The Romance of Tristan by Beroul
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Ovid's Wand: the Brush of History and the Mirror of Ekphrasis Presented In
Ovid’s Wand: the brush of history and the mirror of ekphrasis Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reid Hardaway, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Ethan Knapp, Advisor Karen Winstead Sarah-Grace Heller Copyright by Reid Hardaway 2017 Abstract The recent work on the manuscript reception of Ovid’s canon and Ovidian commentaries in western Europe has affirmed the author’s significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid’s poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid’s poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft. ii Acknowledgements The following work would not have been possible without the considerate and insightful assistance of my advisor, Ethan Knapp, as well as the other members of the dissertation committee, Karen Winstead and Sarah-Grace Heller. -
Iknights 2021 Background Guide
iMUNC 2021 Background Guide iKnights Chair: Kate Montano Crisis Director: Elly Tuffey Saturday, April 10 | NYC iSchool Letters From The Dias Hello Delegates, My name is Kate Montano, and I am super excited to be the chair for iKnights! I joined Model UN at the beginning of my freshman year at iSchool and am now a Junior. This is my first time chairing for iMUNC-- something that I’m excited (and nervous) for. At iSchool, Model UN is a pretty popular club so I thought I would try it out. When I began Model UN, I honestly had no idea how to conduct myself. I was incredibly intimidated by my more experienced peers, and I hardly participated. After lots of practice and lots of learning though, I found my voice and really began to love Model UN. Something that I appreciate about Model UN is the innumerable ways in which a delegate can act or lead the conference; it can start out really serious, but can also be really silly or have many unexpected endings. Model UN also intensified my love for my school; the iSchool never puts pressure on the club to be overly formal or serious. During my first conferences, I was always so worried about saying or doing something that was incorrect, but I’ve learned that you really can’t do anything incorrect in Model UN because making choices is a part of the fun. Be creative with your characters and the way you portray them-- it's all up to you! This committee in particular is based on a myth, so you really can’t go wrong with it. -
Classical and Christian Ideas of World Harmony
CLASSICAL AND CHRISTIAN IDEAS OF WORLD HARMONY Prolegomena to an Interpretation of the Word "Stimmung" Part I By LEO SPITZER Die Sonne t?nt, nach alter Weise In Brudersph?ren Wettgesang. (Goethe, Faust) Und so ist wieder jede Kreatur nur ein Ton, eine Schattierung einer grossen Harmonie, die man auch im Ganzen und Grossen studieren muss, sonst ist jedes Einzelne nur ein toter Buchstabe. (Goethe to Knebel, November 17, 1789) In the following study I propose to reconstruct the many-layered Occidental background for a German word: the concept of world harmony which underlies the word Stimmung. This task implies a survey of the whole semantic "field", as itwas developed in different epochs and literatures : the concept and the words expressing it had to be brought face to face, and in the words, in turn, the seman tic kernel and the emotional connotations with their variations and fluctuations in time had to be considered. A "Stimmungsgeschichte" of the word Stimmung was necessary. I hope that this historical development will spontaneously, if gradually, emerge from the mosaic of texts to which I wished my running text to be subordinated: the consistency of the texture of verbal and conceptual asso ciations and motifs through the centuries seems to me to be herewith established. "Avez-vous un texte?" was the insistent question which the famous positivist Fustel de Coulanges was wont to address to his pupils when they made a historical statement. The student in historical semantics must ask: "Have you many texts?", for only with a great number of them is one enabled to visualize their ever-recurrent pattern. -
Cornwall in the Early Arthurian Tradition It Is Believed That an Actual “King Arthur” Lived in 6Th Century AD in the Southwe
Cornwall in the Early Arthurian Tradition Heather Dale April 2008 It is believed that an actual “King Arthur” lived in 6th Century AD in the southwestern area of Britain. A brief history lesson is needed to provide the backdrop to this historical Arthur. In 43 AD, the Romans occupied Britain, subduing the northern Pictish & Scottish tribes, and incorporating the pre-literate but somewhat more civilized Celtic peoples into the Roman Empire. The Romans intermarried with the Celts, who emulated their customs and superior technology; these Romanized Celts became known as Britons. When the Romans abandoned Britain in 410 AD, the Britons found themselves attacked on all sides: the northern tribes pushed south, the Irish raided from the west, and fierce Germanic tribes (Angles, Saxons, Jutes, Franks, Frisians) and Norsemen slowly pushed the Celts into southwestern Wales and Cornwall. Some even fled across to the Continent, establishing Brittany in western France and becoming known as Bretons. It is in this turbulent post-Roman time that a brave man, perhaps a sort of tribal chieftain, led a small force of Britons into battle with the Germanic tribes. And due to tactical skill, superior fighting prowess and/or incredible luck (we will never know) this Artorius or Arthur held back the Germanic hordes from his corner of Britain for 30 years, a full generation. This incredible feat is first mentioned in a 6th century quasi-historical Latin chronicle by the monk Gildas. Later chroniclers added detail of dubious historical accuracy but great heroism to the tale of Arthur. The Venerable Bede wrote in 731 AD about the first great victory over the Saxons at Mount Badon (surmised by some to be Liddington Castle near Swindon), and the Welsh chronicler Nennius bases his 9th century story on material from the rich Welsh storytelling tradition. -
Constructing Chivalry: the Symbolism of King Mark in Wagner's Tristan
Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS in the School of Music Julie Anne Heikel, 2010 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 Supervisory Committee Dr. Susan Lewis Hammond, School of Music Supervisor Kurt Kellan, School of Music Co-Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Susan Lewis Hammond Supervisor Kurt Kellan Co-Supervisor Dr. Michelle Fillion Departmental Member Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness. -
Tintagel Castle Teachers' Kit (KS1-KS4+)
KS1-2KS1–2 KS3 TEACHERS’ KIT KS4+ Tintagel Castle Kastel Dintagel This kit helps teachers plan a visit to Tintagel Castle, which provides invaluable insight into life in early medieval settlements, medieval castles and the dramatic inspiration for the Arthurian legend. Use these resources before, during and after your visit to help students get the most out of their learning. GET IN TOUCH WITH OUR EDUCATION BOOKINGS TEAM: 0370 333 0606 [email protected] bookings.english-heritage.org.uk/education Share your visit with us on Twitter @EHEducation The English Heritage Trust is a charity, no. 1140351, and a company, no. 07447221, registered in England. All images are copyright of English Heritage or Historic England unless otherwise stated. Published April 2019 WELCOME DYNNARGH This Teachers’ Kit for Tintagel Castle has been designed for teachers and group leaders to support a free self-led visit to the site. It includes a variety of materials suited to teaching a wide range of subjects and key stages, with practical information, activities for use on site and ideas to support follow-up learning. We know that each class and study group is different, so we have collated our resources into one kit allowing you to decide which materials are best suited to your needs. Please use the contents page, which has been colour-coded to help you easily locate what you need, and view individual sections. All of our activities have clear guidance on the intended use for study so you can adapt them for your desired learning outcomes. We hope you enjoy your visit and find this Teachers’ Kit useful. -
Early Arthurian Tradition and the Origins of the Legend
Arthuriana Arthuriana Early Arthurian Tradition and the Origins of the Legend Thomas Green THE LINDES PRESS As with everything, so with this: For Frances and Evie. First published 2009 The Lindes Press Louth, Lincolnshire www.arthuriana.co.uk © Thomas Green, 2009 The right of Thomas Green to be identified as the Author of this work has been asserted in accordance with the Copyrights, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing of the Author. A catalogue record for this book is available from the British Library. ISBN 978 1 4452 2110 6 Contents Preface vii 1 The Historicity and Historicisation of Arthur 1 2 A Bibliographic Guide to the Welsh Arthurian Literature 47 3 A Gazetteer of Arthurian Onomastic and Topographic Folklore 89 4 Lincolnshire and the Arthurian Legend 117 5 Arthur and Jack the Giant-Killer 141 a. Jack & Arthur: An Introduction to Jack the Giant-Killer 143 b. The History of Jack and the Giants (1787) 148 c. The 1711 Text of The History of Jack and the Giants 166 d. Jack the Giant Killer: a c. 1820 Penny Book 177 e. Some Arthurian Giant-Killings 183 6 Miscellaneous Arthuriana 191 a. An Arthurian FAQ: Some Frequently Asked Questions 193 b. The Monstrous Regiment of Arthurs: A Critical Guide 199 c. An Arthurian Reference in Marwnad Gwên? The Manuscript 217 Evidence Examined d. -
From Tintagel to Aachen: Richard of Cornwall and the Power of Place
1 From Tintagel to Aachen: Richard of Cornwall and the Power of Place David Rollason University ofDurham r: The theme of this volume is legendary rulers, and its principal subjects are the great Frankish emperor Charlemagne (768-814), whose life and reign gave rise to many legends, and the British king Arthur, who may have had a shadowy existence in the post-Roman period but who came to prominence through the legends which developed around him.l This paper examines, through the career of Richard of Cornwall (1209-72) which touched on th~m both, the way in which legends about these rulers contributed to the power of place at two very different sites, Tintagel in Cornwall and Aachen in Germany. Richard, who was the second son of King John of England and younger brother of King Henry III, was made earl of Cornwall in 1227, elected king of Germany, 'king of the Romans' that is, in January 1257, and crowned as such in May 1257. He was a very wealthy and politically active figure, deeply involved in the struggles between the king of England and his barons, as well as a crusader and an active participant in Continental affairs.' In May 1233, that is in the early part of his career as Earl of Cornwall, Richard purchased the 'island' of Tintagel, a promontory rather than a real island, on the Cornish coast.' The fact that the purchase included the 'castle of Richard' could be seen to support a previously-held theory that a castle had already been built on the promontory in the twelfth century; but archaeological and architectural evidence from -
The Tristan Legend: a Barometer of Love and Art in the Victorian Period
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 The rT istan Legend: a Barometer of Love and Art in the Victorian Period. James Alton Cowan Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cowan, James Alton, "The rT istan Legend: a Barometer of Love and Art in the Victorian Period." (1976). LSU Historical Dissertations and Theses. 3009. https://digitalcommons.lsu.edu/gradschool_disstheses/3009 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target” for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Épreuve De Français Compréhension De L'écrit Un Amour Impossible
Épreuve de français Nom : Contrôle 3, mars 2012 No : Classe : 5e Durée : 50 mn Compréhension de l’écrit Un amour impossible Yseut, épouse du roi Marc, est accusée d’être infidèle et doit être brûlée vive. Tristan, son amant et neveu de Marc, parvient à la délivrer. Ils se réfugient dans la forêt de Morois, mais les effets du philtre d’amour qu’ils avaient bu se dissipent. Tous deux décident de s’en remettre à Marc : Yseut peut retourner à la cour ; Tristan doit s’exiler. « Dieu, dit Tristan, quelle séparation! Il a bien mal celui qui perd son amie. Mais il faut pourtant le faire après les privations que vous avez supportées à cause de moi : vous ne devez pas souffrir davantage. Quand viendra le moment de la séparation, je vous donnerai, belle amie, mon gage 1 d’amour et vous me donnerez le vôtre. Tant que je serai dans ce pays étranger, que je fasse ou non la guerre, je vous enverrai des messages. Ma belle amie, écrivez-moi alors en toute franchise, selon votre bon plaisir. » Yseut poussa un profond soupir et dit : « Tristan, écoutez-moi un peu. Laissez-moi Husdent, votre braque 2. Jamais un chien de chasse ne sera gardé avec autant d’égards que celui-ci. Quand je le verrai, il me semble, je me souviendrai souvent de vous. Si triste que soit mon cœur, sa vue me réjouira. Ami Tristan, j’ai une bague avec un jaspe 3 vert et un sceau 4. Beau sire, pour l’amour de moi, portez la bague à votre doigt et si le désir vous prend, sire, de m’envoyer un message, je n’en croirai rien tant que je ne verrai pas cet anneau. -
Tristan and Isolde
Tristan and Isolde Medieval Manuscripts Tristan and Isolde Sources and Texts Béroul, The Romance of Tristran • End 12th century; courtly vs. primitive versions; incremental repetition of trials and ordeals • Tristan defeats Irish giant Morholt who had demanded Cornish youths as tribute, with fragment of his sword remaining in Morholt’s skull • Goes to Ireland to bring Uncle Mark a wife; kills a dragon but overcome by poison; healed by Yseut, Morholt’s niece • Drink the magic potion on way back from Ireland to Cornwall; Brangain takes Yseut’s place in the marriage bed to conceal Yseut’s loss of virginity • Dwarf instructs Mark to hide in tree overlooking trysting place of Tristran and Yseut, but she sees his reflection in the fountain, and they trick him; Tristran reconciled with Mark • Dwarf lays trap with flour on the floor; Tristran wounded by boar leaves blood on Yseut’s bed; caught by the Barons and bonfire prepared for Tristran after imprisoning Yseut • Tristran stops at Chapel and jumps out the Chancel window to the beach and caught by a rock called “Tristran’s Leap”; Governal brings him his sword • Yseut on funeral pyre given to crowd of lepers, who take her away to where Tristran hiding along the path, and Governal rescues her after attacking the Leper; • Live a long time in the forest, while dwarf who reveals the secret of King Mark’s equine ears is beheaded • Tristran’s dog Husdent released and Barons follow as far as the forest of Morrois, which none dare enter, until one of the Barons enters the woods while hunting a stag, -
PDF Download King Arthur and His Knights
KING ARTHUR AND HIS KNIGHTS: SELECTED TALES PDF, EPUB, EBOOK Sir Thomas Malory, Eugene Vinaver | 272 pages | 27 Mar 1975 | Oxford University Press Inc | 9780195019056 | English | New York, United States King Arthur and his Knights: Selected Tales PDF Book Gwalchmei appeared not only as a hero and a nephew of Arthur, he was also son of the goddess Gwyar. Le Morte d'Arthur Thomas Malory. Kei was the companion of Bedwyr Bedivere , and one of the warriors of Arthur. Chretien say that Gawain that his valour matched his courtesy. Marhaus killed a Duke of the South March and his six sons. He later fought in disguise as the White Knight at the tournament of Crimson Heath. Gawain sent a letter to Lancelot asking for his forgiveness and hope that Lancelot would visit his tomb at Dover Castle. Under the spell of the necklace, Sir Pellias becomes deeply infatuated with Lady Ettard. With the instructions provided by the Lady of the Lake , Arthur takes Excalibur. Thomas Malory. Lionel was also the brother of Bors de Ganis Grail hero. It was there that he wrote most, if not all, of his works, completing the last in about Gawain and his brothers continued their feud with Lamorak. Paperback Arthur Conan Doyle Books. In other version about Palemedes, he never was baptised. The popularity of the romance was that it soon spread over other countries, such as France, Germany, Britain and Ireland. The Round Table is disbursed. Dec 19, Ami Samsuri rated it did not like it. Explain to the students that while "the sword in the stone" helped make Arthur king, another sword, Excalibur, became his favorite weapon.