Pub Date : 2023-12-14DOI: 10.1353/art.2023.a915337
Katherine Oswald
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Bestsellers and Masterpieces: The Changing Medieval Canon</em> ed. by Heather Blurton and Dwight F. Reynolds <!-- /html_title --></li> <li> Katherine Oswald </li> </ul> <small>heather blurton</small> and <small>dwight f. reynolds</small>, eds., <em>Bestsellers and Masterpieces: The Changing Medieval Canon</em>. Manchester Medieval Literature and Culture. Manchester: Manchester University Press, 2022. Pp. 288. <small>isbn</small>: 978–1–5261–4748–6. $130. <p>This collection of nine essays plus introduction has at its core a 'paradox in the modern study of medieval European and Arabic literature' (p. 1). On the one hand, many of the works that are most widely studied and taught survive today in a single copy, which suggests that they were not widely transmitted during the Middle Ages. On the other hand, many texts that survive in numerous manuscripts and have been translated to multiple languages are largely absent from undergraduate syllabi, anthologies of medieval literature, and academic scholarship.</p> <p>Heather Blurton and Dwight F. Reynolds' detailed introduction lays the foundation for the studies that will follow. They provide several examples of works that fit into either side of the paradox and offer possible explanations for why such works have either been hailed as masterpieces or relegated to the margins of scholarship. They recognize modern literary preferences and acknowledge that texts that enjoyed wide dissemination and translation present challenges to those seeking an authoritative version. Similarly, those 'wandering texts' (p. 7) are difficult to attribute to a particular national literature, which is still the overarching framework that most often determines which texts are taught in literature courses.</p> <p>After a thorough presentation of the issue at hand, the editors divide the collection into two sections. The first, 'Hanging by a Thread: Unique Manuscripts and Their Place in the "Modern" Medieval Canon,' addresses texts that exist in single manuscripts yet have a significant presence in modern scholarship and classrooms. Paul M. Cobb gives a detailed history of the life of Usáma ibn Munqidh's <em>Book of Contemplation</em> from 1880 on, noting that Usáma was an author whose persona modern scholars could reinterpret according to their own cultural contexts. Daniel C. Remein and Erica Weaver address <em>Beowulf</em>'s journey in the nineteenth and twentieth centuries, noting the more well-known history of 'Oxford dons seeking to legitimate English as a serious scholarly discipline' (p. 55), but centering their attention on the lesser-known critical history of <em>Beowulf</em>. Specifically, they bring to light the important role that scholars from elite women's colleges and historically Black colleges and universities in the United States have had in <em>Beowulf</em>'s
代替摘要，这里是内容的简短摘录:书评:畅销书和杰作:变化中的中世纪佳能编辑希瑟·布鲁顿和德怀特·f·雷诺兹凯瑟琳·奥斯瓦尔德希瑟·布鲁顿和德怀特·f·雷诺兹，编辑。，畅销书和杰作:不断变化的中世纪经典。曼彻斯特中世纪文学与文化。曼彻斯特:曼彻斯特大学出版社，2022。288页。isbn: 978-1-5261-4748-6。130美元。这本由九篇论文和导言组成的合集的核心是一个“中世纪欧洲和阿拉伯文学现代研究中的悖论”(第1页)。一方面，许多被广泛研究和教授的作品今天都保存在一个副本中，这表明它们在中世纪没有被广泛传播。另一方面，在大量手稿中幸存下来并被翻译成多种语言的许多文本在本科教学大纲、中世纪文学选集和学术奖学金中基本上是缺席的。Heather Blurton和Dwight F. Reynolds的详细介绍为接下来的研究奠定了基础。他们提供了几个符合矛盾双方的作品的例子，并提供了可能的解释，为什么这些作品要么被誉为杰作，要么被贬谪到学术的边缘。他们认识到现代文学的偏好，并承认广泛传播和翻译的文本对那些寻求权威版本的人提出了挑战。同样，这些“游离文本”(第7页)很难归因于特定的民族文学，这仍然是最经常决定文学课程中教授哪些文本的总体框架。在对手头的问题进行彻底的介绍之后，编辑们将文集分为两个部分。第一个，“悬在一根线上:独特的手稿及其在“现代”中世纪正经中的地位”，讨论了存在于单一手稿中但在现代学术和课堂中占有重要地位的文本。保罗·m·科布详细介绍了Usáma伊本·蒙奇自1880年以来的《沉思之书》的生平，并指出Usáma是一位作家，现代学者可以根据自己的文化背景重新解读他的人格。Daniel C. Remein和Erica Weaver在19世纪和20世纪讲述了贝奥武夫的旅程，注意到更著名的“牛津学者寻求将英语作为一门严肃的学术学科”的历史(第55页)，但他们的注意力集中在不太为人所知的贝奥武夫批判历史上。具体来说，他们揭示了美国精英女子学院和历史上的黑人学院和大学的学者在贝奥武夫的传播中所起的重要作用。在他关于Tawq al-hamáma(鸽子的颈环)的文章中，Boris Liebrenz简要介绍了该作品在20世纪初的重新发现，然后转向手稿生命的前三个世纪，使用手稿主人在手抄本的第一页和最后一页留下的笔记追踪文本的旅程。瑞安·d·贾尔斯对《希德的诗》的贡献详细描述了文本中的反犹太意象，并强调了19世纪末和20世纪初学术界在将《希德的诗》提升为国家史诗的过程中淡化这些意象的作用，并将其同名主人公提升为“西班牙基本价值观和超历史身份的内部模型”(第128页)。为了结束尤尼卡手稿这一章，Sharon Kinoshita研究了罗兰事迹的传播，首先考虑到独特的香颂·德·罗兰与巨大的中世纪朗塞沃传统的关系以及在香颂中发现的罗兰事迹传播的显著关注。然后，她谈到了手稿在19世纪的重新发现，以及随后将这首诗作为法国民族主义象征的挪用，最后，香颂最近在种族研究中的作用。第二部分，“中世纪畅销书:阅读“中世纪经典”?，讨论了在中世纪广泛传播但在学术和本科教学大纲中很少出现的文本。在丹尼尔·l·塞尔登(Daniel L. Selden)关于Ahìqar的生活的文章的前半部分，他阐述了分布式作者的概念和世界文学的现代观念，然后他直接将其与……的生活联系起来。
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Pub Date : 2023-12-14DOI: 10.1353/art.2023.a915339
Susan Aronstein, Laurie Finke
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Mrs. Davis</em> by Tara Hernandez and Damon Lindelof <!-- /html_title --></li> <li> Susan Aronstein and Laurie Finke </li> </ul> <small>tara hernandez and damon lindelof</small>, creators, <em>Mrs. Davis</em>, an eight-part Warner Brothers television mini-series, 20 April–18 May 2023, steaming on Peacock. <p>Tara Hernandez and Damon Lindelof's 2023 series <em>Mrs. Davis</em> reimagines the Grail, 'that most clichéd and overused McGuffin,' in an adventure as loony as anything the Pythons might have concocted. In this generic mashup, users worldwide have <strong>[End Page 68]</strong> become addicted to Mrs. Davis, an algorithm that promises them peace, prosperity, and purpose. But not all are convinced of the algorithm's benevolence; the series follows the exploits of Sister Simone (Betty Gilpin), an indomitable skort-wearing nun intent on destroying Mrs. Davis and all her works. Aided by a former boyfriend (Wiley, played by Jake McDorman) and his 'band of brothers,' a group of muscular Kens, Simone takes on the task of extirpating the sinister software, which has promised her that, if she finds and destroys the Holy Grail, the algorithm will self-destruct. The series updates the Holy Grail for the age of ChatGPT.</p> <p>Sister Simone's quest, played out over eight episodes, delivers a zany mashup of film clichés, both generic and formulaic, wrapped in parodies of cinematic medievalism, westerns, horror films, sci-fi, and commercials, as well as heist, espionage, Nazi, and magician movies. Its many film references include <em>Indiana Jones and the Last Crusade, Star Wars, Fight Club, The DaVinci Code</em>, and <em>The Sound of Music</em>. The series offers up a dizzying and entertaining array of tropes and characters, including a failed stage magician, bronco busting, a Middle-Ages-themed endurance competition (think 'Hands on a Hardbody'), a fake Pope, British Knights sneakers, a Lady of the Lake, a hermit guide named Schrödinger (Ben Chaplin) and his cat, a high-tech heist, an exploding head, a Hercules laser, a Lazarus Shroud (the former a real device, the latter made up), a mysterious pyramid, and a belligerent whale of Biblical proportions. And it all works. It's funny, it's intriguing, and it arrives at a satisfying conclusion in which Sister Simone and Wiley ride off into the sunset on a white horse, with Simone clearly in charge, Wiley the sidekick, and no heteronormative ending in sight (she's a nun).</p> <p>And it's particularly satisfying for a medievalist. Indeed, what holds this absurd cinematic romp together is its surprisingly complex medievalism and the suggestion that, in the end, medieval romance provides its own narrative algorithm, a formula for generating the series' multiple generic twists. <em>Mrs. Davis</em> opens with a piece of medievalism dramatizing the 1307 massacre of
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Pub Date : 2023-12-14DOI: 10.1353/art.2023.a914637
Johanna Alden
Abstract:
This article explores the phenomena of dramatized direct speech and public performative spectacle within LaƷamon's Brut. In examining the text's largely historically unexplored dramatic dimensions, the piece also engages with the way that speech and performance are politicized and gendered in the Brut.
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Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910875
Reviewed by: Chevalerie et royauté dans le roman d'Erec de Hartmann von Aue by Patrick Del Luca Ann Mccullough patrick del luca, Chevalerie et royauté dans le roman d'Erec de Hartmann von Aue. Paris: Honoré Champion, 2021. Pp. 474. ISBN: 978–2–745–35413–6. €70. It is hardly a straightforward task to describe and explain how Hartmann von Aue reconceives Chrétien de Troyes' Erec et Enide. In his thorough and attentively referenced work, Patrick Del Luca outlines the deconstruction of Chrétien's belle conjointure in favor of a novel coherence of form and theme that the German adapter builds in its place. Del Luca begins with a consideration of the notion of conjointure and an overview of the ways in which Hartmann upends elements of Chrétien's text regarding form, tone, and purpose. Although the author speaks to the concept of conjointure as a system of rapports, repetitions, and connections within Chrétien's text that ensure its coherence and build meaning, readers relatively new to medieval literary study will likely require more guidance on this concept before attempting to fully appreciate Hartmann's transformation and strategic simplification of this aspect of Chrétien's work. Several helpful references concerning conjointure are included in the footnotes. Del Luca specifically outlines elements of the text that demonstrate Hartmann's desire to replace the nuances of Chrétien's conjointure in favor of a more ideologically centered model meant to establish and preserve a Christianized and aristocratic chivalric culture. The scene known as the 'joie de la cour' provides perhaps one of the best examples as the term joie undergoes a slide in meaning. In lieu of Chrétien's sometimes erotic, sometimes ironic use of the word, the joie of Hartmann's narrative takes on a more unambiguous ontological function. Here, joie springs from the knight's integration into harmonious courtly society. Without this joie, as Del Luca explains, no social cohesion—and, therefore, no courtly and aristocratic culture—would be possible. In addition to his ideological goal of forwarding a 'new' chivalry, influenced by Bernard de Clairvaux, that emphasizes empathy and humility, Hartmann has didactic aims, using Erec's exploits to underscore the perils of the destructive, isolating, and irrational type of anger (ira) that leads to gratuitous violence. Hartmann's Erec eventually adopts the humility and compassion inherent to the miles christianus, serving as an exemplar devoid of the psychological complexity and individuality of Chrétien's hero. Del Luca examines Hartmann's more narrow focus on Erec as knight and eventual king, as opposed to Chrétien's attention on the amorous couple. With a more direct focus on Erec as knight and less on other characters and his interactions with them, Hartmann lays the groundwork for a text that takes on the form and function of a miroir des princes. In his reflections on tyranny in the second half of his work, Del Luca discusses the litera
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Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910869
Tzu-Yu Liu
Abstract: Different from the predominantly white Merlins on both big and small screens today, Merlins in medieval legends are never described as having white skin. In fact, in various texts Merlin is specifically depicted as a dark-skinned character capable of making legendary accomplishments. The few Merlins of color onscreen have informed our understanding of Merlin as a legendary character in various ways, and more diverse representations of Merlin onscreen could help to dispel the misconception that the legendary Merlin is by default white. (TL)
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Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910868
Richard Sévère
Why Can't Mermaids Be Ethnically Diverse?:Legends and Legend-Making in Arthurian Studies Richard Sévère (bio) In Fall 2022, the internet lost its mind at the debut of the trailer for Disney's The Little Mermaid—a remake of the legendary 1989 childhood classic about a mermaid who falls in love with a human man. While some were ecstatic that the talented Black actress, singer, and songwriter, Halle Bailey, would play the lead role of Ariel, others were infuriated, giving rise to such Twitter hashtags as: #NotMyMermaid and #MakeMermaidsWhiteAgain. These attacks confirm the limitless boundaries of hate—unsurprisingly, even fictional fish-people can be fodder for racism and bigotry. Sadly, phantastic underwater civilizations are not the only places or things where cultural inclusion draws the ire of fans. The Star Wars franchise also dealt with a barrage of fanatics who were angered by the character Reva Sevander, played by Black actress Moses Ingram, in Disney+'s Obi-Wan Kenobi. Unmistakably, these reactions are indeed part of a larger pattern Moya Bailey terms misogynoir—the disparaging treatment of Black women, or in Bailey's own words '[t]he anti-Black racist misogyny that Black women experience, particularly in US visual and digital culture.'1 Certainly, these instances of intolerance towards Black female actresses playing traditionally white characters are not new. In 2016, and again in 2018, there was controversy at the casting of South African actress Noma Dumzweni as Hermione in the Broadway adaptation of Harry Potter and the Cursed Child. Erika Milvy in a Los Angeles Times article points out that '[s]ome Potterheads' heads practically exploded when they first learned that black actress Noma Dumezweni had been cast as Hermione in the original London production of 'Cursed Child' in 2016.'2 While Milvy goes on to mention that, since then, eight more Black actresses have played the role of Hermione, the examples above confirm that not much has changed with regard to how audiences continue to negatively react to Black women playing legendary characters.3 That purported fans have such averse and intolerant reactions towards fictional forms of entertainment is unnerving and outright worrisome. What does it say about us as a society that we can somehow imagine new worlds, beyond our earthly realms, limitless borders that allow for rich and complex [End Page 3] ideas and identities to take shape, worlds so different, heterogenous, and multifaceted, worlds meant to teach, entertain, sooth, challenge, affirm, confirm and excite—and yet within these bold imaginings, we cannot fathom people of color existing beyond the prescriptive parameters that reality has all but guaranteed? Melissa J. Monson's assertion of the fantasy genre that '[t]he intertwining of recognizable cultural histories, epistemologies, and geographies encourage readers (and gamers alike) to suspend disbelief and accept the more fantastical elements of such stories'4 appears to have its
为什么美人鱼不能有种族多样性?2022年秋天，迪士尼电影《小美人鱼》(the Little mermaid)的预告片首次亮相时，互联网上的人都疯了。这部电影翻拍自1989年的童年经典传说，讲述了一个美人鱼爱上了一个人类的故事。当一些人为才华横溢的黑人女演员、歌手和词曲作者哈利·贝利(Halle Bailey)将饰演女主角爱丽儿而狂喜时，另一些人则感到愤怒，在推特上掀起了“#不是我的美人鱼”和“#让美人鱼再次变白”等话题标签。这些攻击证实了仇恨的无限界限——毫不奇怪，即使是虚构的鱼人也可以成为种族主义和偏见的素材。可悲的是，神奇的水下文明并不是唯一一个文化包容引起粉丝愤怒的地方或事物。《星球大战》系列还遭遇了一大批狂热分子，他们被迪士尼+版《欧比旺·克诺比》中黑人女演员摩西·英格拉姆饰演的瑞瓦·塞万德这个角色激怒了。毫无疑问，这些反应确实是莫亚·贝利所说的“厌女症”的一部分——对黑人女性的轻蔑对待，或者用贝利自己的话来说，“黑人女性所经历的反黑人种族主义厌女症，尤其是在美国的视觉和数字文化中。”当然，这些不容忍黑人女演员扮演传统白人角色的例子并不新鲜。2016年和2018年，南非女演员诺玛·杜姆兹维尼在百老汇改编的《哈利·波特与被诅咒的孩子》中饰演赫敏，引发了争议。Erika Milvy在《洛杉矶时报》的一篇文章中指出，“当一些波特迷第一次得知黑人女演员Noma Dumezweni将在2016年伦敦原版《被诅咒的孩子》中扮演赫敏时，他们的头都炸了。”虽然米尔维继续提到，从那以后，又有八位黑人女演员扮演了赫敏这个角色，但上面的例子证实，观众对黑人女性扮演传奇角色的负面反应并没有太大变化所谓的粉丝对虚构的娱乐形式有如此反感和不容忍的反应，这令人不安和完全令人担忧。作为一个社会，我们可以想象一个新世界，超越我们的尘世，无限的边界，允许丰富而复杂的思想和身份形成，世界如此不同，异质，多面，世界意味着教育，娱乐，抚慰，挑战，肯定，确认和兴奋——然而，在这些大胆的想象中，我们无法理解有色人种存在于现实几乎保证的规范参数之外?梅利莎·j·蒙森(Melissa J. Monson)对奇幻题材的断言是“可识别的文化历史、认识论和地理的交织鼓励读者(和玩家一样)暂停怀疑，接受这类故事中更多的奇幻元素”4，这似乎有其局限性，特别是对那些认为有色人种不能——也必须——出现在被错误地视为白人的角色中的人来说。安德烈·卡林顿敏锐地指出:“作者、读者、粉丝和评论家通过创作行为和解释结构塑造了投机小说的类型传统，这些行为和解释结构借鉴了影响文化生产其他部分的种族思考的深井。”因此，即使是在幻想中，也无法将差异的表现视为一种人性化的努力，这对那些从幻想中寻求喘息、赋权和认可的人来说，是一个残酷的现实。我们必须对粉丝的反应明确告诉我们的信息保持警惕:幻想只对特定群体开放。Monson的观点是“许多幻想领域都接受了本质主义、文化寓言和白人至上主义”6，这可能是电影和媒体对包容性和代表性的刻薄反应的许多潜在原因之一。试图赋予种族隔离主义幻想力量的尝试，使得平等代表权成为逃避现实者群体的威胁——幻想世界的恶魔。现代《亚瑟王》中的种族表现也遭到了负面评论。吉蒙·洪苏在盖·里奇的电影《亚瑟王:剑的传说》中饰演比德维尔，金斯利·本·阿迪尔饰演……
{"title":"Why Can't Mermaids Be Ethnically Diverse?: Legends and Legend-Making in Arthurian Studies","authors":"Richard Sévère","doi":"10.1353/art.2023.a910868","DOIUrl":"https://doi.org/10.1353/art.2023.a910868","url":null,"abstract":"Why Can't Mermaids Be Ethnically Diverse?:Legends and Legend-Making in Arthurian Studies Richard Sévère (bio) In Fall 2022, the internet lost its mind at the debut of the trailer for Disney's The Little Mermaid—a remake of the legendary 1989 childhood classic about a mermaid who falls in love with a human man. While some were ecstatic that the talented Black actress, singer, and songwriter, Halle Bailey, would play the lead role of Ariel, others were infuriated, giving rise to such Twitter hashtags as: #NotMyMermaid and #MakeMermaidsWhiteAgain. These attacks confirm the limitless boundaries of hate—unsurprisingly, even fictional fish-people can be fodder for racism and bigotry. Sadly, phantastic underwater civilizations are not the only places or things where cultural inclusion draws the ire of fans. The Star Wars franchise also dealt with a barrage of fanatics who were angered by the character Reva Sevander, played by Black actress Moses Ingram, in Disney+'s Obi-Wan Kenobi. Unmistakably, these reactions are indeed part of a larger pattern Moya Bailey terms misogynoir—the disparaging treatment of Black women, or in Bailey's own words '[t]he anti-Black racist misogyny that Black women experience, particularly in US visual and digital culture.'1 Certainly, these instances of intolerance towards Black female actresses playing traditionally white characters are not new. In 2016, and again in 2018, there was controversy at the casting of South African actress Noma Dumzweni as Hermione in the Broadway adaptation of Harry Potter and the Cursed Child. Erika Milvy in a Los Angeles Times article points out that '[s]ome Potterheads' heads practically exploded when they first learned that black actress Noma Dumezweni had been cast as Hermione in the original London production of 'Cursed Child' in 2016.'2 While Milvy goes on to mention that, since then, eight more Black actresses have played the role of Hermione, the examples above confirm that not much has changed with regard to how audiences continue to negatively react to Black women playing legendary characters.3 That purported fans have such averse and intolerant reactions towards fictional forms of entertainment is unnerving and outright worrisome. What does it say about us as a society that we can somehow imagine new worlds, beyond our earthly realms, limitless borders that allow for rich and complex [End Page 3] ideas and identities to take shape, worlds so different, heterogenous, and multifaceted, worlds meant to teach, entertain, sooth, challenge, affirm, confirm and excite—and yet within these bold imaginings, we cannot fathom people of color existing beyond the prescriptive parameters that reality has all but guaranteed? Melissa J. Monson's assertion of the fantasy genre that '[t]he intertwining of recognizable cultural histories, epistemologies, and geographies encourage readers (and gamers alike) to suspend disbelief and accept the more fantastical elements of such stories'4 appears to have its","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910871
Pamela M. Yee
Abstract: This article examines how two authors of Asian descent tackle the problem of 'narrative scarcity' for marginalized writers in their Young Adult Arthurian texts: Williams' 'The Quay Stone' posits the relationship between colonizer/colonized as akin to domestic abuse, while Chupeco's A Hundred Names for Magic series integrates Eastern and Western myths. (PY)
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Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910876
Reviewed by: The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean by Megan Moore Charles-Louis Morand-Métivier megan moore, The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean. Ithaca: Cornell University Press, 2021. Pp. 189. ISBN: 978–1–50175–839–3. $49.99. Ever since Barbara Rosenwein released her magnum opus, Emotional Communities in the Early Middle Ages (Cornell, 2007), scholars have started using this approach to propose new methods to analyze medieval texts, notably by demonstrating how they emote and beget an emotional response from their readers. Megan Moore's book could be considered one of the most influential studies of emotions in the Middle Ages that was recently published. The core of her research focuses on what she identifies as the erotics of grief, and what they can help us understand about 'the interplay between gender, emotions, and power' (p. 3). When studying emotions, it is important to know what dimension of the idea the scholar refers to; here, Moore explains that she takes 'emotions to be culturally contextualized performances of feelings' (p. 7). This definition flows throughout her analysis of emotions in the context of gender, performance, and culture, and most notably how the elites were taught how to feel and experience grief and desire through texts; moreover, the erotization of this grief is crucial in the creation of tightening of the community of the elites. What makes Moore's analysis so appealing is the versatility of sources and approaches that she uses in her book; her research examines both canonical medieval pieces as well as less-known works. Her first chapter focuses on Philomena by Chrétien de Troyes, and how communal emotions and individual drives are intricately linked; through the analysis of women's bodily narratives, it is much more than the grief and suffering of women that is displayed; these become readable for others as emotional messages. Chapter Two also focuses on two of Chrétien de Troyes' romances, Erec et Énide and his rendition of Yvain. She specifically focuses on grief among widows. In these works, grieving women are made particularly desirable because of and through the narration of the deeds of their late lovers; as she explains, 'grief is eroticized within romance because it serves the ends of feudalism' (p. 89). Chapter Three examines one of the most famous French 'chanson de geste,' the Song of Roland. Although it is possibly one of the most studied medieval texts, and one on which much was already written, Moore examines this text, alongside Aliscans, Le Roman de Rou, and La Mort [End Page 109] le roi Artu. This chapter, even though it also examines grief and community, is more specifically focusing on masculinity, and most notably how the notion of grief plays in the creation and strengthening of the relations between leaders (such as Arthur and Charlemagne) and their knights, and how these rel
{"title":"The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean by Megan Moore (review)","authors":"","doi":"10.1353/art.2023.a910876","DOIUrl":"https://doi.org/10.1353/art.2023.a910876","url":null,"abstract":"Reviewed by: The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean by Megan Moore Charles-Louis Morand-Métivier megan moore, The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean. Ithaca: Cornell University Press, 2021. Pp. 189. ISBN: 978–1–50175–839–3. $49.99. Ever since Barbara Rosenwein released her magnum opus, Emotional Communities in the Early Middle Ages (Cornell, 2007), scholars have started using this approach to propose new methods to analyze medieval texts, notably by demonstrating how they emote and beget an emotional response from their readers. Megan Moore's book could be considered one of the most influential studies of emotions in the Middle Ages that was recently published. The core of her research focuses on what she identifies as the erotics of grief, and what they can help us understand about 'the interplay between gender, emotions, and power' (p. 3). When studying emotions, it is important to know what dimension of the idea the scholar refers to; here, Moore explains that she takes 'emotions to be culturally contextualized performances of feelings' (p. 7). This definition flows throughout her analysis of emotions in the context of gender, performance, and culture, and most notably how the elites were taught how to feel and experience grief and desire through texts; moreover, the erotization of this grief is crucial in the creation of tightening of the community of the elites. What makes Moore's analysis so appealing is the versatility of sources and approaches that she uses in her book; her research examines both canonical medieval pieces as well as less-known works. Her first chapter focuses on Philomena by Chrétien de Troyes, and how communal emotions and individual drives are intricately linked; through the analysis of women's bodily narratives, it is much more than the grief and suffering of women that is displayed; these become readable for others as emotional messages. Chapter Two also focuses on two of Chrétien de Troyes' romances, Erec et Énide and his rendition of Yvain. She specifically focuses on grief among widows. In these works, grieving women are made particularly desirable because of and through the narration of the deeds of their late lovers; as she explains, 'grief is eroticized within romance because it serves the ends of feudalism' (p. 89). Chapter Three examines one of the most famous French 'chanson de geste,' the Song of Roland. Although it is possibly one of the most studied medieval texts, and one on which much was already written, Moore examines this text, alongside Aliscans, Le Roman de Rou, and La Mort [End Page 109] le roi Artu. This chapter, even though it also examines grief and community, is more specifically focusing on masculinity, and most notably how the notion of grief plays in the creation and strengthening of the relations between leaders (such as Arthur and Charlemagne) and their knights, and how these rel","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910874
Reviewed by: International Medievalism and Popular Culture ed. by Louise D'arcens and Andrew Lynch Kevin J. Harty louise d'arcens and andrew lynch, eds. International Medievalism and Popular Culture. Amherst, NY: Cambria Press, 2022. Pp. xxx, 251 (with 18 b&w illustrations). isbn: 978–1–63857–110–0. $59.95. The paperback reissue of International Medievalism and Popular Culture—first published in hardback in 2014—is significant for three reasons. First, it reminds us that medievalism is now finally a recognized area of rigorous academic inquiry. We have come a long way from when, in the 1960s, 1970s, and 1980s, Leslie J. Workman and Kathleen Verduin had to make the scholarly case that medievalism was something more than the stepchild (or bastard!) of the more serious and important field of medieval studies. Second, the reissue of this collection of essays reminds readers of the important work being done on medievalism by our colleagues in Australia, who contribute all but two of the essays in this volume. And third, these essays by diverse hands remind us of the many ways in which the cultures of the Middle Ages have found expression in the modern and post-modern worlds in Australia and beyond. In their introduction, the editors lay out the argument advanced collectively by the essays in this volume: 'The "popular Middle Ages" has travelled a long way from its nationalistic origins, entering a realm in which the labels national, postcolonial, transnational, international, and global all require as much revisitation and renegotiation as that most slippery of all terms, the medieval' (p. xxvi). Clare Monagle follows the introduction with a discussion of how Hedley Bull's The Anarchial Society (1977) and its paradigm for the New Medievalism continue to offer a problematic approach both to theories about international relations and to the ways in which medievalism has been and continues to be used (and misused) in public discourse. Helen Dell next offers an analysis of how and why the Harry Potter franchise infuriated members of the Christian Right and thwarted their attempts to insulate their children from the wider world. Louise D'Arcens moves on to a comparative discussion of how three Ridley Scott films—Kingdom of Heaven (2005), Body of Lies (2008), and the 2010 Robin Hood—are imperfect exercises in defining international and domestic medievalism. In Scott's case, D'Arcens argues, the road to Hell. … John M. Ganim approaches the relationship between the Middle Ages and the Arab Spring though an examination of what he labels 'the built environment of the Islamic world' (p. 59). Using architectural projects funded by the Aga Khan Trust for Culture, Ganim argues that these projects reuse parts of the fabric of medieval Islam, often found in Western discussions of orientalism, for new and not-yet-fully defined purposes. Helen Hickey and Stephanie Trigg document the medievalism appropriated in the nineteenth century by the Australian United Tinsmiths t
评议:国际中世纪主义和流行文化主编路易斯·达森斯和安德鲁·林奇凯文·j·哈蒂路易斯·达森斯和安德鲁·林奇，编辑。国际中世纪和流行文化。阿默斯特，纽约州:坎布里亚出版社，2022。第xxx页，251页(附18张黑白插图)。isbn: 978-1-63857-110-0。59.95美元。2014年首次以精装本出版的《国际中世纪主义与流行文化》平装本再版意义重大，原因有三。首先，它提醒我们，中世纪主义现在终于成为一个公认的严谨学术研究领域。在20世纪60年代、70年代和80年代，莱斯利·j·沃克曼(Leslie J. Workman)和凯瑟琳·韦尔都因(Kathleen Verduin)不得不在学术上证明，中世纪主义不仅仅是中世纪研究这个更严肃、更重要领域的继子(或私生子)，我们已经走过了漫长的道路。其次，这本文集的再版提醒读者，我们在澳大利亚的同事正在做的关于中世纪的重要工作，他们贡献了本卷中除了两篇文章之外的所有文章。第三，这些不同作者的文章提醒我们，中世纪文化在澳大利亚及其他地区的现代和后现代世界中以多种方式得到表达。在他们的介绍中，编辑们列出了本卷文章集体提出的论点:“‘流行的中世纪’已经从它的民族主义起源走了很长一段路，进入了一个国家、后殖民、跨国、国际和全球等标签都需要重新审视和重新谈判的领域，就像所有术语中最狡猾的一样。克莱尔·莫纳格尔(Clare Monagle)在引言之后，讨论了海德利·布尔(Hedley Bull)的《无政府社会》(1977)及其新中世纪主义范式如何继续为国际关系理论和中世纪主义在公共话语中已经和继续被使用(和误用)的方式提供了一个有问题的方法。海伦·戴尔接下来分析了《哈利·波特》系列是如何以及为什么激怒了基督教右翼成员，并挫败了他们让自己的孩子与更广阔的世界隔绝的努力。Louise D’arcens接着比较讨论了雷德利·斯科特的三部电影——《天国》(2005)、《谎言之身》(2008)和《罗宾汉》(2010)——在定义国际和国内中世纪主义方面是如何不完美的。阿森斯认为，在斯科特的案例中，这是一条通往地狱的道路。约翰·m·加尼姆通过考察他所称的“伊斯兰世界的建筑环境”来探讨中世纪和阿拉伯之春之间的关系(第59页)。利用阿迦汗文化信托基金资助的建筑项目，加尼姆认为，这些项目重新利用了中世纪伊斯兰教的部分结构，这些结构经常出现在西方对东方主义的讨论中，用于新的、尚未完全定义的目的。海伦·希基(Helen Hickey)和斯蒂芬妮·特里格(Stephanie Trigg)记录了19世纪澳大利亚联合铁匠协会(Australian United Tinsmiths)为支持他们争取公平工资和体面工作条件的努力而盗用的中世纪主义。卡伦·霍尔(Karen Hall)在一篇关于当代澳大利亚视觉艺术中展出的中世纪主义的文章中转换了流派，这篇文章由亚历克西亚·辛克莱(Alexia Sinclair)、G.W.博特(G.W. Bot)、艾琳·巴伯里斯(Irene Barberis)和莱斯·麦格雷戈(Laith McGregor)创作，他们的作品反映了“中世纪的碎片和痕迹与现在对话的能力”(第119页)。尼古拉斯·海多克分析了朱莉娅·克里斯蒂娃2006年出版的小说《拜占庭谋杀案》中的中世纪主义形式，并得出结论认为，这部小说在探索十字军东征与当代西方对中东的军事干预之间的联系方面做得很成功，但也很有挑衅性。尚塔尔·布尔戈·杜·库德雷的文章是对小红帽这个角色的反思，以及这个经常被重述的关于一个孤独的小女孩在森林里迷路的多类型故事的多学科含义。劳里·奥蒙德(Laurie Ormond)的文章既是对当代澳大利亚奇幻小说的介绍，也是对这类小说提出了女性易受男性性暴力侵害这一不易回答的问题的承认。这些虚构作品对女性脆弱性的强调可以被解读为对性别刻板印象的反击和强化。安妮·麦肯德里接着讨论了威廉·华莱士、威廉·撒切尔和……的“澳大利亚性”。
{"title":"International Medievalism and Popular Culture ed. by Louise D'arcens and Andrew Lynch (review)","authors":"","doi":"10.1353/art.2023.a910874","DOIUrl":"https://doi.org/10.1353/art.2023.a910874","url":null,"abstract":"Reviewed by: International Medievalism and Popular Culture ed. by Louise D'arcens and Andrew Lynch Kevin J. Harty louise d'arcens and andrew lynch, eds. International Medievalism and Popular Culture. Amherst, NY: Cambria Press, 2022. Pp. xxx, 251 (with 18 b&w illustrations). isbn: 978–1–63857–110–0. $59.95. The paperback reissue of International Medievalism and Popular Culture—first published in hardback in 2014—is significant for three reasons. First, it reminds us that medievalism is now finally a recognized area of rigorous academic inquiry. We have come a long way from when, in the 1960s, 1970s, and 1980s, Leslie J. Workman and Kathleen Verduin had to make the scholarly case that medievalism was something more than the stepchild (or bastard!) of the more serious and important field of medieval studies. Second, the reissue of this collection of essays reminds readers of the important work being done on medievalism by our colleagues in Australia, who contribute all but two of the essays in this volume. And third, these essays by diverse hands remind us of the many ways in which the cultures of the Middle Ages have found expression in the modern and post-modern worlds in Australia and beyond. In their introduction, the editors lay out the argument advanced collectively by the essays in this volume: 'The \"popular Middle Ages\" has travelled a long way from its nationalistic origins, entering a realm in which the labels national, postcolonial, transnational, international, and global all require as much revisitation and renegotiation as that most slippery of all terms, the medieval' (p. xxvi). Clare Monagle follows the introduction with a discussion of how Hedley Bull's The Anarchial Society (1977) and its paradigm for the New Medievalism continue to offer a problematic approach both to theories about international relations and to the ways in which medievalism has been and continues to be used (and misused) in public discourse. Helen Dell next offers an analysis of how and why the Harry Potter franchise infuriated members of the Christian Right and thwarted their attempts to insulate their children from the wider world. Louise D'Arcens moves on to a comparative discussion of how three Ridley Scott films—Kingdom of Heaven (2005), Body of Lies (2008), and the 2010 Robin Hood—are imperfect exercises in defining international and domestic medievalism. In Scott's case, D'Arcens argues, the road to Hell. … John M. Ganim approaches the relationship between the Middle Ages and the Arab Spring though an examination of what he labels 'the built environment of the Islamic world' (p. 59). Using architectural projects funded by the Aga Khan Trust for Culture, Ganim argues that these projects reuse parts of the fabric of medieval Islam, often found in Western discussions of orientalism, for new and not-yet-fully defined purposes. Helen Hickey and Stephanie Trigg document the medievalism appropriated in the nineteenth century by the Australian United Tinsmiths t","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/art.2023.a910872
D'arcee Charington Neal
Abstract: Whether an Arthurian knight, a Green Lantern, or a Legendborn, one cannot have a legacy without first becoming a legend. In N.K. Jemisin's graphic novel Far Sector (2020) Sojourner 'Jo' Muellein's story as both community activist and guardian echoes, reinvents, and reimagines Arthurian romances through the lens of Afrofuturism; further, this fantastical remix challenges white supremacist modes of oppressive comic tradition by foregrounding racial and gendered identities. Making a legend is not about whom society has agreed to be the answer. Instead, such ideals lie with whoever asks the question. (DCN)
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