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The Character Model in Le Morte Darthur
The Character Model in Le Morte Darthur Anat Koplowitz-Breier ([email protected]) BAR-ILAN UNIVERSITY (RAMAT-GAN) Resumen Palabras clave Los personajes de La muerte de Arturo, La muerte de Arturo de Sir Thomas Malory, no se ajustan a la Malory definición estándar típica de los Caracterización personajes del romance. De hecho, Tipo pueden ser ubicados en una especie de Modelo de personaje estado transitorio que ha sido La dama denominado modelo de personaje. Tras La mujer con poderes mágicos dilucidar la naturaleza de tal concepto, este artículo procede a investigar dos modelos relativos a mujeres en La Muerte de Arturo: «La Dama» y «La Mujer con Poderes Mágicos». Abstract Key words The characters in Sir Thomas ’ Le Morte Darthur La Morte ’ do not conform to Malory the standard definition of Romance Characterization personae. In fact, they can be placed in Type a kind of transitional stage which has ’Model been called a ’ Model. After The Lady elucidating the nature of such a The Woman with Magical Power concept, this paper goes on to investigate two ’ Models of women in the Le Morte Darthur: «The Lady» and «The Woman with Magical AnMal Electrónica 25 (2008) Powers». ISSN 1697-4239 In the memory of my beloved teacher Prof. Ruth Reichelberg, who taught me what it means to be an academic person and a true Character Sir Thomas Malory's Morte is a mixture of at least two genres, Romance and Chronicle (Pochoda 1971). As McCarthy writes, his style is not of one piece: «’ matière is the matière of romance, but the sens, the ‘’ is perhaps not» (1988: 148). -
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. -
ACROSS LANDS FORLORN: the EPIC JOURNEY of the HERO, from HOMER to CHANDLER Volume One Sergio Sergi
ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER Volume One Sergio Sergi ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER. SERGIO SERGI B.A. University of Adelaide M.A. University of Ottawa M.A University of Sydney A thesis submitted for the Degree of Doctor of Philosophy University of Canberra. March 2006 i Certificate of authorship of thesis. Except where clearly acknowledged in footnotes, quotations and the bibliography, I certify that I am the sole author of the thesis submitted today entitled ‘Across lands forlorn: The epic journey of the hero from Homer to Chandler.’ I further certify that to the best of my knowledge the thesis contains no material previously published or written by another person except where due reference is made in the text of the thesis. The material in this thesis has not been the basis of an award of any other degree or diploma except where due reference is made in the text of the thesis. This thesis complies with University requirements for a thesis as set out in http://www.canberra.edu.au/secretariat/goldbook/forms/thesisrqmt. pdf …………………………. Signature of Candidate …………………………. Signature of Chair of the supervisory panel Date: ……………………………. Acknowledgements I acknowledge a number of people who have helped with the realization of this thesis which was begun at the University of New England. Professor Peter Toohey, before he left that University, listened to my ideas about the hero and encouraged me to develop them into this thesis. I am most grateful to him for the confidence he placed in my abilities to conduct a complex study. -
Shadows Over Camelot Rules Summary V2
SUPPORT THE EOG BY BECOMING AN OFFICIAL MEMBER SIGN UP AT ORDEROFGAMERS.COM The Esoteric Order of Gamers orderofgamers.com High quality materials for the dedicated devotee of immersive, thematic tabletop games. Game rules summaries, foamcore box plans, articles, interviews, reviews, videos, tutorials, forums – and lots more. @EOGamers gplus.to/EOGamers facebook.com/EOGamers EsotericOrderGamers instagram.com/orderofgamers v2 May 2011 Game: SHADOWS OVER CAMELOT Publisher: Days of Wonder (2005) Page 1: Rules summary Page 1: Rules summary Merlin’s Company Print on card (ensure you are printing at 100% scale) laminate and trim to size. These sheets are intended only for the personal use of existing owners of the game for additional reference. Universal Head makes no claim whatsoever to the rights of the publisher and copyright holder, and does not benefit financially from these player aids. Artwork from the original game is copyrighted by the publisher and used without permission. This PDF may not be re-posted online, sold or used in any way except for personal use. Setup Progression of Evil Quests Set up the boards (for the Lancelot and Dragon Draw a Black Card You must play specific combinations of cards to win board, Lancelot’s side is faceup) and place the Relic Draw the top card, read it aloud and apply its effect. Combat Quests. If a Solo Quest is abandoned all miniatures on their respective boards. White cards played so far are discarded. A Special Black card can be cancelled if you and/ Each player randomly takes a Coat of Arms and or your fellow Knights collectively play 3 Merlin cards. -
Postmodernism in Monty Python and the Holy Grail
The Macksey Journal Volume 1 Article 219 2020 Postmodernism in Monty Python and the Holy Grail Alexander Reece Loescher Quinlan University of Georgia, [email protected] Follow this and additional works at: https://www.mackseyjournal.org/publications Part of the Film and Media Studies Commons, and the Philosophy Commons Recommended Citation Quinlan, Alexander Reece Loescher (2020) "Postmodernism in Monty Python and the Holy Grail," The Macksey Journal: Vol. 1 , Article 219. Available at: https://www.mackseyjournal.org/publications/vol1/iss1/219 This Article is brought to you for free and open access by The Johns Hopkins University Macksey Journal. It has been accepted for inclusion in The Macksey Journal by an authorized editor of The Johns Hopkins University Macksey Journal. Quinlan: Postmodernism in Monty Python and the Holy Grail Postmodernism in Monty Python and the Holy Grail Alexander Reece Loescher Quinlan University of Georgia Abstract Monty Python and the Holy Grail is a film that epitomizes the various forms of deconstruction in Postmodern Philosophy. The 1975 film presents a farcical version of the Arthurian Legend of the quest for the Holy Grail, along with this are a series of metanarrative deconstructions that permeate the film. Consistent with the definition of Postmodernism presented by Jean-Francois Lyotard, the film disparages metanarratives. This is presented at a surface level in the deconstruction of Arthurian tropes, from the base concept of the chivalrous noble to the knights of the round table and King Arthur. As each of the Arthurian characters is presented with a challenge, each acts counter to the expectations set by the modern Arthurian canon. -
The Logic of the Grail in Old French and Middle English Arthurian Romance
The Logic of the Grail in Old French and Middle English Arthurian Romance Submitted in part fulfilment of the degree of Doctor of Philosophy Martha Claire Baldon September 2017 Table of Contents Introduction ................................................................................................................................ 8 Introducing the Grail Quest ................................................................................................................ 9 The Grail Narratives ......................................................................................................................... 15 Grail Logic ........................................................................................................................................ 30 Medieval Forms of Argumentation .................................................................................................. 35 Literature Review ............................................................................................................................. 44 Narrative Structure and the Grail Texts ............................................................................................ 52 Conceptualising and Interpreting the Grail Quest ............................................................................ 64 Chapter I: Hermeneutic Progression: Sight, Knowledge, and Perception ............................... 78 Introduction ..................................................................................................................................... -
The Use of the Arthurian Legend by the Pre-Raphaelites
University of Colorado, Boulder CU Scholar University Libraries Digitized Theses 189x-20xx University Libraries Summer 6-1-1905 The seU of the Arthurian Legend Matilda Krebs University of Colorado Boulder Follow this and additional works at: http://scholar.colorado.edu/print_theses Recommended Citation Krebs, Matilda, "The sU e of the Arthurian Legend" (1905). University Libraries Digitized Theses 189x-20xx. 2. http://scholar.colorado.edu/print_theses/2 This Dissertation is brought to you for free and open access by University Libraries at CU Scholar. It has been accepted for inclusion in University Libraries Digitized Theses 189x-20xx by an authorized administrator of CU Scholar. For more information, please contact [email protected]. University Archives THE USE OF THE ARTHURIAN LEGEND BY THE PRE-RAPHAELITES A THESIS PRESENTED TO THE FACULTY OF THE UNIVERSITY OF COLORADO BY MATILDA KREBS A Candidate for the Degree of Master of Arts BOULDER, COLORADO JUNE, 1905 PREFACE. The following pages are the result of many happy hours spent in the library, in an earnest endeavor to become better acquainted with Truth and Beauty. The author does not pose as a critic for she has little knowledge of literary art either theoretical or practical, and none of pic- torial. Should this self-imposed task prove to be of even the slightest benefit to other students, the pleasure to the writer would be multiplied many fold. M ATILDA KREBS. OUTLINE OF THESIS. I. The Arthuriad. 1. The origin of the Arthuriad. 2. Development of the Arthuriad. 3. Use of the Arthuriad by early writers. 4. Revival of interest in the Arthuriad through Rossetti's “ King Arthur's Tomb.” II. -
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. -
Katherine Gubbels in the Words of One of My Students, Sir Gareth Is “Kind
THE FAIR (AND QUEER) UNKNOWN IN MALORY’S “THE TALE OF SIR GARETH” Katherine Gubbels In the words of one of my students, Sir Gareth is “kind of a weird knight.” And, after considering Lot’s youngest son and his struggles from kitchen boy to verbal whipping post to impotent lover, I am inclined to agree. After all, while the narrative presents itself as a prototypical “fair unknown” tale, a simple sampling of Gareth scholarship evidences the fact that critics, much like my student, are a bit unsure of what to make of this particular text. Although much of the scholarship focuses on the narrative’s source material, or lack thereof,1 other studies posit readings of Gareth as a manipulator, a product of alchemy theory, a man on a quest for social stability, and a knight hoping to critique and improve the courtesy of Camelot.2 Perhaps some of the confusion arises from seeming contradictions within the piece itself. Indeed, Emily Rebekah Huber points out that Gareth may in fact be read as “flexible.”3 Despite the fact that her study is primarily on Gareth’s nameless dwarf and the part he plays in Gareth’s progression as a knight, her insight nonetheless points to a certain indefinability, inconsistency, or ambiguity on the part 1 On the origins of Le Morte Darthur, see Eugène Vinaver, ed., “Introduction,” in Malory Works, ed. Eugène Vinaver, 2nd ed. (Oxford: Oxford University Press), v-x; Edward Donald Kennedy, “Malory’s Use of Hardyng’s Chronicle,” Notes and Queries 214 (1969) 167-70. On the origins of Gareth’s tale, specifically, see P. -
Concealment and Construction of Knightly Identity in Chretien's Romances and Malory's Le Morte Darthur
University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 5-2014 Concealment and construction of knightly identity in Chretien's romances and Malory's Le morte Darthur. Taylor Lee Gathof University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the English Language and Literature Commons, and the European Languages and Societies Commons Recommended Citation Gathof, Taylor Lee, "Concealment and construction of knightly identity in Chretien's romances and Malory's Le morte Darthur." (2014). College of Arts & Sciences Senior Honors Theses. Paper 88. http://doi.org/10.18297/honors/88 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. Concealment and Construction of Knightly Identity in Chretien’s Romances and Malory’s Le Morte Darthur By Taylor Lee Gathof Submitted in partial fulfillment of the requirements for Graduation summa cum laude University of Louisville May, 2014 Gathof 2 1. Introduction This paper will discuss the phenomenon of -
Friday, 28-07-2017
Friday, 28.07.2017 09:00-10:30 Artusrezeption in Spätmittelalter und Früher Neuzeit Head: Mathias Herweg Room 2 Unsere Sektion zum Rahmenthema "Nachmittelalterlicher Artus: Druck und andere Medien" befasst sich mit dem Weiterleben des Artusstoffs und der Artusfiguren im Spätmittelalter und der Frühen Neuzeit. Das Spektrum reicht vom 13. bis zum 16. Jahrhundert (mit einem Schwerpunkt im 15./16. Jh.) und deckt die deutsche, französische, italienische und niederländische Literatur ab. Beleuchtet wird einerseits, wie Figuren der matière de Bretagne in verschiedenen Gattungen rezipiert werden (in längeren und kürzeren Erzähltexten, in verschiedenen lyrischen Gattungen und auf der Bühne), andererseits, welche Rolle dabei verschiedene Medienwechsel (Buchdruck, Text/Bild, Bühne) spielen. DIE FRÜHEN DRUCKE DER FRANZÖSISCHEN ARTUSROMANE Brigitte Burrichter Im ausgehenden 15. und frühen 16. Jahrhundert wurden mehrere französische Artusromane des 13. Jahrhunderts gedruckt. Gegenstand des Vortrags wird der Umgang der Drucker mit den mittelalterlichen Romanen sein (Modernisierung der Sprache, Vorworte). RÜCKBLICK AUF DES KÖNIG ARTUS ZEIT. ARTUS-ERWÄHNUNGEN IM HÖFISCH-GALANTEN ROMAN DES 15./16. JAHRHUNDERTS Cora Dietl In der höfisch-galanten Erzählliteratur des späteren 15. und 16. Jahrhunderts lässt sich zunehmend eine historische Distanz zur arthurischen Welt erkennen. Wenn ritterliche Romane dieser Zeit in England oder Frankreich spielen, dann ist es meist das nacharthurische Britannien, in dem sich zwar Konstellationen aus der Artusliteratur wiederholen, aber keine Artusritter mehr auftreten. Sie werden trotzdem als Exempel genannt – und das häufig zu Beginn der Handlung, um beim Rezipienten das entsprechende literarische Muster aufzurufen und die Rezipientenerwartung entsprechend zu lenken. Diesem Phänomen werde ich an verschiedenen Beispieltexten nachgehen (u.a. Pontus und Sidonia, Ritter Galmy, Amadis), um nach der Funktion des Arthurischen im nichtarthurischen höfisch-galanten Roman um 1500 generell zu fragen. -
MERLIN's COMPANY Kiegészítő Doboz a „Shadows Over Camelot” C
MERLIN’S COMPANY Kiegészítő doboz a „Shadows over Camelot” c. társasjátékhoz (A játékhoz szükség van az eredeti társasjátékra is.) A fordító email címe: [email protected] A KIEGÉSZÍTŐ DOBOZ TARTALMA: Egy Merlin figura, amely egy új, független szereplő a táblán, aki segíti lovagokat a nehéz helyzetekben. Egy bónusz lovagfigura: Sir Bedivere, címerlappal és életkockával. Ez a figura még az eredeti játékhoz tartozó keresett reklámtárgy, amelyhez ma már nehéz hozzájutni. 7 új lovag címerlap, minden színű lovaghoz egy új, Sir Bediverehez is, kivéve Artúr királyt, aki az egyetlen igaz király. 63 kártya: - 9 új hűségkártya (7 hűséges + 2 áruló) - 16 új Travel-kártya (travel=utazás) - 23 db fehér kártya: Harci kártyák 11 db (3 db ?es, 3db 1es, 2 db 2es, 1 db 3as, 1 db 4es és 1 db 5ös), Grál 3 db Merlin 1 db 8 db új speciális fehér kártya A ?-es harci kártya értékét (egytől ötig) mindig az a lovag határozza meg, aki használja. Kivételessége ellenére nem speciális, hanem rendes kártya, mint a többi harci. - 14 fekete kártya: Despair (Kétségbeesés) 2 db Excalibur 2 db Mercenaries (Zsoldosok) 1 db Picts (Piktek) 1 db Saxons (Szászok) 1 db 7 db új speciális fekete kártya, a 7 boszi, mindannyian Morgan szövetségesei) A JÁTÉK ELŐKÉSZÍTÉSEKOR TÖRTÉNŐ MÓDOSÍTÁSOK: - Keverjük össze a 16 Travel-kártyát, és tegyük őket egy pakliban a tábla mellé, képpel lefelé! - Tegyük a Merlin figurát a Travel-pakli mellé! - Az új fehér és fekete kártyát keverjük a régi társaikhoz! (Az új kártyák egy része azonos szerepű a régiekkel, így a hátlapok alapján nem tudhatjuk, hogy új tartalmú lap következik-e) SZEREPVÁLASZTÁS: Artúr királynak, mint különleges egyéniségnek mindig szerepelnie kell.