The World of Romance
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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.. -
Tsr6903.Mu7.Ghotmu.C
[ Official Game Accessory Gamer's Handbook of the Volume 7 Contents Arcanna ................................3 Puck .............. ....................69 Cable ........... .... ....................5 Quantum ...............................71 Calypso .................................7 Rage ..................................73 Crimson and the Raven . ..................9 Red Wolf ...............................75 Crossbones ............................ 11 Rintrah .............. ..................77 Dane, Lorna ............. ...............13 Sefton, Amanda .........................79 Doctor Spectrum ........................15 Sersi ..................................81 Force ................................. 17 Set ................. ...................83 Gambit ................................21 Shadowmasters .... ... ..................85 Ghost Rider ............................23 Sif .................. ..................87 Great Lakes Avengers ....... .............25 Skinhead ...............................89 Guardians of the Galaxy . .................27 Solo ...................................91 Hodge, Cameron ........................33 Spider-Slayers .......... ................93 Kaluu ....... ............. ..............35 Stellaris ................................99 Kid Nova ................... ............37 Stygorr ...............................10 1 Knight and Fogg .........................39 Styx and Stone .........................10 3 Madame Web ...........................41 Sundragon ................... .........10 5 Marvel Boy .............................43 -
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. -
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. -
Medieval Ballads Instructor
Topic: Medieval Ballads Instructor: Mrs. Tincher Date: 26 Sept. 2011 Age Level: 17 to 18 yrs. Old English Level: English IV and Honors English IV Sources “The Ballad.” Grinnell College. Erik Simpson. 18 September 2011. Web. “Early Child Ballads.” PBM. Greg Lindahl. 18 September 2011. Web. Prentice Hall Literature: The British Tradition. Penguin Edition. 1 vol. New Jersey: Pearson Education, Inc, 2007. Print. Rationale The NCSCoS requires that we explore British literature, and medieval ballads were an important part of the evolution of British literature. Also, studying ballads gives us, as readers, insight into the lives of those living in the medieval time period much like studying music from our own culture gives us insight into the workings of our own society. Focus & Review Journal: One hundred years from now a historian is given songs from today to analyze and learn how we lived as a society. What kinds of songs would they look at? What assumptions do you think the historian would make about our society? Do you think that the songs would give them a good idea of what life is like today? Objectives Students will understand the history and composition of ballads and how they relate to medieval history. NCSCoS Standards 1.02 Respond to texts so that the audience will: make connections between the learner's life and the text reflect on how cultural or historical perspectives may have influenced these responses 2.02 Analyze general principles at work in life and literature by: discovering and defining principles at work in personal experience and in literature. -
Vilain, Auctor : the Upward Flow of Wisdom in Sir Gawain and the Green Knight / by Gail Althea Bell.
Yf LAIN, AUCTOR: THE UPWARD PLOW OF VfSCCfl IW SIR GABAfN AMD TRE GREEN KNIGHT -m __I- -- I-_.-- ---- Gail Althea Bell THESIS SUBHXTTED IN PARTIAL FULFILLHENT Of THE REQUIREHENTS FCR THE DEGREE OF RASTER OF ARTS in the Departaent English C Gail Althea Bell 1981 SISCN FRASEX UNXVERSITP October 198 1 A11 rights reserved, This thesis may not be reproduced i~whale or in part, by photocopy or other meaos, without permission of the author, APPROVAL NAME: Gail A1 thea BELL DEGREE: Master of Arts TITLE OF THESIS: Vilain Auctor: The Upward Flow of Wisdom in Sir Gawain and the Green Knight. EXAMINING COMMITTEE: Chai rman: Dr. Michael Steig Dr. Joseph Gal 1agher, 'Senior Supervi sor Associate Professor of Engl ish Dr. dary-~nnStouck, Assistant Professor of Engl ish Dr. Harvey De i ROO, Assistant Professor of Engl ish Dr. Kieran Kealy , ~xtehalExaminer Professor of English, U.B.C. Date Approved: 3/81. PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or sing l e cbp ies only for such users or in response to a reqbest from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
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. -
Sir Gawain and the Green Knight
A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF SIR GAWAIN AND THE GREEN KNIGHT BY KELLI McCALL SELF TEACHER’S GUIDE TEACHER’S DR Gawain TG 100912a.indd 1 10/24/12 4:55 PM 2 A Teacher’s Guide to Sir Gawain and the Green Knight TABLE OF CONTENTS INTRODUCTION ........................................................................................................................3 LIST OF CHARACTERS .............................................................................................................3 SYNOPSIS OF THE POEM .......................................................................................................4 PREREADING ACTIVITIES .......................................................................................................6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY AND LITERATURE ................................................................................6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ............................................10 DURING READING ACTIVITIES..........................................................................................13 I. DISCUSSION QUESTIONS ..................................................................................13 II. ACTIVITIES TO GENERATE RESPONSE AND EXPLORATION OF THE TEXT ......................................................................15 AFTER READING ACTIVITIES .............................................................................................16 I. TEXTBASED TOPICS FOR ESSAYS AND DISCUSSIONS ..........................16 -
Learning Lineage and the Problem of Authenticity in Ozark Folk Music
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2020 Learning Lineage And The Problem Of Authenticity In Ozark Folk Music Kevin Lyle Tharp Follow this and additional works at: https://egrove.olemiss.edu/etd Recommended Citation Tharp, Kevin Lyle, "Learning Lineage And The Problem Of Authenticity In Ozark Folk Music" (2020). Electronic Theses and Dissertations. 1829. https://egrove.olemiss.edu/etd/1829 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. LEARNING LINEAGE AND THE PROBLEM OF AUTHENTICITY IN OZARK FOLK MUSIC A Dissertation presented in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Music The University of Mississippi by KEVIN L. THARP May 2020 Copyright Kevin L. Tharp 2020 ALL RIGHTS RESERVED ABSTRACT Thorough examination of the existing research and the content of ballad and folk song collections reveals a lack of information regarding the methods by which folk musicians learn the music they perform. The centuries-old practice of folk song and ballad performance is well- documented. Many Child ballads and other folk songs have been passed down through the generations. Oral tradition is the principal method of transmission in Ozark folk music. The variants this method produces are considered evidence of authenticity. Although alteration is a distinguishing characteristic of songs passed down in the oral tradition, many ballad variants have persisted in the folk record for great lengths of time without being altered beyond recognition. -
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” .