Sir Gawain and the Green Knight° As Scribes Have Set It Duly Fitt" 1 in the Lore of the Land So Long
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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. -
Sir Gawain and the Green Knight New Verse Translation by Benedict Flynn POETRY Read by Jasper Britton
Sir Gawain and the Green Knight New verse translation by Benedict Flynn POETRY Read by Jasper Britton NA286512D 1 I. When siege and assault had ceased... 1:47 2 This fair Britain, founded by that famous knight... 0:52 3 The king lay at Camelot one Christmas tide... 1:08 4 With New Year not yet a day old... 1:16 5 Now, Arthur would not eat until all were served... 0:58 6 So he stands, the stern young king... 1:06 7 I’ll say nothing more about the meal... 1:12 8 Green, were both the garments and the grinning man... 1:31 9 Garbed in green was the gallant rider... 1:27 10 And yet he had no helm or hauberk either... 1:38 11 Stunned, the court stared... 1:00 12 From the dais Arthur watched... 1:34 13 ‘Fight? Have no worry.’ 1:28 14 If he astonished them first... 1:21 15 ‘By heaven,’ said Arthur... 0:53 16 ‘Grant me grace,’ said Gawain... 1:06 17 The king commanded the courtly knight to stand. 1:12 18 ‘By God,’ said the Green Knight... 1:24 19 The Green Knight stood... 1:30 20 For he held the head up high in both his hands... 1:29 21 And yet high-born Arthur was heavy at heart... 1:25 22 II. Arthur was granted his gift of adventure... 1:29 23 So comes the summer season... 1:10 2 24 Yet he lingers till All Hallows... 1:26 25 He dwelt there that day.. -
Lesson 4 – Is Sir Gawain a Typical Knight? Can You Make Accurate
Lesson 4 – Is Sir Gawain a typical knight? Can you make accurate comments on the hidden meaning of language? Send work to your teacher via Google Classroom, Google Drive or email. Activity 1 Use the correct key word in the sentences below. Each word can only be used once. brutish savage formidable virtuous integrity paragon obligation a) The Miller lacked _______________ as he would steal corn and over-charge for it. b) I know the Green Knight is a _______________ character because when he arrives on his large, armoured war horse everyone is speechless. c) The Green Knight’s challenge suggested he was a ______________ person who did not follow the normal rules of society. d) The policeman praised the _____________ person who had returned the wallet of cash. e) A knight has an _______________ to protect his king and kingdom. f) When Sir Gawain volunteers, he is a ______________ of virtue and honour. g) The ______________ lion could not be stopped from attacking the young gazelles. Activity 2 Read the extract from page 56-63 about Gawain’s journey to the Green Chapel. Always above and ahead of him flew a flock of geese, pointing the way north, a guiding arrowhead in the sky. It was the route Gawain knew he must follow, that would lead him, sooner or later, to the place he most dreaded on this earth... the Chapel of the Green Knight. Despite the deep bitter winter, Gawain rode on through the wastelands alone, always keeping the flying geese ahead of him and the wild mountains of Wales to his left. -
Logging Songs of the Pacific Northwest: a Study of Three Contemporary Artists Leslie A
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Logging Songs of the Pacific Northwest: A Study of Three Contemporary Artists Leslie A. Johnson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LOGGING SONGS OF THE PACIFIC NORTHWEST: A STUDY OF THREE CONTEMPORARY ARTISTS By LESLIE A. JOHNSON A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2007 The members of the Committee approve the Thesis of Leslie A. Johnson defended on March 28, 2007. _____________________________ Charles E. Brewer Professor Directing Thesis _____________________________ Denise Von Glahn Committee Member ` _____________________________ Karyl Louwenaar-Lueck Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank those who have helped me with this manuscript and my academic career: my parents, grandparents, other family members and friends for their support; a handful of really good teachers from every educational and professional venture thus far, including my committee members at The Florida State University; a variety of resources for the project, including Dr. Jens Lund from Olympia, Washington; and the subjects themselves and their associates. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................. -
Sideless Surcoats and Gates of Hell: an Overview of Historical Garments and Their Construction by Sabrina De La Bere
Sideless Surcoats and Gates of Hell: an Overview of Historical Garments and their Construction by Sabrina de la Bere Some were sleeve- less and some not. Menʼs came in vary- ing lengths and may be split for riding. In the 14th C womenʼs had a very long and wide skirt. Herjolfsnes 37 (right) is thought to be a mans surcoat from the 14th C. It has relatively small arm holes. Below is a page from the Luttrell Psalter showing Sir Geoffrey Luttrell being attend- ed by his wife Agnes de Sutton and daugh- ter in law Beatrice le Scrope. Both are wearing sideless sur- Source: Time Life pg. 79 coats that bear their Many myths have grown up around the sideless sur- Herjolfsnes 37 heraldic arms. There coat. This class will look at what is known and what is http://www.forest.gen.nz/Medieval/ is great debate in cos- articles/garments/H37/H37.html speculation. We will look at how the surcoat evolved t u m i n g in its 200 years of use by men and women. Lastly we circles, as will discuss how to construct one of each of the major to whether styles. This handout is designed to be used in the con- such he- text of the class. raldic sur- Cloaks and overtunics of various designs exist from coats ex- earliest history. Where the sleeveless surcoat originates isted and, is unknown, but it begins its known popularity in the if they did, 12th Century. were they In the picture above, a knight on Crusade has an over a limited tunic. -
An Ethnically Cleansed Faery? Tolkien and the Matter of Britain
An Ethnically Cleased Faery? An Ethnically Cleansed Faery? Tolkien and the Matter of Britain David Doughan Aii earlier version of this article was presented at the Tolkien Society Seminar in Bournemouth, 1994. 1 was from early days grieved by the Logres” (p. 369), by which he means a poverty of my own beloved country: it had specifically Arthurian presence. It is most no stories of its own (bound up with its interesting that Lewis, following the confused or tongue and soil), not of the quality 1 sought, uninformed example of Williams, uses the name and found (as an ingredient) in legends of “Logres”, which is in fact derived from Lloegr other lands ... nothing English, save (the Welsh word for England), to identify the impoverished chap-book stuff. Of course Arthurian tradition, i.e. the Matter of Britain! No there was and is all the Arthurian world, but wonder Britain keeps on rebelling against powerful as it is, it is imperfectly Logres. And despite Tolkien's efforts, he could naturalised, associated with the soil of not stop Prydain bursting into Lloegr and Britain, but not with English; and does not transforming it. replace what I felt to be missing. (Tolkien In The Book of Lost Tales (Tolkien, 1983), 1981, Letters, p. 144) Ottor W<efre, father of Hengest and Horsa, also To a large extent, Tolkien is right. The known as Eriol, comes from Heligoland to the mediaeval jongleurs, minstrels, troubadours, island called in Qenya in Tol Eressea (the lonely trouvères and conteurs could use, for their isle), or in Gnomish Dor Faidwcn (the land of stories, their gests and their lays, the Matter of release, or the fairy land), or in Old English se Rome (which had nothing to do with Rome, and uncujm holm (the unknown island). -
ESP-History-Overview.Pdf
EASTERN STATE PENITENTIARY A N A TIONAL HIST ORIC LANDMARK 1. History of Eastern State Penitentiary, Philadelphia In the ambitious age of reform following the American Revolution, the new nation aspired to change profoundly its public institutions, and to set an example for the world in social development. Every type of institution that we are familiar with today—educational, medical and governmental—was revolutionized in these years by the rational and humanistic principles of the Enlightenment. Of all of the radical innovations born in this era, American democracy was, of course, the most influ- ential. The second major intellectual export was prison design and reform. Most eighteenth century prisons were simply large holding pens. Groups of adults and children, men and women, and petty thieves and murderers, sorted out their own affairs behind locked doors. Physical punishment and mutilation were common, and abuse of the prisoners by the guards and overseers was assumed. In 1787, a group of well-known and powerful Philadelphians convened in the home of Benjamin Franklin. The members of The Philadelphia Society for Alleviating the Miseries of Public Prisons expressed growing concern with the conditions in American and European prisons. Dr. Benjamin Rush spoke on the Society’s goal, to see the Commonwealth of Pennsylvania set the international standard in prison design. He proposed a radical idea: to build a true penitentiary, a prison designed to create genuine regret and penitence in the criminal’s heart. The concept grew from Enlightenment thinking, but no government had successfully carried out such a program. It took the Society more than thirty years to convince the Commonwealth of Pennsylvania to build the kind of prison it suggested: a revolutionary new building on farmland outside Philadelphia. -
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. -
The Inventory of the David Harsent Collection #1721
The Inventory of the David Harsent Collection #1721 Howard Gotlieb Archival Research Center Harsent, David #1721 1/3/06 Preliminary Listing I Manuscripts. Box 1 A. Poetry collections. 1. A BIRD'S IDEA OF FLIGHT. a. Draft (alternate title "Notes From the Underground"), TS, 47 p., no date. [F. 1] b. Draft, TS with holograph notes, 79 p. c. Draft, TS, 82 p. [F. 2] d. Draft, TS with holograph notes, 84 p .. e. Revisions for various poems, approx. 2,500 p. total, TS and holograph. [F. 3-1 O] 2. CHILDREN'S POEMS, TS, approx. 30 p.; includes correspondence from DH. [F. 11] 3. DEVON REQUIEM, TS, approx. 25 p.; includes partial draft of "Mr. Punch." [F. 12] 4. THE HOOP OF THE WORLD, TS, 35 p. 5. LEGION, TS, 89 p.; includes revisions, TS and holograph, approx. 600 p. [F. 13-15] Box2 6. MARRIAGE AND LEPUS, TS, 61 p.; includes revisions, TS and holograph, approx. 500 p. [F. 1-3] 7. NEWS FROM THE FRONT, TS, 94 p.; includes revisions, TS and holograph, approx. 750 p. [F. 4-10] 8. NOTES FROM UNDERGROUND, TS, approx. 50 p. [F. 11] 9. THE POTTED PRIEST, TS, 65 p. 10. A VIOLENT COUNTRY, TS and holograph, approx. 100 p. [F. 12-13] 11. THE WINDHOUND, TS. [F. 14] 12. Miscellaneous text fragments of poems, revisions re: MARRIAGE; NEWS FROM THE FRONT; BIRD'S IDEA OF FLIGHT, TS and holograph; includes early unpublished poems. B. Novels. 1. BETWEEN THE DOG AND THE WOLF, 2 drafts, TS, 353 p. and 357 p.; includes holograph notes, synopsis, research material, plot progression. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
What Is a Dance? in 3 Dances, Gene Friedman Attempts to Answer Just That, by Presenting Various Forms of Movement. the Film Is D
GENE FRIEDMAN 3 Dances What is a dance? In 3 Dances, Gene Friedman attempts to answer just that, by presenting various forms of movement. The film is divided into three sections: “Public” opens with a wide aerial shot of The Museum of Modern Art’s Sculpture Garden and visitors walking about; “Party,” filmed in the basement of Judson Memorial Church, features the artists Alex Hay, Deborah Hay, Robert Rauschenberg, and Steve Paxton dancing the twist and other social dances; and “Private” shows the dancer Judith Dunn warming up and rehearsing in her loft studio, accompanied by an atonal vocal score. The three “dances” encompass the range of movement employed by the artists, musicians, and choreographers associated with Judson Dance Theater. With its overlaid exposures, calibrated framing, and pairing of distinct actions, Friedman’s film captures the group’s feverish spirit. WORKSHOPS In the late 1950s and early 1960s, three educational sites were formative for the group of artists who would go on to establish Judson Dance Theater. Through inexpensive workshops and composition classes, these artists explored and developed new approaches to art making that emphasized mutual aid and art’s relationship to its surroundings. The choreographer Anna Halprin used improvisation and simple tasks to encourage her students “to deal with ourselves as people, not dancers.” Her classes took place at her home outside San Francisco, on her Dance Deck, an open-air wood platform surrounded by redwood trees that she prompted her students to use as inspiration. In New York, near Judson Memorial Church, the ballet dancer James Waring taught a class in composition that brought together different elements of a theatrical performance, much like a collage. -
Open Shannon Kahle Final Dissertation.Pdf
The Pennsylvania State University The Graduate School College of Communications VISUALIZING THE CHAOTIC BODY IN POPULAR CULTURE A Dissertation in Mass Communications by Shannon A. Kahle Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Shannon A. Kahle was reviewed and approved* by the following: Matthew P. McAllister Professor of Communications Dissertation Advisor Chair of Committee Dennis K. Davis Professor of Communications Matthew Jordan Assistant Professor of Communications Stephen H. Browne Professor of Communication Arts and Sciences John S. Nichols Professor of Communications Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School ii ABSTRACT The proliferation of traumatized bodies on screen is matched by the proliferation of body studies in the humanities and social sciences. The interest in the body has exploded among a number of fields of study and is a staple in visual culture. What is happening in contemporary representation and spectatorship of pain and ‘ruined bodies’? What is the relationship of contemporary visuality, the ruined body, and the social? Finally, what is the mode of selfhood deployed in contemporary visual culture and how is it related to other discursive-institutional realms of practice? In this dissertation I consider three fictional visual texts that elucidate particular institutional realms within which the body is centrally figured; these texts are the medical drama House M.D., the first three films of the horror series Saw, which draws heavily on religious discourse and iconography, and the forensic investigation drama Bones. The purpose is to consider the ways in which these texts represent the practices of each realm as well as the visualization of the body itself and the model of the self and the social deployed in each.