Robin Hood Robin Hood!
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
King John in Fact and Fiction
W-i".- UNIVERSITY OF PENNS^XVANIA KING JOHN IN FACT AND FICTION BY RUTH WALLERSTEIN ff DA 208 .W3 UNIVERSITY OF FLORIDA LIBRARY ''Ott'.y^ y ..,. ^..ytmff^^Ji UNIVERSITY OF PENNSYLVANIA KING JOHN IN FACT AND FICTION BY RUTH WAIXE510TFIN. A THESIS PRESENTED TO THE FACULTY OF THE GiLA.DUATE SCHOOL IN PARTLVL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY 'B J <^n5w Introductory LITTLE less than one hundred years after the death of King John, a Scottish Prince John changed his name, upon his accession to L the and at the request of his nobles, A throne to avoid the ill omen which darkened the name of the English king and of John of France. A century and a half later, King John of England was presented in the first English historical play as the earliest English champion and martyr of that Protestant religion to which the spectators had newly come. The interpretation which thus depicted him influenced in Shakespeare's play, at once the greatest literary presentation of King John and the source of much of our common knowledge of English history. In spite of this, how- ever, the idea of John now in the mind of the person who is no student of history is nearer to the conception upon which the old Scotch nobles acted. According to this idea, John is weak, licentious, and vicious, a traitor, usurper and murderer, an excommunicated man, who was com- pelled by his oppressed barons, with the Archbishop of Canterbury at their head, to sign Magna Charta. -
March 2009 Newsletter
MARCH 2009 NEWSLETTER March Calendar of Events That's Science Fiction Tuesday March 3, 2009 7:00 pm - 9:00 pm Fantasy Gamers Group Hillsdale Public Library Saturday March 21, 2009 201.358.5072 2:30 pm - 7:30 pm Shadow of the Vampire (2000). Reality's Edge Game Store Seville Diner follows the movie - 289 Broadway, Westwood,NJ. Ridge Road North Arlington, NJ Suspense Central Explore the freaky world of HP Lovecraft's Cthulu mythos as writer, Monday March 9, 2009 gamer, and veteran GM BJ Pehush takes the reigns for a story of 8:00 pm - 10:00 pm gangland murders, strange beings, and terror beyond imagining as Borders @ Garden State Plaza we explore the town of Arkham. This game will use the 6th edition 201.712.1166 Call of Cthulu This month's selection is LAMB: The Gospel According to Bif, Chaosium rules (books available for order through New Moon Christs' Childhood Pal by Christopher Moore. Comics). Drawing A Crowd Themes of the Fantastic Wednesday March 11, 2009 Tuesday March 24, 2009 8:00 pm - 10:00 pm 8:00 pm - 10:00 pm New Moon Comics New Moon Comics 973-81-COMIC or 973-812-6642 973-81-COMIC or 973-812-6642 Discussion group re: comic books. Topic discussion group www.newmooncomics.com. www.newmooncomics.com. Whispers from Beyond & Face the Fiction Modern Masters Saturday March 14, 2009 Friday March 27, 2009 7:00 pm - 8:00pm (Whispers From Beyond) 8:00pm - 10:00 pm 8:00 pm - 10:00 pm (Face The Fiction) Borders Ramsey Interstate Shopping Center Borders Ramsey Interstate Shopping Center 201.760.1967 201.760.1967 This month we discuss Christopher Moore's Bloodsucking This month's guest is bestselling horror writer, L.A. -
Sherwood Forest National Nature Reserve Oyster Fungus on Birch, Birklands
Sherwood Forest National Nature Reserve Oyster fungus on birch, Birklands Introduction In the heart of Nottinghamshire lie the ancient forests of Birklands and Budby, an extensive area of old pasture-woodland and heathland on the dry nutrient-poor soils © Peter Wakely/Natural England © Peter Wakely/Natural of the Sherwood Sandstone. Together they represent a rare and wonderful fragment of the great forest of Sherwood, one of the most famous forests in the world. Today, over 420 hectares of this internationally important forest is now managed as a National Nature Reserve (NNR). © Peter Wakely/Natural England © Peter Wakely/Natural Ancient wood-pasture, Birklands “By itself it stands, and is like no other spot on which my eyes have looked, or my feet have ever England © Peter Wakely/Natural trod. It is Birkland...” (Charles Reece Pemberton, 1835). Woodland glade, Birklands History Birklands, which is an old Viking word meaning ‘birch land’, was first mentioned in documents in 1251 and is likely to be at least one thousand years old. It was part of the vast Royal Forest of Sherwood that once covered over 41,000 hectares of the county. The wood remained the property of the Crown for nearly 600 years and was used as a source of timber, grazing land and as an exclusive hunting ground rich with wild deer for successive kings and queens of England. Contrary to popular opinion, much of the historic Sherwood Forest was, in fact, tree-less, being dominated by wild open plains of heathland such as Budby South Forest. This uncultivated forest land was once grazed by wild deer, rabbits and livestock; and its trees, gorse and bracken were collected by local people for fuel and fodder. -
Sherwood Forest Country Park Contents
Survey of Visitors August 2015 Sherwood Forest Country Park Contents PART 1 Survey Aims & Objectives Methodology Sample Size & Location PART 2 Visitor Characteristics PART 3 Visitor Experience PART 4 Summary & Key Findings Part 1 Aims & Objectives Methodology Sample Size & Location Survey Aims & Objectives This survey was commissioned by Nottinghamshire County Council’s Country Park Service to gauge current visitor satisfaction at Sherwood. This is part of an annual programme of visitor insight research and includes: • Demographic profile of visitors • Frequency of visits • Places visited once at the destination • Specific insights into ‘tourist’ visitors • Effectiveness of local promotion / visitor guides • Assessment of service delivery perceptions • Measurement of visitor satisfaction Where possible comparisons will be drawn with previous surveys to identify improvement or decline but this will not be possible in all cases as survey questions and formats have changed over time. Methodology The survey took place over seven days during the school summer holidays from Monday 10 th August – Sunday 16 th August 2015. This was the week immediately following the Park’s annual Robin Hood Festival. It was conducted during August to mirror the dates of previous visitor surveys and to provide clearer year-on-year comparisons. The survey was based on face-to-face interviews with visitors and three researchers were involved in the project. Researchers used Ipad tablet devices to quickly capture information. Questionnaires were programmed with icons, images, sliders and radio buttons to illustrate points and engage interviewees. Methodology The questionnaire consisted of 19 questions which were designed and agreed in advance with the Park Development Officer. -
Volume 1, Issue 1 2017 ROBIN HOOD and the FOREST LAWS
Te Bulletin of the International Association for Robin Hood Studies Volume 1, Issue 1 2017 ROBIN HOOD AND THE FOREST LAWS Stephen Knight The University of Melbourne The routine opening for a Robin Hood film or novel shows a peasant being harassed for breaking the forest laws by the brutal, and usually Norman, authorities. Robin, noble in both social and behavioral senses, protects the peasant, and offends the authorities. So the hero takes to the forest with the faithful peasant for a life of manly companionship and liberal resistance, at least until King Richard returns and reinstates Robin for his loyalty to true values, social and royal, which are somehow congruent with his forest freedom. The story makes us moderns feel those values are age-old. But this is not the case. The modern default opening is not part of the early tradition. Its source appears to be the very well-known and influential Robin Hood and his Merry Men by Henry Gilbert (1912). The apparent lack of interest in the forest laws theme in the early ballads might simply be taken as reality: Barbara A. Hanawalt sees a strong fit between the early Robin Hood poems and contemporary outlaw actuality. Her detailed analysis of what outlaws actually did against the law indicates that robbery and assault were normal and that breach of the forest laws was never an issue.1 The forest laws themselves are certainly medieval.2 They were famously imposed by the Norman kings, they harassed ordinary people, stopping them using the forests for their animals and as a source for food and timber, and Sherwood was one of the most aggressively policed forests—but this did not cross into the early Robin Hood materials. -
Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham
Early Theatre 14.1 (2011) Alexis Butzner ‘Sette on foote with gode Wyll’: Towards a Reconstruction of Robin Hood and the Sheriff of Nottingham Lythe and listin, gentilmen, That be of frebore blode; I shall you tel of a gode yeman, His name was Robyn Hode. A Gest of Robyn Hode1 In the greenwood of England, a game is afoot. Robin Hood, the noble ban- dit, has been identified as the audacious hero of Sherwood and Barnsdale for centuries, and his constant presence in ballads and drama since the four- teenth century attests to his popularity in and influence on the culture of the English nation. In a manuscript fragment of the late fifteenth century,2 the legend finds incarnation in a twenty-one-line drama (forty-two, if the caesurae are recognized instead as line-breaks), known by most scholars as Robin Hood and the Sheriff of Nottingham. The text contains no indication of scene-divisions or stage directions, and does not offer any notation to indi- cate the identity of the various speakers. Because the text offers so little in the way of definite answers, it invites interpretation. Despite their admirable efforts to treat the fragment, however, scholars have reached little consensus: critics, while advancing the probable accuracy of their own reconstructions, have yet to resolve some crucial difficulties that arise in the extant text. By reading the script Robin Hood and the Sheriff of Nottingham as a single and complete play-text, as I do in this re-examination, readers may reconcile its apparent inconsistencies. Since the first extant record of Robin Hood in literature, in the four- teenth century Piers Plowman, tales and rhymes of the legendary outlaw have permeated Anglophone culture — a feat of public memory that, according to Stephen Knight, is surpassed only by stories of King Arthur.3 That the Robin Hood legend survives — and thrives — should not come as a shock; 61 62 Alexis Butzner even in his earliest incarnations, he occupies a liminal space between social strata. -
Robin Hood Was Smiling
CHAPTER 1 Trouble at Treeton Mine Every day at Treeton Mine was terrible, but today was worse than all the others. Clouds of black smoke covered the sky. Everywhere people lay hurt or dead. The terrible explosion at the mine was still sounding in people’s ears. Rowan found his father. He was sitting by the body of his uncle and crying. ‘He’s dead, Rowan. They’re all dead.’ Rowan pointed at some men on horses. They were riding towards the mine. ‘Look, Father. Here’s Gisborne. Slowly, the Sheriff got off his horse. ‘I hope you’re not Please tell him. The mine is too dangerous. We can’t work giving these people a choice, Gisborne,’ he said softly. here anymore.’ Gisborne looked at him. Then he took his knife and Sir Guy of Gisborne was dark and good-looking but his pushed it into the miner’s body. Rowan couldn’t believe it. eyes were hard and cold. He got off his horse and looked His father fell onto the grass, dead. at all the dead bodies. Rowan’s father ran to him. ‘Very good,’ said the Sheriff happily. Then he turned to ‘We’re not going to work in your mine anymore, the miners with a small, thin smile. ‘Enjoy your free time. Gisborne. We can’t. It isn’t safe. Make it safe and we’ll go You’ve lost your jobs. Goodbye.’ He started to walk away. back to work.’ Gisborne followed him. He didn’t understand. ‘But we Gisborne was angry. ‘You work when I tell you!’ he need miners. -
Treacherous 'Saracens' and Integrated Muslims
TREACHEROUS ‘SARACENS’ AND INTEGRATED MUSLIMS: THE ISLAMIC OUTLAW IN ROBIN HOOD’S BAND AND THE RE-IMAGINING OF ENGLISH IDENTITY, 1800 TO THE PRESENT 1 ERIC MARTONE Stony Brook University [email protected] 53 In a recent Associated Press article on the impending decay of Sherwood Forest, a director of the conservancy forestry commission remarked, “If you ask someone to think of something typically English or British, they think of the Sherwood Forest and Robin Hood… They are part of our national identity” (Schuman 2007: 1). As this quote suggests, Robin Hood has become an integral component of what it means to be English. Yet the solidification of Robin Hood as a national symbol only dates from the 19 th century. The Robin Hood legend is an evolving narrative. Each generation has been free to appropriate Robin Hood for its own purposes and to graft elements of its contemporary society onto Robin’s medieval world. In this process, modern society has re-imagined the past to suit various needs. One of the needs for which Robin Hood has been re-imagined during late modern history has been the refashioning of English identity. What it means to be English has not been static, but rather in a constant state of revision during the past two centuries. Therefore, Robin Hood has been adjusted accordingly. Fictional narratives erase the incongruities through which national identity was formed into a linear and seemingly inevitable progression, thereby fashioning modern national consciousness. As social scientist Etiénne Balibar argues, the “formation of the nation thus appears as the fulfillment of a ‘project’ stretching over centuries, in which there are different stages and moments of coming to self-awareness” (1991: 86). -
Meeple University Guide to Robin Hood and the Merry Men
Meeple University Guide to Robin Hood and the Merry Men MERRY MEN PHASE 3. Guy of Gisborne (breastplate icon) 11. Free prisoners (tower icon) Take income, then place meeples one at a time - Remove closest barricade to the castle (return to player's lair) - Spend distraction tokens, roll two skill dice per token Two types of actions: active (stronger) and passive (weaker). - Advance carriage to castle if it is now unimpeded (see below) - Free prisoners based on number of successes (see below) Active meeples in hideouts, passive meeples in main area. - Gain rewards from Sheriff's stash (see below) No passive action for construction yard or crusade. 4. Prince John (crown icon) - Return Merry Men to owner; gain VP if belongs to opponent - Remove pennies equal to barricades (including the printed one) • From Prison I, needs 1 success, earn 2VP and one reward To take active action, play matching card from hand or passive pile • From Prison II, needs 2 successes, earn 3VP and two rewards To take passive action, play any card from hand to passive pile 5. Activate a road (carriage icon) • From Prison III, needs 3 successes, earn 4VP and three rewards - Advance all carriages one barricade Passive pile has max six cards (can discard), worth VP at end game - Add carriage to the head of the road 12. Archery competition (target icon) 1-5. Gathering sites (circular shield icons) - If carriage enters castle: - Roll skill dice per the level, gain pennies for each success - Take resource matching the site • Place carriage upright on the lot (top to bottom, left to right) - Can attempt each level in sequence until suffering one failure - Cannot hold more than four weapon dice at any time • Pay pennies from the road per the space covered - No additional penalty for failure - If carriage lot fills: 6. -
The Outlaw Hero As Transgressor in Popular Culture
DOI 10.6094/helden.heroes.heros./2014/01/10 Andreas J. Haller 75 The Outlaw Hero as Transgressor in Popular Culture Review of Thomas Hahn, ed. Robin Hood in Popular Culture: Violence, Trans- gression, and Justice. Cambridge: D. S. Brewer, 2000. A look at the anthology Robin Hood in Popu- All articles in the anthology but one (by Sherron lar Culture, edited by Thomas Hahn, can give Lux) describe Robin Hood or his companions as some valuable insights into the role and func- heroes or heroic or refer to their heroism. Nei- tions of the hero in popular culture. The subtitle ther can we fi nd an elaborate theory of the pop- Violence, Transgression, and Justice shows the ular hero, nor are the models of heroism and direction of the inquiry. As the editor points out, heroization through popular culture made ex- since popular culture since the Middle Ages has plicit. Still, we can trace those theories and mo- been playful and transgressive, outlaw heroes dels which implicitly refer to the discourse of the are amongst the most popular fi gures, as they heroic. Therefore, I will paraphrase these texts “are in a categorical way, transgressors” (Hahn and depict how they treat the hero, heroization, 1). And Robin Hood is the most popular of them and heroism and how this is linked to the idea of all. Certainly, the hero is a transgressor in gen- transgression in popular culture. eral, not only the outlaw and not only in popular culture. Transgressiveness is a characteristic Frank Abbot recalls his work as a scriptwriter for trait of many different kinds of heroes. -
Little Red Robin Hood CHARACTER SCHEDULE
Characters of Little Red Robin Hood CHARACTER SCHEDULE AMELIA, A.K.A. LITTLE RED ROBIN HOOD The young heroine of our panto. The forest creatures nickname Amelia “Little Red Robin Hood” because of her red cloak and how she reminds them of their long-lost savior, Robin Hood. She is a strong-willed, fifteen-year- old orphan with a knack for archery and a determination to save Sherwood Forest. MAUD A.K.A. THE GRANNY IN THE WOODS The Granny is a classic character from Little Red Riding Hood, but Maud is much more than a wolf’s dinner. She fights side-by-side with Little Red against a greedy villainess, inspires the whole forest with her letters to the editor, and is the dame of this panto! What’s a dame, you ask? In basic terms, the dame is the beloved matriarch of any panto, and is always a drag role – think Robin Williams in Mrs. Doubtfire. LADY NOTTINGHAM Unlike Maud and Amelia, Lady Nottingham doesn’t have a direct fairytale counterpart. She’s the villain of our story and is a sort of combination between Prince John from Disney’s cartoon Robin Hood and Cersei Lannister from Game of Thrones. CHARACTER SCHEDULE LUPO The big bad wolf of our story isn’t really that big, and truly isn’t that bad, either. Lupo gets caught up in a bad crowd working for Lady Nottingham, but doesn’t want to eat Little Red or her Granny like in the original tales. He serves as more of a narrator in our version. -
ROBIN' NOTTINGHAM of a LEGEND? Benjamin Dunn Follows the Yorkshire Trail of the Legendary Outlaw and Finds Some Surprising Clues
HoodWinked! IS YORKSHIRE 'ROBIN' NOTTINGHAM OF A LEGEND? Benjamin Dunn follows the Yorkshire trail of the legendary outlaw and finds some surprising clues... He's the original thug in 'da hood' who everybody loves to hate. His name? Robin Hood, the medieval bad boy gangster in bright green tights. Long associated with the historic English city of Nottingham, this notorious villain of his day is now famous throughout the world. This can be credited to scores of books and several Hollywood movies dis!laying an array of de!ictions characterising one of Euro!e's greatest myths. "ut who was this man of the middle ages? #as he a law unto himself? He entered fol lore as a hero of the !eople, ultimately gaining the une$!ected gift of immortality. "ut will his legend live forever? Later this year Appion Way, the production house run by Leonard DiCaprio, brings us another slab of the Robin Hood legend. Welsh actor Taron Egerton shoots his long-bow as the leading an, while Ray and Djano Unchained's !amie Fox# – an e%en bigger draw, offers up a twist as Robin's wing an, Little !ohn. (t is well )nown that Nottinghamshire has any associations with our an in the hood, but little is )nown that '+ods own country', Yorkshire further North has some substantial and e#tre ely interesting clai s and place name connections of its own related to the original bad boy bandit of -herwood Forest. It Was A Good Dayle .ne such location within the e#panse of what was once )nown as -herwood Forrest, until its deci ation for ship construction under /ing Henry 0((( is a place called 1arnsdale.