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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 -
The Merry Adventures of Robin Hood of Great Renown in Nottinghamshire
GIFT OF Mrs. S. Einarsson Advent ures-of. I 1 heTAerry-Friar-carriefh Robia-acro/VfheWater : %??VV' V THE MERRY ADVENTURES of ROBIN HOOD of Great Renown, in Nottinghamshire . WRITTEN and ILLUSTRATED W\ By HOWARD PYLE. NEW YORK-. Printed by CHARLES SCR IBNER'S SONS A^.743^74 5 Broadway, and sold by same MDCCCLXXXIU. Copyright, 1883, By CHARLES SCKIBNER'S SONS. From the Author to the Reader. U who so plod amid serious things that you feel it shame to give even a short moments to mirth and rOyourself tip for few joyous- in the land think that ness of Fancy ; you who life hath nought to do with innocent laughter that can harm no one ; these pages are not to the leaves and no than this I tell for you. Clap go farther ', for you plainly that if you go farther you will be scandalized by seeing good, sober folks of real history so frisk and caper in gay colors and motley, that you would not know them but for the names tagged to them. Here is a stout, lusty fellow with a quick temper, yet none so ill for all that, who goes by the name of Henry II. Here is a fair, gentle lady before whom all the others bow and call her Queen Eleanor. Here is a fat rogue of a fellow, dressed up in rich robes of a clerical kind, that all the good folk call my Lord Bishop of Hereford. Here is a certain fellow with a sour temper and a grim look the worshipful, the Sheriff of Nottingham. -
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. -
Sherwood Forest National Nature Reserve Oyster Fungus on Birch, Birklands
Sherwood Forest National Nature Reserve Oyster fungus on birch, Birklands Introduction In the heart of Nottinghamshire lie the ancient forests of Birklands and Budby, an extensive area of old pasture-woodland and heathland on the dry nutrient-poor soils © Peter Wakely/Natural England © Peter Wakely/Natural of the Sherwood Sandstone. Together they represent a rare and wonderful fragment of the great forest of Sherwood, one of the most famous forests in the world. Today, over 420 hectares of this internationally important forest is now managed as a National Nature Reserve (NNR). © Peter Wakely/Natural England © Peter Wakely/Natural Ancient wood-pasture, Birklands “By itself it stands, and is like no other spot on which my eyes have looked, or my feet have ever England © Peter Wakely/Natural trod. It is Birkland...” (Charles Reece Pemberton, 1835). Woodland glade, Birklands History Birklands, which is an old Viking word meaning ‘birch land’, was first mentioned in documents in 1251 and is likely to be at least one thousand years old. It was part of the vast Royal Forest of Sherwood that once covered over 41,000 hectares of the county. The wood remained the property of the Crown for nearly 600 years and was used as a source of timber, grazing land and as an exclusive hunting ground rich with wild deer for successive kings and queens of England. Contrary to popular opinion, much of the historic Sherwood Forest was, in fact, tree-less, being dominated by wild open plains of heathland such as Budby South Forest. This uncultivated forest land was once grazed by wild deer, rabbits and livestock; and its trees, gorse and bracken were collected by local people for fuel and fodder. -
Sherwood Forest Country Park Contents
Survey of Visitors August 2015 Sherwood Forest Country Park Contents PART 1 Survey Aims & Objectives Methodology Sample Size & Location PART 2 Visitor Characteristics PART 3 Visitor Experience PART 4 Summary & Key Findings Part 1 Aims & Objectives Methodology Sample Size & Location Survey Aims & Objectives This survey was commissioned by Nottinghamshire County Council’s Country Park Service to gauge current visitor satisfaction at Sherwood. This is part of an annual programme of visitor insight research and includes: • Demographic profile of visitors • Frequency of visits • Places visited once at the destination • Specific insights into ‘tourist’ visitors • Effectiveness of local promotion / visitor guides • Assessment of service delivery perceptions • Measurement of visitor satisfaction Where possible comparisons will be drawn with previous surveys to identify improvement or decline but this will not be possible in all cases as survey questions and formats have changed over time. Methodology The survey took place over seven days during the school summer holidays from Monday 10 th August – Sunday 16 th August 2015. This was the week immediately following the Park’s annual Robin Hood Festival. It was conducted during August to mirror the dates of previous visitor surveys and to provide clearer year-on-year comparisons. The survey was based on face-to-face interviews with visitors and three researchers were involved in the project. Researchers used Ipad tablet devices to quickly capture information. Questionnaires were programmed with icons, images, sliders and radio buttons to illustrate points and engage interviewees. Methodology The questionnaire consisted of 19 questions which were designed and agreed in advance with the Park Development Officer. -
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. -
Treacherous 'Saracens' and Integrated Muslims
TREACHEROUS ‘SARACENS’ AND INTEGRATED MUSLIMS: THE ISLAMIC OUTLAW IN ROBIN HOOD’S BAND AND THE RE-IMAGINING OF ENGLISH IDENTITY, 1800 TO THE PRESENT 1 ERIC MARTONE Stony Brook University [email protected] 53 In a recent Associated Press article on the impending decay of Sherwood Forest, a director of the conservancy forestry commission remarked, “If you ask someone to think of something typically English or British, they think of the Sherwood Forest and Robin Hood… They are part of our national identity” (Schuman 2007: 1). As this quote suggests, Robin Hood has become an integral component of what it means to be English. Yet the solidification of Robin Hood as a national symbol only dates from the 19 th century. The Robin Hood legend is an evolving narrative. Each generation has been free to appropriate Robin Hood for its own purposes and to graft elements of its contemporary society onto Robin’s medieval world. In this process, modern society has re-imagined the past to suit various needs. One of the needs for which Robin Hood has been re-imagined during late modern history has been the refashioning of English identity. What it means to be English has not been static, but rather in a constant state of revision during the past two centuries. Therefore, Robin Hood has been adjusted accordingly. Fictional narratives erase the incongruities through which national identity was formed into a linear and seemingly inevitable progression, thereby fashioning modern national consciousness. As social scientist Etiénne Balibar argues, the “formation of the nation thus appears as the fulfillment of a ‘project’ stretching over centuries, in which there are different stages and moments of coming to self-awareness” (1991: 86). -
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. -
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.