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Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested. -
Outlaw Triathlon 2012 - Provisional Results: Version 4 Email Enquiries - [email protected]
OUTLAW TRIATHLON 2012 - PROVISIONAL RESULTS: VERSION 4 EMAIL ENQUIRIES - [email protected] POS NAME SURNAME CLUB RACE NO. GENDER CAT CAT POS. SWIM T1 BIKE SPLIT 1 BIKE SPLIT 2 BIKE SPLIT 3 BIKE T2 RUN SPLIT 1 RUN SPLIT 2 RUN SPLIT 3 RUN SPLIT 4 RUN SPLIT 5 RUN SPLIT 6 RUN FINISH NOTES 1 GI TRI CLUB 936 TEAM TEAM 1 00:57:09 00:01:06 00:26:14 02:35:55 03:31:17 04:28:33 00:00:17 00:21:44 01:39:31 01:17:59 01:39:31 02:18:32 02:42:00 03:23:07 08:50:14 Finished 2 THE SHERIFFS 977 TEAM TEAM 2 00:50:05 00:02:01 01:41:33 02:49:44 03:55:32 05:04:40 00:00:19 00:18:07 00:35:59 01:07:27 01:25:49 01:59:22 02:19:42 02:55:46 08:52:53 Finished 3 HARRY WILTSHIRE DRIVIN TO TRI 918 MALE 25/29 1 00:48:35 00:01:49 01:41:53 02:48:00 03:49:02 04:53:29 00:02:33 00:20:55 00:42:44 03:19:47 09:06:16 Finished 4 CHRIS GOODFELLOW 231 MALE 30/34 1 00:54:48 00:02:53 00:31:27 02:48:13 03:49:33 04:53:21 00:02:50 00:20:12 00:40:41 01:16:52 01:38:09 02:16:17 02:39:16 03:17:25 09:11:19 Finished 5 CANCER RESEARCH UK 929 TEAM TEAM 3 00:55:25 00:00:45 00:36:06 02:57:42 04:00:51 05:04:58 00:00:16 00:20:24 00:40:27 01:16:32 01:37:51 02:14:35 02:36:11 03:14:17 09:15:44 Finished 6 DAWN 2 934 TEAM TEAM 4 01:03:09 00:00:54 01:48:57 02:59:59 04:09:10 05:22:17 00:00:19 00:19:29 00:38:12 01:11:09 01:30:23 02:04:21 02:23:59 02:59:07 09:25:50 Finished 7 NATHAN BRADFORD CLIMB ON BIKES HEREFORD 205 MALE 30/34 2 00:59:28 00:02:00 00:32:17 02:56:08 03:58:13 05:02:49 00:02:02 00:21:26 00:42:11 01:19:17 01:40:12 02:18:22 02:41:09 03:19:39 09:26:01 Finished 8 JOHN WHITWORTH 304 MALE 30/34 -
King John in Fact and Fiction
W-i".- UNIVERSITY OF PENNS^XVANIA KING JOHN IN FACT AND FICTION BY RUTH WALLERSTEIN ff DA 208 .W3 UNIVERSITY OF FLORIDA LIBRARY ''Ott'.y^ y ..,. ^..ytmff^^Ji UNIVERSITY OF PENNSYLVANIA KING JOHN IN FACT AND FICTION BY RUTH WAIXE510TFIN. A THESIS PRESENTED TO THE FACULTY OF THE GiLA.DUATE SCHOOL IN PARTLVL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY 'B J <^n5w Introductory LITTLE less than one hundred years after the death of King John, a Scottish Prince John changed his name, upon his accession to L the and at the request of his nobles, A throne to avoid the ill omen which darkened the name of the English king and of John of France. A century and a half later, King John of England was presented in the first English historical play as the earliest English champion and martyr of that Protestant religion to which the spectators had newly come. The interpretation which thus depicted him influenced in Shakespeare's play, at once the greatest literary presentation of King John and the source of much of our common knowledge of English history. In spite of this, how- ever, the idea of John now in the mind of the person who is no student of history is nearer to the conception upon which the old Scotch nobles acted. According to this idea, John is weak, licentious, and vicious, a traitor, usurper and murderer, an excommunicated man, who was com- pelled by his oppressed barons, with the Archbishop of Canterbury at their head, to sign Magna Charta. -
Make We Merry More and Less
G MAKE WE MERRY MORE AND LESS RAY MAKE WE MERRY MORE AND LESS An Anthology of Medieval English Popular Literature An Anthology of Medieval English Popular Literature SELECTED AND INTRODUCED BY DOUGLAS GRAY EDITED BY JANE BLISS Conceived as a companion volume to the well-received Simple Forms: Essays on Medieval M English Popular Literature (2015), Make We Merry More and Less is a comprehensive anthology of popular medieval literature from the twel�h century onwards. Uniquely, the AKE book is divided by genre, allowing readers to make connec�ons between texts usually presented individually. W This anthology offers a frui�ul explora�on of the boundary between literary and popular culture, and showcases an impressive breadth of literature, including songs, drama, and E ballads. Familiar texts such as the visions of Margery Kempe and the Paston family le�ers M are featured alongside lesser-known works, o�en oral. This striking diversity extends to the language: the anthology includes Sco�sh literature and original transla�ons of La�n ERRY and French texts. The illumina�ng introduc�on offers essen�al informa�on that will enhance the reader’s enjoyment of the chosen texts. Each of the chapters is accompanied by a clear summary M explaining the par�cular delights of the literature selected and the ra�onale behind the choices made. An invaluable resource to gain an in-depth understanding of the culture ORE AND of the period, this is essen�al reading for any student or scholar of medieval English literature, and for anyone interested in folklore or popular material of the �me. -
Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham
Early Theatre 14.1 (2011) Alexis Butzner ‘Sette on foote with gode Wyll’: Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham Lythe and listin, gentilmen, That be of frebore blode; I shall you tel of a gode yeman, His name was Robyn Hode. A Gest of Robyn Hode1 In the greenwood of England, a game is afoot. Robin Hood, the noble ban- dit, has been identified as the audacious hero of Sherwood and Barnsdale for centuries, and his constant presence in ballads and drama since the four- teenth century attests to his popularity in and influence on the culture of the English nation. In a manuscript fragment of the late fifteenth century,2 the legend finds incarnation in a twenty-one-line drama (forty-two, if the caesurae are recognized instead as line-breaks), known by most scholars as Robin Hood and the Sheriff of Nottingham. The text contains no indication of scene-divisions or stage directions, and does not offer any notation to indi- cate the identity of the various speakers. Because the text offers so little in the way of definite answers, it invites interpretation. Despite their admirable efforts to treat the fragment, however, scholars have reached little consensus: critics, while advancing the probable accuracy of their own reconstructions, have yet to resolve some crucial difficulties that arise in the extant text. By reading the script Robin Hood and the Sheriff of Nottingham as a single and complete play-text, as I do in this re-examination, readers may reconcile its apparent inconsistencies. Since the first extant record of Robin Hood in literature, in the four- teenth century Piers Plowman, tales and rhymes of the legendary outlaw have permeated Anglophone culture — a feat of public memory that, according to Stephen Knight, is surpassed only by stories of King Arthur.3 That the Robin Hood legend survives — and thrives — should not come as a shock; 61 62 Alexis Butzner even in his earliest incarnations, he occupies a liminal space between social strata. -
Robin Hood Was Smiling
CHAPTER 1 Trouble at Treeton Mine Every day at Treeton Mine was terrible, but today was worse than all the others. Clouds of black smoke covered the sky. Everywhere people lay hurt or dead. The terrible explosion at the mine was still sounding in people’s ears. Rowan found his father. He was sitting by the body of his uncle and crying. ‘He’s dead, Rowan. They’re all dead.’ Rowan pointed at some men on horses. They were riding towards the mine. ‘Look, Father. Here’s Gisborne. Slowly, the Sheriff got off his horse. ‘I hope you’re not Please tell him. The mine is too dangerous. We can’t work giving these people a choice, Gisborne,’ he said softly. here anymore.’ Gisborne looked at him. Then he took his knife and Sir Guy of Gisborne was dark and good-looking but his pushed it into the miner’s body. Rowan couldn’t believe it. eyes were hard and cold. He got off his horse and looked His father fell onto the grass, dead. at all the dead bodies. Rowan’s father ran to him. ‘Very good,’ said the Sheriff happily. Then he turned to ‘We’re not going to work in your mine anymore, the miners with a small, thin smile. ‘Enjoy your free time. Gisborne. We can’t. It isn’t safe. Make it safe and we’ll go You’ve lost your jobs. Goodbye.’ He started to walk away. back to work.’ Gisborne followed him. He didn’t understand. ‘But we Gisborne was angry. ‘You work when I tell you!’ he need miners. -
Chapter One: Introduction 1
Feminism, citizenship and social activity: The role and importance of local women’s organisations, Nottingham 1918-1969 Samantha Clements, B.A., M.A. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy January 2008 ABSTRACT This local study of single-sex organisations in Nottingham and Nottinghamshire is an attempt to redress some of the imbalanced coverage given to this area of history thus far. A chronological study, it examines the role, importance and, to some extent, impact of a wide range of women’s organisations in the local context. Some were local branches of national organisations, others were specifically concerned with local issues. The local focus allows a challenge to be made to much current thought as to the strength of a “women’s movement” in the years between the suffrage movement and the emergence of a more radical form of feminism in the 1970s. The strength of feminist issues and campaigning is studied in three periods – the inter-war period, the Second World War and its immediate aftermath, and the 1950s and 1960s. The first two periods have previously been studied on a national level but, until recently, the post-Second World war era has been written off as overwhelmingly domestic and therefore unconstructive to the achievement of any feminist aims. This study suggests that, at a local level, this is not the case and that other conclusions reached about twentieth century feminism at a national level are not always applicable to the local context. The study also goes further than attempting to track interest in equality feminism in the mid years of the century by discussing the importance of citizenship campaigns and the social dimension of membership of women’s organisations. -
Meeple University Guide to Robin Hood and the Merry Men
Meeple University Guide to Robin Hood and the Merry Men MERRY MEN PHASE 3. Guy of Gisborne (breastplate icon) 11. Free prisoners (tower icon) Take income, then place meeples one at a time - Remove closest barricade to the castle (return to player's lair) - Spend distraction tokens, roll two skill dice per token Two types of actions: active (stronger) and passive (weaker). - Advance carriage to castle if it is now unimpeded (see below) - Free prisoners based on number of successes (see below) Active meeples in hideouts, passive meeples in main area. - Gain rewards from Sheriff's stash (see below) No passive action for construction yard or crusade. 4. Prince John (crown icon) - Return Merry Men to owner; gain VP if belongs to opponent - Remove pennies equal to barricades (including the printed one) • From Prison I, needs 1 success, earn 2VP and one reward To take active action, play matching card from hand or passive pile • From Prison II, needs 2 successes, earn 3VP and two rewards To take passive action, play any card from hand to passive pile 5. Activate a road (carriage icon) • From Prison III, needs 3 successes, earn 4VP and three rewards - Advance all carriages one barricade Passive pile has max six cards (can discard), worth VP at end game - Add carriage to the head of the road 12. Archery competition (target icon) 1-5. Gathering sites (circular shield icons) - If carriage enters castle: - Roll skill dice per the level, gain pennies for each success - Take resource matching the site • Place carriage upright on the lot (top to bottom, left to right) - Can attempt each level in sequence until suffering one failure - Cannot hold more than four weapon dice at any time • Pay pennies from the road per the space covered - No additional penalty for failure - If carriage lot fills: 6. -
The Outlaw Hero As Transgressor in Popular Culture
DOI 10.6094/helden.heroes.heros./2014/01/10 Andreas J. Haller 75 The Outlaw Hero as Transgressor in Popular Culture Review of Thomas Hahn, ed. Robin Hood in Popular Culture: Violence, Trans- gression, and Justice. Cambridge: D. S. Brewer, 2000. A look at the anthology Robin Hood in Popu- All articles in the anthology but one (by Sherron lar Culture, edited by Thomas Hahn, can give Lux) describe Robin Hood or his companions as some valuable insights into the role and func- heroes or heroic or refer to their heroism. Nei- tions of the hero in popular culture. The subtitle ther can we fi nd an elaborate theory of the pop- Violence, Transgression, and Justice shows the ular hero, nor are the models of heroism and direction of the inquiry. As the editor points out, heroization through popular culture made ex- since popular culture since the Middle Ages has plicit. Still, we can trace those theories and mo- been playful and transgressive, outlaw heroes dels which implicitly refer to the discourse of the are amongst the most popular fi gures, as they heroic. Therefore, I will paraphrase these texts “are in a categorical way, transgressors” (Hahn and depict how they treat the hero, heroization, 1). And Robin Hood is the most popular of them and heroism and how this is linked to the idea of all. Certainly, the hero is a transgressor in gen- transgression in popular culture. eral, not only the outlaw and not only in popular culture. Transgressiveness is a characteristic Frank Abbot recalls his work as a scriptwriter for trait of many different kinds of heroes. -
Policing in the 21St Century
House of Commons Home Affairs Committee Policing in the 21st Century Seventh Report of Session 2007–08 Volume II Oral and written evidence Ordered by The House of Commons to be printed 30 October 2008 HC 364-II Published on 10 October 2008 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Home Affairs Committee The Home Affairs Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Home Office and its associated public bodies. Current membership Rt Hon Keith Vaz MP (Labour, Leicester East) (Chairman) Tom Brake MP (Liberal Democrat, Charshalton and Wallington) Ms Karen Buck MP (Labour, Regent’s Park and Kensington North) Mr James Clappison MP (Conservative, Hertsmere) Mrs Ann Cryer MP (Labour, Keighley) David TC Davies MP (Conservative, Monmouth) Mrs Janet Dean MP (Labour, Burton) Patrick Mercer MP (Conservative, Newark) Margaret Moran MP (Labour, Luton South) Gwyn Prosser MP (Labour, Dover) Bob Russell MP (Liberal Democrat, Colchester) Martin Salter MP (Labour, Reading West) Mr Gary Streeter MP (Conservative, South West Devon) Mr David Winnick MP (Labour, Walsall North) The following Member was also a Member of the Committee during the inquiry: Mr Jeremy Browne MP (Liberal Democrat, Taunton) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the Internet via www.parliament.uk. Publication The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. -
Resource Guide the Adventures of Robin Hood
2019-2020 Theatre Season Heroes and Villains Blinn College Division of Visual/Performing Arts and Kinesiology Brenham Campus The Adventures of Robin Hood Resource Guide This resource guide serves as an educational starting point to understanding and enjoying Michele L. Vacca’s adaptation of The Adventures of Robin Hood. With this in mind, please note that the interpretations of the theatrical work may differ from the original source content. Performances November 21 & 22 7 p.m. November 23 & 24 2 p.m. Elementary School Preview Performances: November 21 & 22 10 a.m. & 1 p.m. Dr. W.W. O’Donnell Performing Arts Center Auditorium Brenham, Texas Tickets can be purchased in advance online at www.blinn.edu/BoxOffice, by calling 979-830-4024, or by emailing [email protected] Directed by Brad Nies Technical Theatre Direction by Kevin Patrick Costume, Makeup, and Hair Design by Jennifer Patrick KCACTF Entry The Adventures of Robin Hood is Blinn College-Brenham’s entry to the 2019 Kennedy Center American College Theatre Festival. The aims of this national theater program are to identify and promote quality in college-level theater production. Each production entered is eligible for a response by a KCACTF representative. Synopsis Based on the novel The Merry Adventures of Robin Hood by Howard Pyle, and adapted by Chicago playwright Michele L. Vacca, this play tells the story of a heroic outlaw who lives in Sherwood Forest and bestows generosity to the less fortunate. But when the nasty Sheriff of Nottingham forces the locals to pay unaffordable taxes, Robin fights against him by stealing from the rich so that he may give to the poor. -
Little Red Robin Hood CHARACTER SCHEDULE
Characters of Little Red Robin Hood CHARACTER SCHEDULE AMELIA, A.K.A. LITTLE RED ROBIN HOOD The young heroine of our panto. The forest creatures nickname Amelia “Little Red Robin Hood” because of her red cloak and how she reminds them of their long-lost savior, Robin Hood. She is a strong-willed, fifteen-year- old orphan with a knack for archery and a determination to save Sherwood Forest. MAUD A.K.A. THE GRANNY IN THE WOODS The Granny is a classic character from Little Red Riding Hood, but Maud is much more than a wolf’s dinner. She fights side-by-side with Little Red against a greedy villainess, inspires the whole forest with her letters to the editor, and is the dame of this panto! What’s a dame, you ask? In basic terms, the dame is the beloved matriarch of any panto, and is always a drag role – think Robin Williams in Mrs. Doubtfire. LADY NOTTINGHAM Unlike Maud and Amelia, Lady Nottingham doesn’t have a direct fairytale counterpart. She’s the villain of our story and is a sort of combination between Prince John from Disney’s cartoon Robin Hood and Cersei Lannister from Game of Thrones. CHARACTER SCHEDULE LUPO The big bad wolf of our story isn’t really that big, and truly isn’t that bad, either. Lupo gets caught up in a bad crowd working for Lady Nottingham, but doesn’t want to eat Little Red or her Granny like in the original tales. He serves as more of a narrator in our version.