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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. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
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. -
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. -
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). -
A Welsh Classical Dictionary
A WELSH CLASSICAL DICTIONARY DACHUN, saint of Bodmin. See s.n. Credan. He has been wrongly identified with an Irish saint Dagan in LBS II.281, 285. G.H.Doble seems to have been misled in the same way (The Saints of Cornwall, IV. 156). DAGAN or DANOG, abbot of Llancarfan. He appears as Danoc in one of the ‘Llancarfan Charters’ appended to the Life of St.Cadog (§62 in VSB p.130). Here he is a clerical witness with Sulien (presumably abbot) and king Morgan [ab Athrwys]. He appears as abbot of Llancarfan in five charters in the Book of Llandaf, where he is called Danoc abbas Carbani Uallis (BLD 179c), and Dagan(us) abbas Carbani Uallis (BLD 158, 175, 186b, 195). In these five charters he is contemporary with bishop Berthwyn and Ithel ap Morgan, king of Glywysing. He succeeded Sulien as abbot and was succeeded by Paul. See Trans.Cym., 1948 pp.291-2, (but ignore the dates), and compare Wendy Davies, LlCh p.55 where Danog and Dagan are distinguished. Wendy Davies dates the BLD charters c.A.D.722 to 740 (ibid., pp.102 - 114). DALLDAF ail CUNIN COF. (Legendary). He is included in the tale of ‘Culhwch and Olwen’ as one of the warriors of Arthur's Court: Dalldaf eil Kimin Cof (WM 460, RM 106). In a triad (TYP no.73) he is called Dalldaf eil Cunyn Cof, one of the ‘Three Peers’ of Arthur's Court. In another triad (TYP no.41) we are told that Fferlas (Grey Fetlock), the horse of Dalldaf eil Cunin Cof, was one of the ‘Three Lovers' Horses’ (or perhaps ‘Beloved Horses’). -
LEGENDS of the ROUND TABLE by JEFF POSSON
LEGENDS OF THE ROUND TABLE by JEFF POSSON 2 LEGENDS OF THE ROUND TABLE SETTING The forests of England in the Middle Ages. A Lake with magic in its waters. CHARACTERS Merlin – A wizard Morgan Le Fay – An enchantress who likes to make fun of Merlin King Arthur- A king, Morgan Le Fey’s brother Sir Bedivere- A knight The Black Knight- A knight, a bit of a bully Sir Gawain- A knight The Green Knight- A knight, has a magical talent Sir Galahad- A knight The Lady of the Lake- A mystical goddess of the water Villager- Running from a dragon Scene 1 MERLIN Oh a legend is sung! Of when England was young And Knights were brave and.... (MORGAN runs on because she is tired of MERLIN’S singing.) MORGAN STOP! MERLIN What? MORGAN !Stop singing! I’m trying to cast a spell and it is INCREDIBLY distracting. MERLIN! Oh come now Morgan, it is not that distracting. MORGAN! It is, it really is. You may be the most famous wizard in history, Merlin, but your pitch is all over the place. MERLIN! 3 Fine, I’ll stop.... wait, what spell are you casting, Morgan Le Fey? Are you up to mischief again? MORGAN Oh yes, without a doubt. Mischief is what I do. MERLIN Well, you should stop it. ! MORGAN Pardon me? Do youth think I need your permission to do anything? MERLIN Well... no but...! MORGAN! No buts Merlin. This is my island you’re currently sitting on. Avalon, the isle of Apples. My island, my rules, I can do what I want. -
The Logistics Industry Relies on Technology to Support Compliance and Increase Efficiency
Date/Issue: Special Quest: January 2008 Title: New Web Merlin™ v1.6 release Innovative updates improve industry-leading technology Author: Andriana Davis, Product Manager, Avalon Risk Management, Inc. The logistics industry relies on technology to support compliance and increase efficiency. Avalon Risk Management, Inc. is proud to announce the release of Web Merlin™ v1.6, an update to the first technology of its kind for customs brokers. Web Merlin v1.6 incorporates the Automated Bond Maintenance Package. Using a secure login, this new feature allows the user to view an imaged bond package and process riders (Addition or Deletion of Trade Names, Name Change and Address Change), as well as terminations on any filed and billed bonds. The portal also completes and compiles the appropriate documents for bond riders, terminations and the CBP Form 5106 to be filed directly with the National Finance Center (NFC) using Avalon’s “SureFile” submission protocol to avoid rejections. The new features also provide an easier interface to work with bonds in process as well as those already filed with NFC and/or billed. This functionality applies to any bonds filed through Web Merlin as well as bond filed manually through Avalon’s Centralized Bond Unit (CBU). The user can then track the status of bonds in real time by easily searching through bonds and submissions. Avalon exclusively developed Web Merlin to support the unique needs of our client, the customs broker. Selecting various features allows our clients to manage information, request and review activity and support compliance. Multiple access levels are available to only select account numbers, or employees can be granted full access to account information. -
Arthurian Legend
Nugent: English 11 Fall What do you know about King Arthur, Camelot and the Knights of the Round Table? Do you know about any Knights? If so, who? If you know anything about King Arthur, why did you learn about King Arthur? If you don’t know anything, what can you guess King Arthur, Camelot, or Knights. A LEGEND is a story told about extraordinary deeds that has been told and retold for generations among a group of people. Legends are thought to have a historical basis, but may also contain elements of magic and myth. MYTH: a story that a particular culture believes to be true, using the supernatural to interpret natural events & to explain the nature of the universe and humanity. An ARCHETYPE is a reoccurring character type, setting, or action that is recognizable across literature and cultures that elicits a certain feeling or reaction from the reader. GOOD EVIL • The Hero • Doppelganger • The Mother The Sage • The Monster • The Scapegoat or sacrificial • The Trickster lamb • Outlaw/destroyer • The Star-crossed lovers • The Rebel • The Orphan • The Tyrant • The Fool • The Hag/Witch/Shaman • The Sadist A ROMANCE is an imaginative story concerned with noble heroes, chivalric codes of honor, passionate love, daring deeds, & supernatural events. Writers of romances tend to idealize their heroes as well as the eras in which the heroes live. Romances typically include these MOTIFS: adventure, quests, wicked adversaries, & magic. Motif: an idea, object, place, or statement that appears frequently throughout a piece of writing, which helps contribute to the work’s overall theme 1. -
The Problem with Page to Screen Adaptation: a Case Study of King Arthur and Tristan and Isolt
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-3-2019 The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons, and the Medieval Studies Commons The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller May 3, 2019 / Spring 2019 Major: English Literature, Culture, & Media Advisor: Dr. Martha Driver Department: English Miller 1 Abstract The legends of King Arthur and Tristan and Isolt have been popular for centuries, leading to multiple translations and versions of each text. Modern filmmakers have added to this legacy. Though audiences have enjoyed various contemporary film adaptations of these medieval romances, several essential elements are lost while translating the works to screen. This paper identifies a central motif in each work—King Arthur’s Round Table and Isolt’s love potion— that shapes the subsequent love triangle, and by extension, the representation and motivation of honor. While tracing the continued appearance of such components and their importance in the text sources of Geoffrey of Monmouth, Wace, Chrétien de Troyes, Thomas Malory, Gottfried von Strassburg, and Joseph Bédier, this paper will then discuss how each is manipulated by modern filmmakers and the lasting consequences on the legends as a result of such changes. Miller 2 Table of Contents I. Introduction................................................................................................................................3 II. Central Motifs of the Legends………………………………………………………......….....9 III. Fateful Love Triangles………………………………………………………………....…….14 IV. Honor: Characterization and Motivation.................................................................................18 V. -
Three Modern Views of Merlin
Volume 16 Number 4 Article 3 Summer 7-15-1990 Three Modern Views of Merlin Gwyneth Evans Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Evans, Gwyneth (1990) "Three Modern Views of Merlin," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 4 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol16/iss4/3 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the use of Merlin as a character in Tennyson’s Idylls of the King, two novels by J.C. Powys, and Susan Cooper’s The Dark is Rising series. Notes parallels and differences in Merlin’s power, role, prophetic ability, link with the divine, and vulnerability. Additional Keywords Cooper, Susan. The Dark is Rising (series)—Characters—Merlin; Merlin; Powys, J.C. -
King Arthur and His Knights
King Arthur and his Knights by George Gibson 1/23 Contents Chapter One: Young Arthur............................................................................3 Chapter Two: The sword in the stone............................................................. 4 Chapter Three: Britain has a King...................................................................5 Chapter Four: Excalibur.................................................................................. 6 Chapter Five: Arthur meets Guinevere........................................................... 7 Chapter Six: The five Kings............................................................................8 Chapter Seven: Lancelot............................................................................... 10 Chapter Eight: The Holy Grail...................................................................... 12 Chapter Nine: King Arthur goes to Aralon................................................... 14 Track 1: Was King Arthur Only a Legend?.................................................. 16 Track 2: Before Arthur's Time...................................................................... 17 Track 3: Knight............................................................................................. 18 Track 4: Page, Squire, Knight....................................................................... 19 Track 5: Castles.............................................................................................20 Track 6: Old Castle of Great Interest...........................................................