King Arthur and the Knights of the Round Table Stephen Colbourn
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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). -
A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching -
Сest Romanz Fist Crestïens Chrétien De Troyes and the Birth of the French Novel
Natalia M. Dolgorukova СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: LITERARY STUDIES WP BRP 24/LS/2017 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Natalia M. Dolgorukova1 СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL2 The paper addresses three controversial issues in two romances by Chrétien de Troyes - Yvain, or the Knight with the Lion and Lancelot, or the Knight of the Cart. Both romances were written around 1176-1180 and because of their narrative continuity and complementarity could be considered as a diptych. First, we examine the evolution of Chretien’s conception of love, “mysteriously” changing from his first romances to Lancelot; then we enter into the debate between celtisants and their critics about the Celtic influence in Chretien and consider Celtic sources of the two romances; we conclude the article, tracing out the fairy tale paradigm in both romances, which helps us reveal new meanings of the cart and the lion, operating as magic agents in the romances. Keywords: Chrétien de Troyes, “Yvain, or the Knight with the Lion”, “Lancelot, or the Knight of the Cart”, fin’amors, Breton Cycle, Celtic material, troubadours, trouvères, V. Propp, Mabinogion, parody Jel: Z 1 National Research University Higher School of Economics. Faculty of Humanities, School of Philology. Senior Lecturer. E-mail: [email protected]. -
An Ethnically Cleansed Faery? Tolkien and the Matter of Britain
An Ethnically Cleased Faery? An Ethnically Cleansed Faery? Tolkien and the Matter of Britain David Doughan Aii earlier version of this article was presented at the Tolkien Society Seminar in Bournemouth, 1994. 1 was from early days grieved by the Logres” (p. 369), by which he means a poverty of my own beloved country: it had specifically Arthurian presence. It is most no stories of its own (bound up with its interesting that Lewis, following the confused or tongue and soil), not of the quality 1 sought, uninformed example of Williams, uses the name and found (as an ingredient) in legends of “Logres”, which is in fact derived from Lloegr other lands ... nothing English, save (the Welsh word for England), to identify the impoverished chap-book stuff. Of course Arthurian tradition, i.e. the Matter of Britain! No there was and is all the Arthurian world, but wonder Britain keeps on rebelling against powerful as it is, it is imperfectly Logres. And despite Tolkien's efforts, he could naturalised, associated with the soil of not stop Prydain bursting into Lloegr and Britain, but not with English; and does not transforming it. replace what I felt to be missing. (Tolkien In The Book of Lost Tales (Tolkien, 1983), 1981, Letters, p. 144) Ottor W<efre, father of Hengest and Horsa, also To a large extent, Tolkien is right. The known as Eriol, comes from Heligoland to the mediaeval jongleurs, minstrels, troubadours, island called in Qenya in Tol Eressea (the lonely trouvères and conteurs could use, for their isle), or in Gnomish Dor Faidwcn (the land of stories, their gests and their lays, the Matter of release, or the fairy land), or in Old English se Rome (which had nothing to do with Rome, and uncujm holm (the unknown island). -
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. -
Sexual Politics, Pomegranates and Production: William Morris's The
113 Sexual Politics, Pomegranates and Production: William Morris’s The Defence of Guenevere and La Belle Iseult in Dialogue Anna Marie Attwell Abstract: Examining patterns in William Morris’s poetry and book art, Isolde Karen Herbert observes that ‘Morris’s perception is aesthetically and politically dialectical’. Patterns in Morris’s texts, she argues, have ‘narrative potential’1. This essay explores the dialectic quality and narrative potential of Morris’s early poetry and arts from an intertextual perspective, beginning with his first volume of poetry, The Defence of Guenevere, and Other Poems (1858) and his only surviving oil painting, La Belle Iseult (1857-58). Through recurrent visual motifs, intertextual allusions and the figurative re-working and re-presentation of Jane Burden (later Jane Morris) in paint and poetry, glass and embroidery, Morris generates a protean figure – both problematic femme fatale and martyr to love, whose silent presence points to the uncomfortable disjunction between idealism and commerce in Morris’s life and work. ___________________________________________________________________________ In The Defence of Guenevere, and Other Poems (1858) and La Belle Iseult (1857-8) (figure 3), William Morris (1834-1896) uses Arthurian myths and Chaucerian dream-visions as a prism through which translate ‘[t]he straining game’ of life2 into the ‘greatest pleasure […of…] making’.3 Morris’s Defence and La Belle Iseult – which in many ways acts as its companion piece, are not objects of Romantic escapism but creative expressions of, in Anthony Buxton’s words, ‘Morris’s fascination with the conflicts and difficulties of human relationships’:4 in particular the ménage a trois in which he found himself with Dante Gabriel Rossetti (1828-1882) and Jane Burden (1839-1914). -
By Greg Stafford
Book of Armies By Greg Stafford Layout: David Zeeman Assistance from: Chris John Payne, Sven Lugar, Jeff Richard, Philippe Auirbeau, Gianfranco Geroldi, Daren Hill Special thanks to the emergency eschille: Chip Hausman, Robert Saint John, Martin Miller, Taheka Harrison, Newton Phyllis, Bob Schroeder, Ben Quamt All photos, pictures and illustrations are original or from royalty-free sources, such as ClipArt.com (www.clipart.com), Liam’s Pictures from Old Books (www.fromoldbooks.org/), and the Historic Tale Construction Kit (www.adgame-wonderland.de/type/bayeux.php) by Björn Karnebogen This book is a fan production of Greg Stafford Publications, under license from Nocturnal Media, LLC. © 2009 by Greg Stafford. All rights reserved. Reproduction without written permission of the author is expressly forbidden, except for the purpose of reviews, and for any record sheets, which may be reproduced for personal use only. 1 Table of Contents Introduction ..................................................................5-8 Tribal Picts .........................................................................49-50 A Pict Army .......................................................................49 Interpreting the Army Tables ..................................................6-7 Leaders & Alternatives ......................................................50 Passions for Opponents ..............................................................7 Lowland Troops ................................................................ 50 Cultural Specialties -
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. -
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). -
The Book of Quests
THE BOOK OF QUESTS uests are the driving force in the life of every noble Knight. So it should Qbe no surprise to find Quests at the very heart of Shadows over Camelot. While the content of the Rules Booklet should be familiar to every aspiring Knight, the Book of Quests is primarily a reference, written for inquisitive Knights in search of insight, or the scheming Traitor looking for a lethal edge. In the back of this book you will find two appendices. The first, unearthed from , old manuscripts, offers a glimpse of each Knight s personality. The second is a detailed manifest of each card used in the game. In this booklet, page numbers given in reference point to the corresponding entries in the Rules booklet, unless indicated otherwise. nnnnnnnnnn THE QUESTS nnnnnnnnnn There are several “Standard” Quests in Camelot’s immediate vicinity: N The Tournament against the Black Knight N The Quest for Lancelot N The Dragon’s Quest N The Quest for Excalibur N The Quest for the Holy Grail N The Pict and Saxon Wars each with its own entry in the Book of Quests. For each Quest won or lost, new Swords are laid onto the Round Table. As the game progresses, the Swords show which side currently has the advantage. There are also two “Special” Quests within Camelot proper, where a defeat spells immediate doom for the Loyal Knights: • The Siege of Camelot, which is lost if 12 Siege Engines ever surround Camelot; • and The Quest of the Round Table, where the outcome of the game is decided in favor of whichever color Swords have the majority, once 12 or more have been laid down. -
Morgaine Speaks
MORGAINE SPEAKS ... I think that my first real memory is of my mother's wedding to Uther Pendragon. I remember my father only a little. When I was unhappy as a little girl, I seemed to remember him, a heavyset man with a dark beard and dark hair I remember playing with a chain he wore about his neck. I remember that as a little maiden when I was unhappy, when I was chidden by my mother or my teachers, or when Uther-rarely-noticed me to disapprove of me, I used to comfort myself by thinking that if my own father were alive, he would have been fond of me and taken me on his knee and brought me pretty things. Now that I am older and know what manner of man he was, I think it more likely he would have put me into a nunnery as soon as I had a brother, and never thought more about me. Not that Uther was ever unkind to me; it was simply that he had no particular interest in a girl child. My mother was always at the center of his heart, and he at hers, and so I resented that-that I had lost my mother to this great fair-hair boorish man. When Uther was away in battle-and there was battle a good deal of the time when I was a maiden-my mother Igraine cherished me and petted me, and taught me to spin with her own hands and to weave in colors. But when Uther's men were sighted, then I went back into my rooms and was forgotten until he went away again.