Performing British Identity: Arthur on Screen
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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. -
Frustrated Redemption: Patterns of Decay and Salvation in Medieval Modernist Literature
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2013 Frustrated Redemption: Patterns of Decay and Salvation in Medieval Modernist Literature Shayla Frandsen CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/519 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Frustrated Redemption: Patterns of Decay and Salvation in Medieval and Modernist Literature Shayla Frandsen Thesis Advisor: Paul Oppenheimer Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Preface 1 The Legend of the Fisher King and the Search for the 5 Modern Grail in The Waste Land, Paris, and Parallax “My burden threatens to crush me”: The Transformative Power 57 of the Hero’s Quest in Parzival and Ezra Pound’s Hugh Selwyn Mauberley Hemingway, the Once and Future King, 101 and Salvation’s Second Coming Bibliography 133 Frandsen 1 Preface “The riddle of the Grail is still awaiting its solution,” Alexander Krappe writes, the “riddle” referring to attempts to discover the origin of this forever enigmatic object, whether Christian or Folkloric,1 yet “one thing is reasonably certain: the theme of the Frustrated Redemption” (18).2 Krappe explains that the common element of the frustrated redemption theme is “two protagonists: a youth in quest of adventures and a supernatural being . -
THE HISTORIAN England 932 AD A
THE HISTORIAN England 932 A.D. A Kingdom divided. To the West- the Anglo Saxons, to the East- the French. Above nothing but Celts and some people from Scotland. In Gwynned, Powys, and Dyfed - Plague. In the kingdoms of Wessex, Sussex, and Essex and Kent - Plague. In Mercia and the two Anglias - Plague: with a 50% chance of pestilence and famine coming out of the Northeast at twelve miles per hour. Legend tells of an extraordinary leader, who arose from the chaos, to unite a troubled kingdom ... A man with a vision who gathered Knights together in a Holy Quest. This man was Arthur, King of the Britons ! And so, King Arthur gathered more Knights together, bringing from all the corners of the Kingdom the strongest and bravest in the land to sit at the Round Table. The strangely flatulent Sir Bedevere… The dashingly handsome Sir Galahad ...The homicidally brave Sir Lancelot ... Sir Robin the Not-quite-so-brave-as-Sir- Lancelot ... who slew the vicious chicken of Bristol and who personally wet himself at the Battle of Badon Hill. And the aptly named Sir Not-Appearing-in-this- Show. Together they formed a band whose names and deeds were to be retold throughout the Centuries ... The Knights of the Round Table! KING ARTHUR Hail good sir. I am Arthur, king of the Britons lord and ruler of all of England, and Scotland and even tiny little bits of Gaul. We have ridden the length and breadth of the land in search of knights to join me in my court at Camelot. -
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. -
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. -
Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-1992 Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance Leon Stratikis University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Stratikis, Leon, "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. " PhD diss., University of Tennessee, 1992. https://trace.tennessee.edu/utk_graddiss/2521 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Leon Stratikis entitled "Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Paul Barrette, Major Professor We have read this dissertation and recommend its acceptance: James E. Shelton, Patrick Brady, Bryant Creel, Thomas Heffernan Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation by Leon Stratikis entitled Byzantium and France: the Twelfth Century Renaissance and the Birth of the Medieval Romance. -
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 -
Artyclys Podcast Nicholas Williams Wàr Skeulantavas.Com
1 Artyclys Podcast Nicholas Williams wàr skeulantavas.com Hanow Kernowek Hanow Sowsnek Nyver Dedhyans Abram Abram 94 26.11.17 Afodyl Daffodil 8 22.2.16 Airborth Towan Plustry Newquay Airport 215 2.3.10 Airednow Aircraft 224 19.4.20 Alban – Albany Albion – Albany 87 8.10.17 Almayn pò Jermany Germany in Cornish 56 5.2.17 An Balores The Chough 181 8.9.19 An ger ‘bardh’ The word ‘bard’ 129 2.7.18 An Greal Sans The Holy Grail 53 8.1.17 An Gwerryans Brâs The Great War 217 19.12.14 An Gwyns i’n Helyk The Wind in the Willows 192 24.11.19 An Hen-Geltyon The Ancient Celts 186 2.7.14 An Pëth Awartha dhe Woles Upside Down 59 23.2.17 An vledhen eus passys The past year 145 24.12.18 Ana ha Joakym Anna and Joachim 4 17.1.16 Arkymêdês Archimedes 26 3.7.16 Ascallen Thistle 73 25.6.17 Athelstan – Audrey Athelstan – Audrey 76 23.7.17 Augùstùs – mis Est Augustus – August 125 6.8.18 Aval Apple 133 1.10.18 Awan, dowr, ryver River in Cornish 92 12.11.17 Baldùr Baldur 206 12.2.20 Banallen Broom 121 8.7.18 Baner Ùleth The Flag of Ulster 14 29.3.16 Bersabe Bathsheba 118 20.5.18 Bêwnans tavas y gôwsel Beatha teanga a labhairt 71 4.6.17 Bian ha Brâs Small and Great 126 12.8.18 Bledhen Labm Leap Year 10 6.3.16 Bleydhas Wolves 7 14.2.16 Breten Veur ha Breten Vian Great Britain and Little Britain 46 27.11.16 Brithen Tartan 44 13.11.16 Broder Odryk Brother Oderic 140 18.11.18 ‘Brown’ in Kernowek ‘Brown’ in Cornish 166 26.5.19 Bryjet ha’n Werhes Bridget and the Virgin 102 29.1.18 Cabmdhavas Rainbow 20 21.5.16 Caja Vrâs Ox-eye Daisy 34 28.8.16 ‘Cake’ in Kernowek ‘Cake’ in Cornish 205 2.2.20 Calesvol Excalibur 136 21.10.18 Caradar 1 Caradar (A.S.D. -
Distressing Damsels: Sir Gawain and the Green Knight As a Loathly Lady Tale
Distressing Damsels: Sir Gawain and the Green Knight as a Loathly Lady Tale By Lauren Chochinov A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba In partial fulfillment of the requirements of the degree of MASTER OF ARTS Department of English University of Manitoba Winnipeg, Manitoba Copyright © 2010 by Lauren Chochinov i Abstract At the end of Sir Gawain and the Green Knight, when Bertilak de Hautdesert reveals Morgan le Fay’s involvement in Gawain’s quest, the Pearl Poet introduces a difficult problem for scholars and students of the text. Morgan appears out of nowhere, and it is difficult to understand the poet’s intentions for including her so late in his narrative. The premise for this thesis is that the loathly lady motif helps explain Morgan’s appearance and Gawain’s symbolic importance in the poem. Through a study of the loathly lady motif, I argue it is possible that the Pearl Poet was using certain aspects of the motif to inform his story. Chapter one of this thesis will focus on the origins of the loathly lady motif and the literary origins of Morgan le Fay. In order to understand the connotations of the loathly lady stories, it is important to study both the Irish tales and the later English versions of the motif. My study of Morgan will trace her beginnings as a pagan healer goddess to her later variations in French and Middle English literature. The second chapter will discuss the influential women in Sir Gawain and the Green Knight and their specific importance to the text. -
King Arthur and His Knights
King Arthur and his Knights by George Gibson 1/23 Contents Chapter One: Young Arthur............................................................................3 Chapter Two: The sword in the stone............................................................. 4 Chapter Three: Britain has a King...................................................................5 Chapter Four: Excalibur.................................................................................. 6 Chapter Five: Arthur meets Guinevere........................................................... 7 Chapter Six: The five Kings............................................................................8 Chapter Seven: Lancelot............................................................................... 10 Chapter Eight: The Holy Grail...................................................................... 12 Chapter Nine: King Arthur goes to Aralon................................................... 14 Track 1: Was King Arthur Only a Legend?.................................................. 16 Track 2: Before Arthur's Time...................................................................... 17 Track 3: Knight............................................................................................. 18 Track 4: Page, Squire, Knight....................................................................... 19 Track 5: Castles.............................................................................................20 Track 6: Old Castle of Great Interest........................................................... -
The Theme of the Magical Weapon 1. Excalibur
The Theme of the Magical Weapon Below, you will find three stories or portions of stories from different myths, movies, and legends. All three are tales about a magical sword or a wand. They all have similarities and differences. Focus on the similarities. Use the chart below to compare these items to one another. 1. Excalibur Excalibur is the mythical sword of King Arthur, sometimes attributed with magical powers or associated with the rightful sovereignty of Great Britain. Sometimes Excalibur and the Sword in the Stone (the proof of Arthur's lineage) are said to be the same weapon, but in most versions they are considered separate. The sword was associated with the Arthurian legend very early; in Welsh, the sword was called Caledfwlch. Excalibur and the Sword in the Stone In surviving accounts of Arthur, there are two originally separate legends about the sword's origin. The first is the "Sword in the Stone" legend, originally appearing in Robert de Boron's poem Merlin, in which Excalibur can only be drawn from the stone by Arthur, the rightful king. The second comes from the later Post-Vulgate Suite du Merlin, which was taken up by Sir Thomas Malory. Here, Arthur receives Excalibur from the Lady of the Lake after breaking his first sword, called Caliburn, in a fight with King Pellinore. The Lady of the Lake calls the sword "Excalibur, that is as to say as Cut-steel," and Arthur takes it from a hand rising out of the lake. As Arthur lay dying, he tells a reluctant Sir Bedivere (Sir Griflet in some versions) to return the sword to the lake by throwing it into the water.