista arturiaanisista kertomuksista yhtenEisemmEn ko,onaisuuden Le Morte d’Arthurin 72954:+ HEn ei ,uitenkaan kehittEnyt mitEEn merkittE&En uutta sisältFE- tEllFin hEnen teoksensa &ain toisti ai,aisempien teoksien sisältFE+ @ykyaikaisemmat sovitukset Maloryn teoksesta ovat esimerkiksi Mar, Twainin A Connecticut Yankee in ing Arthur’s Court 72553:- T.H+ 1hiten The "nce and Future ing 72345: Da Marion Zimmer ?radleyn The Mists o$ Avalon 7235;:+ Twainin teos on satiirisempi &ersio Maloryn teoksesta- ,un taas 1hite on pasifistisempi versio alkuperEisen sotaisuuteen nEhden+ Zimmer ?radleyn
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  • Tape ID Title Language System

    Tape ID Title Language System

    Tape ID Title Language System 1375 10 English PAL 0361sn 101 Dalmatians - Live Action (NTSC) English NTSC 0362sn 101 Dalmatians II (NTSC) English NTSC 6826 12 Monkeys (NTSC) English NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian PAL 1078 18 Again English Pal 5163a 1900 - Part I English pAL 5163b 1900 - Part II English pAL 1244 1941 English PAL 0172sn 2 Days In The Valley (NTSC) English NTSC f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French PAL 1304 200 Cigarettes English Pal 6474 200 Cigarettes (NTSC) English NTSC 2401 24 - Season 1, Vol 1 English PAL 2406 24 - Season 2, Part 1 English PAL 2407 24 - Season 2, Part 2 English PAL 2408 24 - Season 2, Part 3 English PAL 2409 24 - Season 2, Part 4 English PAL 2410 24 - Season 2, Part 5 English PAL 5675 24 Hour People English PAL 2402 24- Season 1, Part 2 English PAL 2403 24- Season 1, Part 3 English PAL 2404 24- Season 1, Part 4 English PAL 2405 24- Season 1, Part 5 English PAL 3287 28 Days Later English PAL 5731 29 Palms English PAL 5501 29th Street English pAL 3141 3000 Miles To Graceland English PAL 6234 3000 Miles to Graceland (NTSC) English NTSC f103 4 Adventures Of Reinette and Mirabelle (Subtitled) French PAL 0514s 4 Days English PAL 3421 4 Dogs Playing Poker English PAL 6607 4 Dogs Playing Poker (NTSC) English nTSC g033 4 Shorts By Werner Herzog (Subtitled) English PAL 0160 42nd Street English PAL 6306 4Th Floor (NTSC) English NTSC 3437 51st State English PAL 5310 54 English Pal 0058 55 Days At Peking English PAL 3052 6 Degrees Of Separation English PAL 6389 60s, The (NTSC) English NTSC 6555 61* (NTSC) English NTSC f126 7 Morts Sur Ordonnance (NOT Subtitled) French PAL 5623 8 1/2 Women English PAL 0253sn 8 1/2 Women (NTSC) English NTSC 1175 8 Heads In A Duffel Bag English pAL 5344 8 Mile English PAL 6088 8 Women (NTSC) (Subtitled) French NTSC 5041 84 Charing Cross Road English PAL 1129 9 To 5 English PAL f220 A Bout De Souffle (Subtitled) French PAL 0652s A Funny Thing Happened On The Way To The Forum English PAL f018 A Nous Deux (NOT Subtitled) French PAL 3676 A.W.O.L.