Robin Hood | Ángela Torronteras Moreno Telf
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Outlaw: Wilderness and Exile in Old and Middle
THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Michelle Haughey August 2011 © 2011 Sarah Michelle Haughey THE ‘BESTLI’ OUTLAW: WILDERNESS AND EXILE IN OLD AND MIDDLE ENGLISH LITERATURE Sarah Michelle Haughey, Ph. D. Cornell University 2011 This dissertation, The ‘Bestli’ Outlaw: Wilderness and Exile in Old and Middle English Literature explores the reasons for the survival of the beast-like outlaw, a transgressive figure who highlights tensions in normative definitions of human and natural, which came to represent both the fears and the desires of a people in a state of constant negotiation with the land they inhabited. Although the outlaw’s shelter in the wilderness changed dramatically from the dense and menacing forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, the outlaw remained strongly animalistic, other, and liminal, in strong contrast to premodern notions of what it meant to be human and civilized. I argue that outlaw narratives become particularly popular and poignant at moments of national political and ecological crisis—as they did during the Viking attacks of the Anglo-Saxon period, the epoch of intense natural change following the Norman Conquest, and the beginning of the market revolution at the end of the Middle Ages. Figures like the Anglo-Saxon resistance fighter Hereward, the exiled Marcher lord Fulk Fitz Waryn, and the brutal yet courtly Gamelyn and Robin Hood, represent a lost England imagined as pristine and forested. -
Outlaw Triathlon 2012 - Provisional Results: Version 4 Email Enquiries - [email protected]
OUTLAW TRIATHLON 2012 - PROVISIONAL RESULTS: VERSION 4 EMAIL ENQUIRIES - [email protected] POS NAME SURNAME CLUB RACE NO. GENDER CAT CAT POS. SWIM T1 BIKE SPLIT 1 BIKE SPLIT 2 BIKE SPLIT 3 BIKE T2 RUN SPLIT 1 RUN SPLIT 2 RUN SPLIT 3 RUN SPLIT 4 RUN SPLIT 5 RUN SPLIT 6 RUN FINISH NOTES 1 GI TRI CLUB 936 TEAM TEAM 1 00:57:09 00:01:06 00:26:14 02:35:55 03:31:17 04:28:33 00:00:17 00:21:44 01:39:31 01:17:59 01:39:31 02:18:32 02:42:00 03:23:07 08:50:14 Finished 2 THE SHERIFFS 977 TEAM TEAM 2 00:50:05 00:02:01 01:41:33 02:49:44 03:55:32 05:04:40 00:00:19 00:18:07 00:35:59 01:07:27 01:25:49 01:59:22 02:19:42 02:55:46 08:52:53 Finished 3 HARRY WILTSHIRE DRIVIN TO TRI 918 MALE 25/29 1 00:48:35 00:01:49 01:41:53 02:48:00 03:49:02 04:53:29 00:02:33 00:20:55 00:42:44 03:19:47 09:06:16 Finished 4 CHRIS GOODFELLOW 231 MALE 30/34 1 00:54:48 00:02:53 00:31:27 02:48:13 03:49:33 04:53:21 00:02:50 00:20:12 00:40:41 01:16:52 01:38:09 02:16:17 02:39:16 03:17:25 09:11:19 Finished 5 CANCER RESEARCH UK 929 TEAM TEAM 3 00:55:25 00:00:45 00:36:06 02:57:42 04:00:51 05:04:58 00:00:16 00:20:24 00:40:27 01:16:32 01:37:51 02:14:35 02:36:11 03:14:17 09:15:44 Finished 6 DAWN 2 934 TEAM TEAM 4 01:03:09 00:00:54 01:48:57 02:59:59 04:09:10 05:22:17 00:00:19 00:19:29 00:38:12 01:11:09 01:30:23 02:04:21 02:23:59 02:59:07 09:25:50 Finished 7 NATHAN BRADFORD CLIMB ON BIKES HEREFORD 205 MALE 30/34 2 00:59:28 00:02:00 00:32:17 02:56:08 03:58:13 05:02:49 00:02:02 00:21:26 00:42:11 01:19:17 01:40:12 02:18:22 02:41:09 03:19:39 09:26:01 Finished 8 JOHN WHITWORTH 304 MALE 30/34 -
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. -
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. -
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. -
Resource Guide the Adventures of Robin Hood
2019-2020 Theatre Season Heroes and Villains Blinn College Division of Visual/Performing Arts and Kinesiology Brenham Campus The Adventures of Robin Hood Resource Guide This resource guide serves as an educational starting point to understanding and enjoying Michele L. Vacca’s adaptation of The Adventures of Robin Hood. With this in mind, please note that the interpretations of the theatrical work may differ from the original source content. Performances November 21 & 22 7 p.m. November 23 & 24 2 p.m. Elementary School Preview Performances: November 21 & 22 10 a.m. & 1 p.m. Dr. W.W. O’Donnell Performing Arts Center Auditorium Brenham, Texas Tickets can be purchased in advance online at www.blinn.edu/BoxOffice, by calling 979-830-4024, or by emailing [email protected] Directed by Brad Nies Technical Theatre Direction by Kevin Patrick Costume, Makeup, and Hair Design by Jennifer Patrick KCACTF Entry The Adventures of Robin Hood is Blinn College-Brenham’s entry to the 2019 Kennedy Center American College Theatre Festival. The aims of this national theater program are to identify and promote quality in college-level theater production. Each production entered is eligible for a response by a KCACTF representative. Synopsis Based on the novel The Merry Adventures of Robin Hood by Howard Pyle, and adapted by Chicago playwright Michele L. Vacca, this play tells the story of a heroic outlaw who lives in Sherwood Forest and bestows generosity to the less fortunate. But when the nasty Sheriff of Nottingham forces the locals to pay unaffordable taxes, Robin fights against him by stealing from the rich so that he may give to the poor. -
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. -
JANUARY 17, 1964 15¢ PER COPY 12 PAGES Arab Leader,S Determined to Thwart Israeli Diversion of River Jordan CAIRO - the Arab Technical Leaders Jan
R. J. JEWI SH II I STOR ICAL ASSOC. 11 20() 'A NGELL ST. PROV. o, R. I • THE ONLY ANGLO-JEWISH WEEKLY IN R. I. AND SOUTHEAST MASS. Vol. XLVII, No. 46 JANUARY 17, 1964 15¢ PER COPY 12 PAGES Arab Leader,s Determined To Thwart Israeli Diversion Of River Jordan CAIRO - The Arab Technical leaders Jan. 13. ject, which. Is expected to begin Committee for the River Jordan The Arab leaders have de this month. opened Its first session In the clared their determination to The Arabs have a choice of Arab League building last week thwart the Israeli diversion pro- mllltary action - a move there with 11 of the 13 member states has been some talk of here - or of the league present. Syria and of carrying out a plan to divert Jordan were absent. No explana Jordan River waters at their tion for their absence was Im sources, which are In Arab lands. mediately available. Percentages Cited J All sessions were private and Technical calculations have FIRST BABY OF 11iE NEW YEAR - Valeree Rose Bazarsky was without a definite time-table. Indicated that 77 per cent of the getting a little tired of the business of being a celebrity, and Just The committee was formed In sources of the Jordan are In Arab wanted to get back to her bottle and her bed, as can be seen by the big 1954 to draw up a plan to counter lands and 23 per cent In Israel. yawn she had for the photographer. The first child of Mr. -
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. -
The Sheriff of Nottingham and Robin Hood the Sheriff of Nottingham Appears in the Early Ballads with Robin’S Other Enemies, the Rich Clergy
Teen Readers Stage 3 Eli Readers is a beautifully illustrated series of timeless classics and specially-written stories for learners of English. Robin Hood The daring and handsome nobleman Robin Hood is forced to live as an outlaw in Sherwood Forest, after the evil Sheriff of Nottingham kills his family and takes his land and money. With the help of his Merry Men, Robin becomes a hero, stealing from the rich to give to the poor. Will the wicked Sheriff of Nottingham manage to capture Robin and 3 Stage his friends? Will Robin regain his land and be able to offer Marian, his love, a real home? Read about this legendary hero of the English Middle Ages and discover all the exciting and romantic adventures he has ROBIN HOOD with his band of Merry Men! In this reader you will find: - Focus on… - Comprehension activities - Glossary of difficult words - Test yourself - CLIL activity Tags Adventure Friendship Stage 1 Elementary 600 headwords A1 Movers Stage 2 Pre-Intermediate 800 headwords A2 Flyers/KET Teen ELI Readers Teen Stage 3 Intermediate 1000 headwords B1 PET Classic with with free downloadable TEEN ELI READERS Audio CD ISBN 978-88-536-0654-9ELI s.r.l. Booklet Robin Hood ELT www.elireaders.com ELT Teen Readers B1 B1 Teen Readers B1 The ELI Readers collection is a complete range of books and plays for readers of all ages, ranging from captivating contemporary stories to timeless classics. There are three series, each catering for a different age group; Young ELI Readers, Teen ELI Readers and Young Adult ELI Readers.