Having Ado with Lancelot
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Prisons and Punishments in Late Medieval London
Prisons and Punishments in Late Medieval London Christine Winter Thesis submitted for the Degree of Doctor of Philosophy in the University of London Royal Holloway, University of London, 2012 2 Declaration I, Christine Winter, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 3 Abstract In the history of crime and punishment the prisons of medieval London have generally been overlooked. This may have been because none of the prison records have survived for this period, yet there is enough information in civic and royal documents, and through archaeological evidence, to allow a reassessment of London’s prisons in the later middle ages. This thesis begins with an analysis of the purpose of imprisonment, which was not merely custodial and was undoubtedly punitive in the medieval period. Having established that incarceration was employed for a variety of purposes the physicality of prison buildings and the conditions in which prisoners were kept are considered. This research suggests that the periodic complaints that London’s medieval prisons, particularly Newgate, were ‘foul’ with ‘noxious air’ were the result of external, rather than internal, factors. Using both civic and royal sources the management of prisons and the abuses inflicted by some keepers have been analysed. This has revealed that there were very few differences in the way civic and royal prisons were administered; however, there were distinct advantages to being either the keeper or a prisoner of the Fleet prison. Because incarceration was not the only penalty available in the enforcement of law and order, this thesis also considers the offences that constituted a misdemeanour and the various punishments employed by the authorities. -
Masculinity and Chivalry: the Tenuous Relationship of the Sacred and Secular in Medieval Arthurian Literature
MASCULINITY AND CHIVALRY: THE TENUOUS RELATIONSHIP OF THE SACRED AND SECULAR IN MEDIEVAL ARTHURIAN LITERATURE by KACI MCCOURT DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington August, 2018 Arlington, Texas Supervising Committee: Kevin Gustafson, Supervising Professor Jacqueline Fay James Warren i ABSTRACT Masculinity and Chivalry: The Tenuous Relationship of the Sacred and Secular in Medieval Arthurian Literature Kaci McCourt, Ph.D. The University of Texas at Arlington, 2018 Supervising Professors: Kevin Gustafson, Jacqueline Fay, and James Warren Concepts of masculinity and chivalry in the medieval period were socially constructed, within both the sacred and the secular realms. The different meanings of these concepts were not always easily compatible, causing tensions within the literature that attempted to portray them. The Arthurian world became a place that these concepts, and the issues that could arise when attempting to act upon them, could be explored. In this dissertation, I explore these concepts specifically through the characters of Lancelot, Galahad, and Gawain. Representative of earthly chivalry and heavenly chivalry, respectively, Lancelot and Galahad are juxtaposed in the ways in which they perform masculinity and chivalry within the Arthurian world. Chrétien introduces Lancelot to the Arthurian narrative, creating the illicit relationship between him and Guinevere which tests both his masculinity and chivalry. The Lancelot- Grail Cycle takes Lancelot’s story and expands upon it, securely situating Lancelot as the best secular knight. This Cycle also introduces Galahad as the best sacred knight, acting as redeemer for his father. Gawain, in Sir Gawain and the Green Knight, exemplifies both the earthly and heavenly aspects of chivalry, showing the fraught relationship between the two, resulting in the emasculating of Gawain. -
Malory's Launcelot and Guinevere Abed Togydirs Betsy Taylor
Malory's Launcelot and Guinevere abed togydirs Betsy Taylor In Malory's account of the ambush of Launcelot in Guinevere's chamber he obliquely denies the authority of his sources: For, as the Freynshhe booke seyth, the quene and sir Launcelot were k>gydirs. And whether they were abed other at other maner of disportis, me lyste nat thereof make no mencion, for love that tyme was nat as love ys nowadayes.1 · Both his sources put Launcelot and Guinevere abed,2 but Malory says he prefers not to discuss the matter ('me lyste nat thereof make no mencion'); instead he links the lovers' activities here with the love he anatomizes, however cumbersomely, at the beginning of 'The Knight of the Cart' episode: But the olde love was nat so. For men and women coude love togydirs seven yerys, and no lycoures lustis was betwyxte them, and than was love trouthe and faythefulnes. And so in lyke wyse was used such love in kynge Arthurs dayes. (p. 1120, II. 2...{1) The benefit of Malory's reticence is twofold: he places (or attempts to place) the lovers beyond contemporary criticism, 'for love that tyme was nat as love ys nowadayes'; and he ensures that the image of Launcelot which dominates in this episode is that of the 'noble knyght' who 'toke hys swerde undir hys arme, and so he walked in hys mantell ... and put hymselff in grete jouparte' (p. 1165, 11. 5-7). In Malory's version of the episode we pass from this image to 'Madame,' seyde sir Launcelot, 'ys there here ony armour within you that myght cover my body wythall?' (p. -
Journey Planet 57—January 2021 ~Table of Contents~ 2
Arthur, King of the Britons Editors Chris Garcia, Chuck Serface, James Bacon Journey Planet 57—January 2021 ~Table of Contents~ 2 Page 5 King Arthur Plays Vegas: The Excalibur Editorial by Christopher J. Garcia by Christopher J. Garcia Page 38 Page 7 In Time of Despair and Great Darkness Letters of Comment by Ken Scholes by Lloyd Penney Page 49 Page 12 Camelot Instant Fanzine Article: Arthur and Merlin by Laura Frankos by Christopher J. Garcia and Chuck Serface Page 55 Page 16 A Retro-Review: Monty Python’s Spamalot The Story of Arthur by Steven H Silver Retold by Bob Hole Page 58 Page 19 Arthurs for Our Time: Recent Interpretations Arthur, Alfred, and the Myth of England of the Legend by Julian West by Chuck Serface Page 62 Page 23 Lady Charlotte and King Arthur Two Cups of Blood: Dracula vs. King Arthur by Cardinal Cox by Derek McCaw Page 64 Page 29 From a Certain Point of View: Merlin & Nimue Knights of Pendragon: The Other Arthurian Comic by Steven H Silver by Helena Nash Page 31 Page 75 Interview with Dorsey Armstrong Tristan, Isolde, and Camelot 3000 by Christopher J. Garcia by Christopher J. Garcia Page 35 King Arthur in Fifteen Stamps Page 77 by Bob Hole “It’s Only a CGI Model”: Arthurian Movies of the Twenty-First Century Page 36 by Tony Keen Arthur, King of the Britons 3 ~Table of Contents~ Page 81 Cover by Vanessa Applegate Terry Gilliam's The Fisher King by Neil Rest Page 1—DeepDreamGenerator Combination of Page 84 King Arthur Tapestry of the Nine Worthies and My Barbarian’s “Morgan Le Fey” . -
A) “William Shakespeare: La Dialettica D'amore
LETTERATURA INGLESE III^ Programma a.a. 2011- 12 (prof. Michele Goffredo) A) “William Shakespeare: la dialettica d’amore ” Testi: William Shakespeare, As You Like It (qualsiasi edizione inglese o con testo a fronte) William Shakespeare, Romeo and Juliet (qualsiasi edizione inglese o con testo a fronte) William Shakespeare, Sonnets (qualsiasi edizione inglese o con testo a fronte) William Shakespeare, Othello (qualsiasi edizione inglese o con testo a fronte) William Shakespeare, Antony and Cleopatra (qualsiasi edizione inglese o con testo a fronte) Testi critici: La bibliografia critica sarà indicata in seguito. I testi critici verranno, in massima parte, raccolti in una dispensa a cura del docente. B) Storia della letteratura inglese: “Dalle origini alla chiusura dei teatri del 1642” 1) Testo consigliato: Paolo Bertinetti (a cura di), Storia della letteratura inglese, Vol I° (pp.3- 206), Einaudi 2) Franco Marenco, La parola in scena, La comunicazione teatrale nell’età di Shakespeare, UTET, Torino 2004 3) Sei testi a scelta dello studente tra i seguenti. Tra i testi di uno stesso autore ne va scelto solo uno. Beowulf Sir Gawain and the Green Knight Pearl William Langland, Piers Plowman Geoffrey Chaucer, Canterbury Tales Thomas Malory, Le Morte Darthur Everyman Thomas More, Utopia Philip Sidney, Astrophil and Stella (1591) Philip Sidney, Countess of Pembroke’s Arcadia (Old Arcadia) Philip Sidney, New Arcadia Edmund Spenser, The Fairie Queene (1590-96) Thomas Nashe, The Unfortunate Traveller, or The Life of Jack Wilton (1594) Thomas Kyd, -
The Arthurian Legend in British Women's Writing, 1775–1845
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Avalon Recovered: The Arthurian Legend in British Women’s Writing, 1775–1845 Katie Louise Garner B.A. (Cardiff); M.A. (Cardiff) A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University September 2012 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date………………………… Acknowledgements First thanks are due to my supervisors, Jane Moore and Becky Munford, for their unceasing assistance, intellectual generosity, and support throughout my doctoral studies. -
Distressing Damsels: Sir Gawain and the Green Knight As a Loathly Lady Tale
Distressing Damsels: Sir Gawain and the Green Knight as a Loathly Lady Tale By Lauren Chochinov A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of English University of Manitoba Winnipeg, Manitoba Copyright © 2010 by Lauren Chochinov i Abstract At the end of Sir Gawain and the Green Knight, when Bertilak de Hautdesert reveals Morgan le Fay’s involvement in Gawain’s quest, the Pearl Poet introduces a difficult problem for scholars and students of the text. Morgan appears out of nowhere, and it is difficult to understand the poet’s intentions for including her so late in his narrative. The premise for this thesis is that the loathly lady motif helps explain Morgan’s appearance and Gawain’s symbolic importance in the poem. Through a study of the loathly lady motif, I argue it is possible that the Pearl Poet was using certain aspects of the motif to inform his story. Chapter one of this thesis will focus on the origins of the loathly lady motif and the literary origins of Morgan le Fay. In order to understand the connotations of the loathly lady stories, it is important to study both the Irish tales and the later English versions of the motif. My study of Morgan will trace her beginnings as a pagan healer goddess to her later variations in French and Middle English literature. The second chapter will discuss the influential women in Sir Gawain and the Green Knight and their specific importance to the text. -
Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2009 Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Other Classics Commons Recommended Citation Grady, Jessica, "Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens" (2009). Theses, Dissertations and Capstones. Paper 69. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in History by Jessica Grady Dr. Laura Michele Diener, Ph.D., Committee Chairperson Dr. David Winter, Ph.D. Dr. William Palmer, Ph.D. Marshall University December 2009 ABSTRACT Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens by Jessica Grady Authors have given Queen Guinevere of the Arthurian stories a wide variety of personalities; she has been varyingly portrayed as seductive, faithful, “fallen,” powerful, powerless, weak-willed, strong-willed, even as an inheritor of a matriarchal tradition. These personalities span eight centuries and are the products of their respective times and authors much more so than of any historical Guinevere. Despite this, however, threads of similarity run throughout many of the portrayals: she had power in some areas and none in others; she was involved in a courtly romance; and she did not produce an heir to the throne. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
Introduction: to Be a Shapeshifter 1
NOTES Introduction: To Be a Shapeshifter 1 . Sir Thomas Malory, Malory: Works , ed. Eugene Vinaver (Oxford: Oxford University Press, 1978 ), 716. 2 . Carolyne Larrington, for example, points out that “Enchantresses . sometimes . support the aims of Arthurian chivalry, at other times they can be hostile and petty-minded.” See King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition (New York: I. B. Taurus, 2007), 2. While Larrington’s book provides a review of many of Morgan’s literary appearances, my study focuses on close reading, attention to translation issues, and discussion of social concerns. In her review of Larrington’s King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition , Elizabeth Archibald laments that “it would have been interesting to hear more about the ways in which Arthurian enchantresses do or do not resemble their Classical precursors, or indeed Celtic ones, in their use of magic and in their challenges to male heroic norms.” See Elizabeth Archibald, “Magic School,” Times Literary Supplement (February 2, 2007), 9. My study answers this cri- tique by reexamining pivotal scenes in critical texts and by dismantling the archetypal approach that Larrington follows. 3 . Norris J. Lacy, ed., The Fortunes of King Arthur (New York: D. S. Brewer, 2005 ), 94–95. 4 . Helaine Newstead, Bran the Blessed in Arthurian Romance (New York: AMS Press, 1966 ), 149. 5 . Elisa Marie Narin, “‘Þat on . Þat oÞer’: Rhetorical Descriptio and Morgan La Fay in Sir Gawain and the Green Knight ,” Pacific Coast Philology 23 (1988): 60–66. Morgan only partly fits the description of a supernatural ‘enemy’ provided by Hilda Ellis Davidson and Anna Chaudri; see n. -
A New Way to Pay Old Debts
ElizabethanDrama.org presents the Annotated Popular Edition of A NEW WAY TO PAY OLD DEBTS by Philip Massinger Before 1633 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright ElizabethanDrama.org, 2018 This annotated play may be freely copied and distributed. 1 A NEW WAY TO PAY OLD DEBTS By Philip Massinger Before 1633 Dramatis Persons: INTRODUCTION TO THE PLAY Lord Lovell. A New Way to Pay Old Debts has proven to be Philip Tom Allworth, a Young Gentleman, Page to Lord Massinger's most popular and enduring play. This comedy's Lovell. reputation is due thanks to the presence of one of the era's Sir Giles Overreach, a Cruel Extortioner. more acclaimed villains outside the Shakespeare canon, the Margaret, Daughter of Sir Overreach. avaricious and occasionally vulgar Sir Giles Overreach. Marrall, a Term-Driver; a Creature of Sir Giles With just the right balance of drama and humour, A New Overreach. Way to Pay Old Debts deserves to be read and enjoyed by any lover of Elizabethan drama. Frank Wellborn, a Prodigal. Greedy, a Hungry Justice Of Peace. NOTES ON THE TEXT Lady Allworth, a rich Widow. The text of A New Way to Pay Old Debts is adapted from Order, Steward. Philip Massinger, Volume I, edited by Arthur Symons, Amble, Usher. cited at #3 below. Furnace, Cook. Watchall, Porter. NOTES ON THE ANNOTATIONS Wllldo, a Parson. Mention of Symons, Stronach, Deighton, Gifford and Sherman in the annotations refer to the notes provided by Tapwell, an Alehouse Keeper. each of these editors respectively in their editions of this Froth, Wife of Tapwell. -
The Illustrated Book Cover Illustrations
THE ILLUSTRATED BOOK COVER ILLUSTRATIONS: A collection of 18 pronouncements by Buddhist sages accompanied by their pictures. n.p., n.d. Manuscript scroll folded into 42 pages, written on leaves of the bodhi tree. Chinese text, beginning with the date wu-shu of Tao kuang [·i.e. 1838 ] Wooden covers. Picture of Buddhist sage Hsu tung on front cover, accompanied by text of his pronouncement on separate leaf on back cover: "A Buddhist priest asked Buddha, 'How did the Buddha attain the most superior way?' Buddha replied, 'Protect the heart from sins; as one shines a mirror by keeping off dust, one can attain enlightenment.'" --i~ ti_ Hsu tung THE ILLUSTRATED BOOK • An Exhibit: March-May 1991 • Compiled by Alice N. Loranth Cleveland Public Library Fine Arts and Special Collections Department PREFACE The Illustrated Book exhibit was assembled to present an overview of the history of book illustration for a general audience. The plan and scope of the exhibit were developed within the confines of available exhibit space on the third floor of Main Library. Materials were selected from the holdings of Special Collections, supplemented by a few titles chosen from the collections of Fine Arts. Selection of materials was further restrained by concern for the physical well-being of very brittle or valuable items. Many rare items were omitted from the exhibit in order to safeguard them from the detrimental effects of an extended exhibit period. Book illustration is a cooperation of word and picture. At the beginning, writing itself was pictorial, as words were expressed through pictorial representation.