Introduction 1 the Chastity Belt
NOTES Introduction 1. David R. Reuben, Everthing You Always Wanted to Know about Sex* (But Were Afraid to Ask) (1969; New York: David McKay, 1970), 230. 2. Richard A. Schwartz, Woody, From Antz to Zelig: A Reference Guide to Woody Allen’s Creative Work, 1964–1998 ( Westport, CT, and London: Greenwood Press, 2000), 96; see also Foster Hirsch, Love, Sex, Death, and the Meaning Life: Woody Allen’s Comedy (New York, St. Louis, et al: McGraw-Hill, 1981), 65–70. 1 The Chastity Belt 1. There are many new studies on modern medievalism, see, for instance, Elizabeth Emery, Consuming the Past: The Medieval Revival in Fin-De-Siècle France (Aldershot, England, Burlington, VT: Ashgate, 2003); The Medieval Hero on Screen: Representations from Beowulf to Buffy, ed. Martha W. Driver and Sid Ray ( Jefferson, NC, and London: McFarland, 2004); Justin E. Griffin, The Grail Procession: The Legend, the Artifacts, and the Possible Sources of the Story ( Jefferson, NC and London: McFarland, 2004). The superficial approach to the past today, however, is not a new phenomenon, and medievalism certainly started already ca. 200 years ago, see Siegfried Grosse and Ursula Rautenberg, Die Rezeption mittelalterlicher deutscher Literatur: Eine Bibliographie ihrer Übersetzungen und Bearbeitungen seit der Mitte des 18. Jahrhunderts (Tübingen: Niemeyer, 1989); Lorretta M. Holloway and Jennifer A. Palmgren, eds., Beyond Arthurian Romances: The Reach of Victorian Medievalism (New York: Palgrave Macmillan, 2005). 2. Washington Irving, The Life and Voyages of Christopher Columbus. The Works of Washington Irving, V (New York: Putnam’s Sons, 1860), 109–10. 3. Irving, The Life, 110. 4.
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