Excalibur (Film)
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Queen Guinevere
Ingvarsdóttir 1 Hugvísindasvið Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir June 2011 Ingvarsdóttir 2 Háskóli Íslands Hugvísindasvið Enskudeild Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir Kt.: 060389-3309 Supervisor: Ingibjörg Ágústsdóttir June 2011 Ingvarsdóttir 3 Abstract This essay is an attempt to recollect and analyze the character of Queen Guinevere in Arthurian literature and movies through time. The sources involved here are Welsh and other Celtic tradition, Latin texts, French romances and other works from the twelfth and thirteenth centuries, Malory’s and Tennyson’s representation of the Queen, and finally Guinevere in the twentieth century in Bradley’s and Miles’s novels as well as in movies. The main sources in the first three chapters are of European origins; however, there is a focus on French and British works. There is a lack of study of German sources, which could bring different insights into the character of Guinevere. The purpose of this essay is to analyze the evolution of Queen Guinevere and to point out that through the works of Malory and Tennyson, she has been misrepresented and there is more to her than her adulterous relation with Lancelot. This essay is exclusively focused on Queen Guinevere and her analysis involves other characters like Arthur, Lancelot, Merlin, Enide, and more. First the Queen is only represented as Arthur’s unfaithful wife, and her abduction is narrated. We have here the basis of her character. Chrétien de Troyes develops this basic character into a woman of important values about love and chivalry. -
Article Fairy Marriages in Tolkien’S Works GIOVANNI C
article Fairy marriages in Tolkien’s works GIOVANNI C. COSTABILE Both in its Celtic and non-Celtic declinations, the motif the daughter of the King of Faerie, who bestows on him a of the fairy mistress has an ancient tradition stretching magical source of wealth, and will visit him whenever he throughout different areas, ages, genres, media and cul- wants, so long as he never tells anybody about her.5 Going tures. Tolkien was always fascinated by the motif, and used further back, the nymph Calypso, who keeps Odysseus on it throughout his works, conceiving the romances of Beren her island Ogygia on an attempt to make him her immortal and Lúthien, and Aragorn and Arwen. In this article I wish husband,6 can be taken as a further (and older) version of to point out some minor expressions of the same motif in the same motif. Tolkien’s major works, as well as to reflect on some over- But more pertinent is the idea of someone’s ancestor being looked aspects in the stories of those couples, in the light of considered as having married a fairy. Here we can turn to the often neglected influence of Celtic and romance cultures the legend of Sir Gawain, as Jessie Weston and John R. Hul- on Tolkien. The reader should also be aware that I am going bert interpret Gawain’s story in Sir Gawain and the Green to reference much outdated scholarship, that being my pre- Knight as a late, Christianised version of what once was a cise intent, though, at least since this sort of background fairy-mistress tale in which the hero had to prove his worth may conveniently help us in better understanding Tolkien’s through the undertaking of the Beheading Test in order to reading of both his theoretical and actual sources. -
Camelot the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Camelot The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Anne Newhall (left) as Billie Dawn and Craig Spidle as Harry Brock in Born Yesterday, 2003. Contents InformationCamelot on the Play Synopsis 4 Characters 5 About the Playwright 6 Scholarly Articles on the Play A Pygmalion Tale, but So Much More 8 Well in Advance of Its Time 10 Utah Shakespeare Festival 3 8FTU$FOUFS4USFFUr $FEBS$JUZ 6UBIr Synopsis: Camelot On a frosty morning centuries ago in the magical kingdom of Camelot, King Arthur prepares to greet his promised bride, Guenevere. Merlyn the magician, the king’s lifelong mentor, finds Arthur, a reluctant king and even a more reluctant suitor, hiding in a tree. -
Camelot: Rules
Original Game Design: Tom Jolly Additional Game Design: Aldo Ghiozzi C a m e l o t : V a r i a t i o n R u l e s Playing Piece Art & Box Cover Art: The Fraim Brothers Game Board Art: Thomas Denmark Graphic Design & Box Bottom Art: Alvin Helms Playtesters: Rick Cunningham, Dan Andoetoe, Mike Murphy, A C C O U T R E M E N T S O F K I N G S H I P T H E G U A R D I A N S O F T H E S W O R D Dave Johnson, Pat Stapleton, Kristen Davis, Ray Lee, Nick Endsley, Nate Endsley, Mathew Tippets, Geoff Grigsby, Instead of playing to capture Excalibur, you can play In this version, put aside one of the 6 sets of tokens (or © 2005 by Tom Jolly Allan Sugarbaker, Matt Stipicevich, Mark Pentek and Aldo Ghiozzi to capture the Accoutrements of Kingship (hereafter make 2 new tokens for this purpose). Take two of the referred to as "Items") from the rest of the castle, Knights (Lancelots) from that set and place them efore there was King Arthur, there was… well, same time. Each player controls a small army of 15 returning the collected loot to your Entry. If you can within 2 spaces of Excalibur before the game starts. Arthur was a pretty common name back then, pieces, attempting to grab Excalibur from the claim any 2 of the 4 Items (the Crown, the Scepter, During the game, any player may move and attack with B since every mother wanted their little Arthur to center of the game board and return it to their the Robe, the Throne) one or both of these Knights, or use one of these be king, and frankly nobody really knew who "the real starting location. -
Actions Héroïques
Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet. -
Arch : Northwestern University Institutional Repository
NORTHWESTERN UNIVERSITY Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of History By Matthew Kane Sterenberg EVANSTON, ILLINOIS December 2007 2 © Copyright by Matthew Kane Sterenberg 2007 All Rights Reserved 3 ABSTRACT Myth and the Modern Problem: Mythic Thinking in Twentieth-Century Britain Matthew Sterenberg This dissertation, “Myth and the Modern Problem: Mythic Thinking in Twentieth- Century Britain,” argues that a widespread phenomenon best described as “mythic thinking” emerged in the early twentieth century as way for a variety of thinkers and key cultural groups to frame and articulate their anxieties about, and their responses to, modernity. As such, can be understood in part as a response to what W.H. Auden described as “the modern problem”: a vacuum of meaning caused by the absence of inherited presuppositions and metanarratives that imposed coherence on the flow of experience. At the same time, the dissertation contends that— paradoxically—mythic thinkers’ response to, and critique of, modernity was itself a modern project insofar as it took place within, and depended upon, fundamental institutions, features, and tenets of modernity. Mythic thinking was defined by the belief that myths—timeless rather than time-bound explanatory narratives dealing with ultimate questions—were indispensable frameworks for interpreting experience, and essential tools for coping with and criticizing modernity. Throughout the period 1900 to 1980, it took the form of works of literature, art, philosophy, and theology designed to show that ancient myths had revelatory power for modern life, and that modernity sometimes required creation of new mythic narratives. -
King Arthur and Medieval Knights
Renata Jawniak KING ARTHUR AND MEDIEVAL KNIGHTS 1. Uwagi ogólne Zestaw materiałów opatrzony wspólnym tytułem King Arthur and Medieval Knights jest adresowany do studentów uzupełniających studiów magisterskich na kierun- kach humanistycznych. Przedstawione ćwiczenia mogą być wykorzystane do pracy z grupami studentów filologii, kulturoznawstwa, historii i innych kierunków hu- manistycznych jako materiał przedstawiający kulturę Wielkiej Brytanii. 2. Poziom zaawansowania: B2+/C1 3. Czas trwania opisanych ćwiczeń Ćwiczenia zaprezentowane w tym artykule są przeznaczone na trzy lub cztery jednostki lekcyjne po 90 minut każda. Czas trwania został ustalony na podstawie doświadcze- nia wynikającego z pracy nad poniższymi ćwiczeniami w grupach na poziomie B2+. 4. Cele dydaktyczne W swoim założeniu zajęcia mają rozwijać podstawowe umiejętności językowe, takie jak czytanie, mówienie, słuchanie oraz pisanie. Przy układaniu poszczegól- nych ćwiczeń miałam również na uwadze poszerzanie zasobu słownictwa, dlatego przy tekstach zostały umieszczone krótkie słowniczki, ćwiczenia na odnajdywa- nie słów w tekście oraz związki wyrazowe. Kolejnym celem jest cel poznawczy, czyli poszerzenie wiedzy studentów na temat postaci króla Artura, jego legendy oraz średniowiecznego rycerstwa. 5. Uwagi i sugestie Materiały King Arthur and Medieval Knights obejmują pięć tekstów tematycznych z ćwiczeniami oraz dwie audycje z ćwiczeniami na rozwijanie umiejętności słucha- nia. Przewidziane są tu zadania na interakcję student–nauczyciel, student–student oraz na pracę indywidualną. Ćwiczenia w zależności od poziomu grupy, stopnia 182 IV. O HISTORII I KULTURZE zaangażowania studentów w zajęcia i kierunku mogą być odpowiednio zmodyfiko- wane. Teksty tu zamieszczone możemy czytać i omawiać na zajęciach (zwłaszcza z grupami mniej zaawansowanymi językowo, tak by studenci się nie zniechęcili stopniem trudności) lub część przedstawionych ćwiczeń zadać jako pracę domo- wą, jeżeli nie chcemy poświęcać zbyt dużo czasu na zajęciach. -
Ull History Centre: Papers of Alan Plater
Hull History Centre: Papers of Alan Plater U DPR Papers of Alan Plater 1936-2012 Accession number: 1999/16, 2004/23, 2013/07, 2013/08, 2015/13 Biographical Background: Alan Frederick Plater was born in Jarrow in April 1935, the son of Herbert and Isabella Plater. He grew up in the Hull area, and was educated at Pickering Road Junior School and Kingston High School, Hull. He then studied architecture at King's College, Newcastle upon Tyne, becoming an Associate of the Royal Institute of British Architects in 1959 (since lapsed). He worked for a short time in the profession, before becoming a full-time writer in 1960. His subsequent career has been extremely wide-ranging and remarkably successful, both in terms of his own original work, and his adaptations of literary works. He has written extensively for radio, television, films and the theatre, and for the daily and weekly press, including The Guardian, Punch, Listener, and New Statesman. His writing credits exceed 250 in number, and include: - Theatre: 'A Smashing Day'; 'Close the Coalhouse Door'; 'Trinity Tales'; 'The Fosdyke Saga' - Film: 'The Virgin and the Gypsy'; 'It Shouldn't Happen to a Vet'; 'Priest of Love' - Television: 'Z Cars'; 'The Beiderbecke Affair'; 'Barchester Chronicles'; 'The Fortunes of War'; 'A Very British Coup'; and, 'Campion' - Radio: 'Ted's Cathedral'; 'Tolpuddle'; 'The Journal of Vasilije Bogdanovic' - Books: 'The Beiderbecke Trilogy'; 'Misterioso'; 'Doggin' Around' He received numerous awards, most notably the BAFTA Writer's Award in 1988. He was made an Honorary D.Litt. of the University of Hull in 1985, and was made a Fellow of the Royal Society of Literature in 1985. -
Introduction: the Legend of King Arthur
Department of History University of Wisconsin-Eau Claire “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Professor Matthew Waters By Erin Pevan November 21, 2006 1 Copyright for this work is owned by the author. This digital version is published by McIntyre Library, University of Wisconsin – Eau Claire with the consent of the author. 2 Department of History University of Wisconsin-Eau Claire Abstract of: “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Matthew Waters By Erin Pevan November 21, 2006 The stories of Arthurian literary tradition have provided our modern age with gripping tales of chivalry, adventure, and betrayal. King Arthur remains a hero of legend in the annals of the British Isles. However, one question remains: did King Arthur actually exist? Early medieval historical sources provide clues that have identified various figures that may have been the template for King Arthur. Such candidates such as the second century Roman general Lucius Artorius Castus, the fifth century Breton leader Riothamus, and the sixth century British leader Ambrosius Aurelianus hold high esteem as possible candidates for the historical King Arthur. Through the analysis of original sources and authors such as the Easter Annals, Nennius, Bede, Gildas, and the Annales Cambriae, parallels can be established which connect these historical figures to aspects of the Arthur of literary tradition. -
Writing and Literary Study Spring 2010 the Chivalrous Sir Gawain If
Ahmed 1 Sarin Taslima Ahmed College Writing II: Writing and Literary Study Spring 2010 The Chivalrous Sir Gawain If a man does not open the door for a woman, she may think chivalry is dead or forget that it ever existed at all. Today's woman is not a damsel in distress, but rather stands on equal ground with her masculine counterpart. She has no need to acknowledge that there was ever a time when men lived and died for the sake of honor. However, around 1066 a.d. to 1485 a.d., that was exactly what European knights, and those around the world, did (Achlin). Of these brave soldiers, the most famous were the Knights of the Round Table, subjects of Camelot and King Arthur. Perhaps the most acclaimed knights are dubbed Sir Lancelot and Sir Gawain. Lancelot is still known as the greatest of all knights, the perfect knight, but based on Gawain's actions in Sir Gawain and the Green Knight by the Pearl Poet and those of Lancelot in The Once and Future King by T.H. White, I've come to the conclusion that Gawain is a greater model of chivalry than Lancelot. Following the code of chivalry, Gawain is faithful to God, his King, and he is respectful to women. Lancelot is very talented, but he does not feel the need to follow the laws of knighthood, and ends up disregarding King Arthur, Queen Guinevere and even God because of it. "Two virtues above all else were held to mark the good knight and bring him honor. -
The Arthurian Legend Now and Then a Comparative Thesis on Malory's Le Morte D'arthur and BBC's Merlin Bachelor Thesis Engl
The Arthurian Legend Now and Then A Comparative Thesis on Malory’s Le Morte D’Arthur and BBC’s Merlin Bachelor Thesis English Language and Culture, Utrecht University Student: Saskia van Beek Student Number: 3953440 Supervisor: Dr. Marcelle Cole Second Reader: Dr. Roselinde Supheert Date of Completion: February 2016 Total Word Count: 6000 Index page Introduction 1 Adaptation Theories 4 Adaptation of Male Characters 7 Adaptation of Female Characters 13 Conclusion 21 Bibliography 23 van Beek 1 Introduction In Britain’s literary history there is one figure who looms largest: Arthur. Many different stories have been written about the quests of the legendary king of Britain and his Knights of the Round Table, and as a result many modern adaptations have been made from varying perspectives. The Cambridge Companion to the Arthurian Legend traces the evolution of the story and begins by asking the question “whether or not there ever was an Arthur, and if so, who, what, where and when.” (Archibald and Putter, 1). The victory over the Anglo-Saxons at Mount Badon in the fifth century was attributed to Arthur by Geoffrey of Monmouth (Monmouth), but according to the sixth century monk Gildas, this victory belonged to Ambrosius Aurelianus, a fifth century Romano-British soldier, and the figure of Arthur was merely inspired by this warrior (Giles). Despite this, more events have been attributed to Arthur and he remains popular to write about to date, and because of that there is scope for analytic and comparative research on all these stories (Archibald and Putter). The legend of Arthur, king of the Britains, flourished with Geoffrey of Monmouth’s The History of the Kings of Britain (Monmouth). -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.