tag:blogger.com,1999:blog-8733856415731261552024-03-14T02:41:57.301-04:00medievalism-medievalismo-mediävalismus-médiévalismea public blog discussing manifestations of the middle ages in postmedieval timesricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.comBlogger234125tag:blogger.com,1999:blog-873385641573126155.post-81541880124490596592018-10-14T14:13:00.002-04:002018-10-14T14:13:39.525-04:00Were women ever sacred? Some medieval and modern men would like us to think so...<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1AiYePwlEaNzZOvYyK7oXn4sQLZ0h-bIxzEW_HBryYvgjA5LmyMjF_LspTMB7Nnwigzz_evjeQgyVbQCTgrSGZqUy_4-htgbWAvxWKDfWVk_bTMGXVyh5HUCJKdFwXgH480OJoquR91s/s1600/c13597-51a-e1539535625488.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1012" data-original-width="1286" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1AiYePwlEaNzZOvYyK7oXn4sQLZ0h-bIxzEW_HBryYvgjA5LmyMjF_LspTMB7Nnwigzz_evjeQgyVbQCTgrSGZqUy_4-htgbWAvxWKDfWVk_bTMGXVyh5HUCJKdFwXgH480OJoquR91s/s320/c13597-51a-e1539535625488.jpg" width="320" /></a></div>
Chivalry and courtesy are cultural constructions serving the most powerful men in medieval and contemporary societies, claims this <a href="http://www.medievalists.net/2018/10/were-women-ever-sacred/" target="_blank">ARTICLE for medievalists.net</a>.ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-68738867340745826762018-04-01T20:09:00.002-04:002018-04-01T20:09:18.724-04:00#ChaucerToo <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPrO6ROYzYaw7WzMNY5skqRZQ4auc4LzFmVb3G-QjihHJkm3Q_hMKEAV-S07hYh9dsHeaJus0vmeQIyjK-YAKRiEWNxXO3WfSSFmgu8P9VP03cLP0nUNm-laGve0bG14zlO6jQ5tps_CE/s1600/chaucer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="172" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPrO6ROYzYaw7WzMNY5skqRZQ4auc4LzFmVb3G-QjihHJkm3Q_hMKEAV-S07hYh9dsHeaJus0vmeQIyjK-YAKRiEWNxXO3WfSSFmgu8P9VP03cLP0nUNm-laGve0bG14zlO6jQ5tps_CE/s200/chaucer.jpg" width="85" /></a><b>#ChaucerToo</b></div>
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I gave you what some call</div>
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the best years of my life.</div>
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You proffered status, colleagues, jobs, </div>
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and plenty sublimated pleasure; </div>
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and you felt often like </div>
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<i>myn owne brother deere</i>.</div>
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I fell in love with your alterity,</div>
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words such as <i>aksen</i>, <i>queynte</i>, and <i>briddes</i>,</div>
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and lines that spoke about my student friends and me,</div>
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<i>That slepen al the nyght with open eye</i>.</div>
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<br /></div>
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You seemed to know a lot of</div>
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<i>yonge fresshe folkes, he or she</i>,</div>
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asked with Criseyde: <i>kan he wel speke of love</i>?</div>
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You seemed to grasp what lovers feel,</div>
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how rumor spreads,</div>
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and even how to use an astrolabe</div>
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<i>compowned for the latytude of Oxenforde</i>.</div>
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I liked you less once I had heard</div>
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of <i>Cecily Chaumpaigne</i>,</div>
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and how you settled out of court.</div>
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Played down as ‘incident’</div>
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by the rapt fathers of the field,</div>
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I thought it rendered you</div>
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all too much with us.</div>
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<br /></div>
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Still: I do read and teach you,</div>
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though now you feel a good deal less congenial;</div>
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more a reminder of the matters</div>
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that still need <i>chaunge</i>, but</div>
<span style="font-family: "garamond" , "georgia" , serif , serif , "emojifont";">not alone in </span><i style="font-family: Garamond, Georgia, serif, serif, EmojiFont; font-size: 16px;">forme of </i><span style="font-family: "garamond" , "georgia" , serif , serif , "emojifont";"><i>speeche.</i></span><br />
<span style="font-family: "garamond" , "georgia" , serif , serif , "emojifont";"><i><br /></i></span><span style="font-family: "garamond" , "georgia" , serif , serif , "emojifont";">Ⓒ Richard Utz</span>ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-51076424806588419062017-08-31T11:55:00.003-04:002017-08-31T11:55:37.145-04:00Desecrating the Host at Deggendorf<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK5clC7Q1tXZEYv6MRHRTxu4qs7ejr-xJ8j9AnKsD22ck7kscZ4o6_xKwTrqhlVrrv8vGleiZGFIp5JD9-CmFe78ksq0LGgojPACRKwt_VjlTo4OxNggBEWDnZC7_1jOUug4_Jbqf0VSA/s1600/Screen+Shot+2017-08-31+at+11.52.22+AM.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="1359" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK5clC7Q1tXZEYv6MRHRTxu4qs7ejr-xJ8j9AnKsD22ck7kscZ4o6_xKwTrqhlVrrv8vGleiZGFIp5JD9-CmFe78ksq0LGgojPACRKwt_VjlTo4OxNggBEWDnZC7_1jOUug4_Jbqf0VSA/s320/Screen+Shot+2017-08-31+at+11.52.22+AM.png" width="320" /></a></div>
My most recent contribution to <i>The Public Medievalist</i>'s series on "Race, Racism, and the Middle Ages." This one about the <i>longue durée</i> of a desecration of the host accusation in Deggendorf, Germany. It's called “<a href="https://www.publicmedievalist.com/deggendorf/" target="_blank">Deggendorf, and the Long History of its Destructive Myth</a>":<br />
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<br />ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-55235052641043675452017-08-18T11:15:00.000-04:002017-08-18T11:16:15.816-04:00Medievalists Respond to CharlottesvilleISSM signatory on statement regarding Charlottesville: <br />
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<span style="background-color: black; color: #f3f3f3;">Medievalists Respond to Charlottesville</span></h1>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_KHw0GtPJvNOn-hOAWQNIkFY3GUt-o-CRWkc054Vjtf2XE8AyOZFZBJMNhQUISJRQNwFPMyaoOBkGzwrS0GbQfSvAcqZ6gzSkKYDqBNwBPPqNSeCewUexPFoipaPt3mG2bylGgM-gIU/s1600/12-charlottesville-standoff.w710.h473.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="background-color: black; color: #f3f3f3;"><img border="0" data-original-height="474" data-original-width="710" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_KHw0GtPJvNOn-hOAWQNIkFY3GUt-o-CRWkc054Vjtf2XE8AyOZFZBJMNhQUISJRQNwFPMyaoOBkGzwrS0GbQfSvAcqZ6gzSkKYDqBNwBPPqNSeCewUexPFoipaPt3mG2bylGgM-gIU/s320/12-charlottesville-standoff.w710.h473.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 0px; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(204, 0, 0); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 0px; padding: 8px; position: relative;" width="320" /></span></a></div>
<span style="background-color: black; color: #f3f3f3;">In light of the recent events in the United States, most recently the racist violence in Charlottesville, Virginia, the undersigned community of medievalists condemns the appropriation of any item or idea or material in the service of white supremacy. In addition, we condemn the abuse of colleagues, particularly colleagues of color, who have spoken publicly against this misuse of history.</span><br />
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<span style="background-color: black; color: #f3f3f3;">As scholars of the medieval world we are disturbed by the use of a nostalgic but inaccurate myth of the Middle Ages by racist movements in the United States. By using imagined medieval symbols, or names drawn from medieval terminology, they create a fantasy of a pure, white Europe that bears no relationship to reality. This fantasy not only hurts people in the present, it also distorts the past. Medieval Europe was diverse religiously, culturally, and ethnically, and medieval Europe was not the entire medieval world. Scholars disagree about the motivations of the Crusades—or, indeed, whether the idea of “crusade” is a medieval one or came later—but it is clear that racial purity was not primary among them.<br /><br />Contemporary white nationalists are not the first Americans to have turned nostalgic views of the medieval period to racist purposes. It is, in fact, deeply ironic that the Klan’s ideas of medieval knighthood were used to harass immigrants who practiced the forms of Christianity most directly connected with the medieval church. Institutions of scholarship must acknowledge their own participation in the creation of interpretations of the Middle Ages (and other periods) that served these narratives. Where we do find bigotry, intolerance, hate, and fear of “the other” in the past—and the Middle Ages certainly had their share—we must recognize it for what it is and read it in its context, rather than replicating it.<br /><br />The medieval Christian culture of Europe is indeed a worthy object of study, in fact a necessary one. Medieval Studies must be broader than just Europe and just Christianity, however, because to limit our object of study in such a way gives an arbitrary and false picture of the past. We see a medieval world that was as varied as the modern one. It included horrific violence, some of it committed in the name of religion; it included feats of bravery, justice, harmony, and love, some of them also in the name of religion. It included movement of people, goods, and ideas over long distances and across geographical, linguistic, and religious boundaries. There is much to be learned from studying the period, whether we choose to focus on one community and text or on wider interactions. What we will not find is the origin of a pure and supreme white race.<br /><br />Every generation of scholars creates its own interpretations of the past. Such interpretations must be judged by how well they explain the writings, art, and artifacts that have come down to us. As a field we are dedicated to scholarly inquiry. As the new semester approaches at many institutions, we invite those of you who have the opportunity to join us. Take a class or attend a public lecture on medieval history, literature, art, music. Learn about this vibrant and varied world, instead of simply being appalled by some racist caricature of it. See for yourself what lessons it holds for the modern world.<br /><br />The Medieval Academy of America<br />The Gender and Medieval Studies Group<br />The International Arthurian Society-North American Branch<br />The International Piers Plowman Society<br />The International Society of Anglo-Saxonists<br />The International Society for the Study of Medievalism<br />The New Chaucer Society<br />The Society for Medieval Feminist Scholarship</span></div>
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ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-68858590237290825022016-12-11T12:46:00.000-05:002016-12-11T12:50:50.284-05:00Festschrift for Gwen Morgan Published<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 14pt;">Dear colleagues,</span></div>
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<span style="font-size: 14pt;">The International Society for the Study of Medievalism is an association whose members cherish collegial collaboration. Unlike so many other associations in higher education, we have always welcomed ALL lovers of medieval culture and the myriad of receptions, creative and scholarly, of medieval culture, including those without the authority delegated from specific titles and degrees. And we have always taken the time to recognize those among us who have advanced our work and taken on responsibilities, academic and organizational, that created the intellectual and managerial </span><span style="font-size: 14pt;">framework within which the rest </span><span style="font-size: 14pt;">of were able to produce our own contributions. It is in this latter tradition of collegial recognition that we honored Leslie Workman in </span><i><span style="font-size: 14pt;"><a href="http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9782503501666-1">Medievalism in the Modern World</a></span></i><span style="font-size: 14pt;"> (1998), Bill Calin in </span><a href="https://works.bepress.com/richard_utz/86/"><i><span style="font-size: 14pt;">Cahier Calin: </span></i></a><i><span style="font-size: 14pt;"><a href="https://works.bepress.com/richard_utz/86/">M</a></span><span style="font-size: 14pt;"><a href="https://works.bepress.com/richard_utz/86/">akers of the Middle Ages</a> </span></i><span style="font-size: 14pt;">(2011)</span><span style="font-size: 14pt;">, and Kathleen Verduin in </span><i><span style="font-size: 14pt;"><a href="https://boydellandbrewer.com/medievalism-key-critical-terms.html">Medievalism: Key Critical Terms</a></span></i><span style="font-size: 14pt;"> (2014). And it is in this same tradition that we are now </span><span style="font-size: 14pt;">honoring Gwen Morgan, friend, editor, director of conferences, and colleague and </span><span style="font-size: 14pt;">scholar extraordinaire with a special issue of </span><i><span style="font-size: 14pt;">The Year's Work in Medievalism</span></i><span style="font-size: 14pt;">, a journal she herself </span><span style="font-size: 14pt;">edited for many years. </span></div>
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<span style="font-size: 14pt;">The official ceremonial presentation of </span><i><span style="font-size: 14pt;">Gwen to the Max</span></i><span style="font-size: 14pt;"> will be happening at </span><span style="font-size: 14pt;">next year's 32nd International Conference on Medievalism at the University of Salzburg, July 16-18, during a venue she herself organized as our director of conferences. However, we did not want to wait until then to share with everyone </span><span style="font-size: 14pt;">the exciting 22 contributions to our area of specialty, expertly edited by Jane Toswell, Ed Risden, Jesse Swan, Shiloh Carroll, and Renée Ward. I am grateful to them, and to all contributors, and I hope that our DragonGwen will enjoy this tribute as a heartfelt <i>Gramercy</i> for the real difference she has made in our professional and private lives.</span> </div>
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<b><span style="font-size: 16pt;">And now please</span><span style="font-size: 16pt;"> </span><a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/31-2016"><span style="font-size: 16pt;">CLICK HERE</span></a></b><span style="font-size: 16pt;"><b> to access:</b></span></div>
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<i style="font-size: 12pt;"><span style="font-size: 16pt;">Gwen to the Max. A Festschrift for Gwendolyn Morgan</span></i><span style="font-size: 16pt;">. </span><i style="font-size: 12pt;"><span style="font-size: 16pt;">The Year's Work in Medievalism</span></i><span style="font-size: 16pt;"> 31 (2016). Edited by M. J. Toswell, E. L. </span><span style="font-size: 21px;">Risden</span><span style="font-size: 16pt;"> Jesse G. Swan, Shiloh Carroll, and Renée Ward.</span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> </span></div>
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<span style="font-size: 14pt;">With collegial regards and thanks for your support throughout the year,</span></div>
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<span style="font-size: 14pt;">Richard Utz, President</span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-74637792293057158802016-11-13T14:43:00.001-05:002016-11-13T14:43:14.793-05:00Richard Utz reviews: The Medieval Magazine<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><i>The Medieval Magazine</i>, Vol. 2 No. 25 (September 20, 2016) Anniversary Issue: <i>8 Years of Medievalists.net</i>.</span></div>
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<span style="color: red; font-family: inherit;"><b><br /></b></span><span style="color: red; font-family: inherit;"><b>Reviewed by: Richard Utz</b></span><br /><span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Those of us interested in lowering the drawbridge between our own ivory tower scholarship and the broader public interest in medieval culture have been following the path taken by the website <a href="http://medievalists.net/" style="color: #954f72;">medievalists.net</a>. Most recently, <i><a href="http://www.medievalists.net/category/our-magazine/" style="color: #954f72;">The Medieval Magazine</a></i>, a digital publication that has been enhancing the website for more than a year, celebrated the eighth anniversary of medievalists.net, which has been transformational for connecting the academic and non-academic realms.</span></span><br /><span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">For this anniversary issue, the founders and editors, Sandra Alvarez and Peter Konieczny, selected six pieces originally published at medievalists.net for republication.<a href="http://medievallyspeaking.blogspot.com/2016/11/the-medieval-magazine-anniversary-issue.html" target="_blank">READ THE FULL TEXT HERE</a></span></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-90138699131489915672016-10-31T20:35:00.000-04:002016-10-31T20:36:47.727-04:00Q&A with Richard Utz: Medievalism, A Manifesto<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white;"><span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 14px;">As the publication date for </span><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px;">Medievalism: A Manifesto</i><span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 14px;">approaches (Amazon says it's December 16, and Amazon always knows these things), ARC Humanities Press published a short Q&A I did for the publication some weeks ago. </span><a href="https://mip-archumanitiespress.org/blog/2016/10/31/qa-with-richard-utz-on-medievalism-a-manifesto/" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; text-decoration: none;" target="_blank">HERE is the LINK to the Q&A</a><span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 14px;">, or read the text below:</span></span><br />
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<span style="background-color: white;"><b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">There are many recent books about medievalism. What’s different about yours?</b></span><br />
<span style="background-color: white;"><b><br /></b>The study of how the Middle Ages has been reinvented, repurposed, and reenacted in postmedieval times has become an established academic subject over the last 25 years. However, most book-length studies investigate one kind or genre of medievalism or the biography of a specific scholar: Louise D’Arcens’ <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Comic Medievalism</i> (2014), for example, examines the role of humour in the reception of medieval culture across several centuries; Tison Pugh’s <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Queer Chivalry</i> (2013) explores the history of white masculinity in Southern U.S. Literature; and Michelle Warren’s <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Creole Medievalism</i> (2013) reveals editor and warrior scholar Joseph Bédier’s pro-colonial medievalist work. <a href="https://mip-archumanitiespress.org/products/m-77101-116111-24-8211/" style="border: none; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">My own book</a> wants to present a meta-perspective on the field of medievalism studies. Specifically, I would like to encourage colleagues to acknowledge, perhaps even embrace, the subjective and affective origins of our interest in the medieval past. Therefore, I took the unusual step of having my own parents featured on the book’s cover. Their and my own direct involvement in medievalist reenactment, games, and education are among the affective forces that have shaped many of my interests as a scholar.</span></div>
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<span style="background-color: white;"><b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Aren’t you worried about being accused of being a mere amateur or dilettante by embracing the personal, affective, and subjective?</b><br />No, quite the opposite! I think it’s an epistemological fallacy to believe that a scholar, the investigating subject, needs to be kept strictly separate from the scholar’s research, the subject under investigation. I believe with Norman Cantor (<i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Inventing the Middle Ages</i>, 1993) that all scholarship is, in the end, a form of autobiography and that the multitude of scholarly endeavors to recuperate the Middle Ages has only resulted in ever so many (subjective) reinventions of that time period. In the end, an amateur (from Latin <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">amare</i>, to love) or a dilettante (from Italian <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">dilettare</i>, to delight) is not so different from a scholar of the Middle Ages, who has simply sublimated his or her love for the medieval past into formal academic practices like editing, translation, or criticism. In my book I want to exemplify how a scholar’s open and conscious inclusion of personal connections will enhance, not hinder, our understanding of the medieval past.</span></div>
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<span style="background-color: white;"><b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">How do you manage to infuse your research with your personal history?</b><br />In his <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Parler du Moyen Age</i> (1980), Paul Zumthor said that it is a “delusion […] to speak of the past otherwise than on the basis of now.” Like Carolyn Dinshaw in <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">How Soon Is Now</i> (2013), I am putting Zumthor’s postulate into practice: After discussing some of the theoretical and historical aspects of medievalism, I present three concise cases studies that show how academic medievalists can produce research that includes their own personal history, reaches out, and gives back to the society that supports them. One of the cases studies exposes the dark side of medievalism in my native town of Amberg, Germany, where post-WW II open air festivals continued medievalist traditions originally created during the Weimar Republic and the Nazi regime. My second case study demonstrates how an early twentieth-century residence in my current hometown, Atlanta, GA, celebrates medieval chivalry and slavery as predecessors of Confederate values via medievalist architecture and craft. And my third case study encourages scholars to investigate numerous Christian traditions, rituals, and tenets as steady bridges between the medieval past and the present. All three of these examples illuminate the advantages of including our own current as well as previous reinventions of medieval culture when trying to understand the Middle Ages.</span></div>
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<span style="background-color: white;"><b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Why did you decide to write about these issues as a ‘manifesto’ and in the new <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Past Imperfect</i> book series?</b><br />Well, I am trying to convince as many of my colleagues as possible to change their ways, and that’s why I chose this specific format and series. Since the late 19<sup style="border: none; margin: 0px; padding: 0px; position: relative;">th</sup> century, medievalists (and many other humanities scholars) have been trying to put as much distance as possible between themselves and the general public, writing essays and books exclusively for each other. My modest proposal is to abandon this attitude and embrace the public humanities movement that wants to lower the drawbridge for the many lovers of medieval culture outside the academy to and to enter into a lively and mutually beneficial exchange. What I am proposing is rather revolutionary (hence: ‘manifesto’) , because I suggest we should not only interpret texts and artifacts for other specialists, but see it as our most noble task to render those texts and artifacts relevant to contemporary extra-academic audiences. Most academic publishers and book series editors would still prefer not to take on a project that might rub a good number of traditional medievalists the wrong way. Thus, I am glad <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Past Imperfect</i> provides a platform for something like my long <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">essai</i> that is openly political in its intent and somewhat more ‘edgy’ in its tone. Just like the annual International Congress on Medieval Studies has done for more than 50 years, this new MIP book series promises a more open, democratic, and entrepreneurial engagement with the medieval past.</span></div>
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<span style="background-color: white;"><b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">So are you proposing that all academic medievalists become medievalism-ists?</b><br />No. I realize that many colleagues will continue to investigate and write on what they consider the “real” Middle Ages. Many will defend an exclusively academic medieval studies within which making one’s work inaccessible (linguistically, economically, hermeneutically) to larger audiences is almost a precondition to professional success. And they will do this at the danger of uncritically recording or repeating medieval culture’s self-understandings. I am convinced that all lovers of the Middle Ages are capable of relating to the basic humanity of medieval human beings, to their motivations and emotions. I also believe that we produce less comprehensive understandings of medieval culture if we exclude our own subjective admission tickets to the Middle Ages and the reception histories of medieval events and practices. What my manifesto should help establish is that medieval studies, the academic study of medieval culture, is only one facet of medievalism, the overarching cultural phenomenon of any and all engagements with the medieval past. We scholars are participants in, not distant critics of this cultural phenomenon.</span></div>
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<b style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="background-color: white;">You can pre-order <i style="border: none; margin: 0px; padding: 0px; vertical-align: baseline;">Medievalism: A Manifesto </i><a href="https://mip-archumanitiespress.org/products/m-77101-116111-24-8211/" style="border: none; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">here</a>. </span></b></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-56460130190591503412016-08-31T09:53:00.002-04:002016-08-31T09:54:25.998-04:0032nd International Conference on Medievalism, Salzburg, July 16-18, 2017<div class="separator" style="clear: both; text-align: center;">
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<br />ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-85360467997035809122016-08-15T17:43:00.000-04:002016-08-15T17:43:34.679-04:00Delony reviews: Leveen, Juliet's Nurse<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; line-height: 18px;">Lois Leveen, <i>Juliet’s Nurse</i>. New York. Atria/Emily Bestler Books, 2015.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; line-height: 18px;"> </span></span><br />
<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; line-height: 18px;">Reviewed by Mikee Delony (</span><a href="mailto:mxd06b@acu.edu" style="font-family: cambria; font-size: 13px; line-height: 18px; text-decoration: none;"><span style="font-family: "arial" , "helvetica" , sans-serif;">mxd06b@acu.edu</span></a><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; line-height: 18px;">)</span></span><br />
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The most common complaint of readers approaching an adaptation of a well-known and beloved story, such as that of Shakespeare’s </span><em style="font-family: arial, helvetica, sans-serif;">Romeo & Juliet</em><span style="font-family: "arial" , "helvetica" , sans-serif;">, is a lament or an explosion of frustration because “</span><em style="font-family: arial, helvetica, sans-serif;">it’s not like the real story</em><span style="font-family: "arial" , "helvetica" , sans-serif;">.” Certainly this is the case with some readers of Lois Leveen’s novel,</span><em style="font-family: arial, helvetica, sans-serif;"> Juliet’s Nurse</em><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">However, disgruntled readers should remember that (a) Shakespeare made quite a few changes to his source material, so his version is not the real story either, and (b) Leveen’s novel is not about Juliet, but as the title clearly states, about Angelica, </span><em style="font-family: arial, helvetica, sans-serif;">Juliet’s Nurse</em><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> <a href="http://medievallyspeaking.blogspot.com/2016/08/leveen-juliets-nurse.html" style="text-decoration: none;" target="_blank">READ THE FULL REVIEW HERE</a></span></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-5553692903180114152016-08-06T16:07:00.001-04:002016-08-06T16:07:25.548-04:00Howey reviews: Mintz, Arthurian Tales<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Garamond; font-size: 14pt;">Ann F. Howey reviews: </span><span style="font-family: Garamond; font-size: 15pt;"><span style="font-size: 14pt;">Leon Mintz, </span><i><span style="color: windowtext; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/mintz-arthurian-tales.html" target="_blank">Arthurian Tales: Ambrosius Aureliani</a></span></i><span style="color: windowtext; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/mintz-arthurian-tales.html" target="_blank">.</a></span><span style="font-size: 14pt;"> Pontiac, MI: Erie Harbor Productions, 2010.</span></span><span style="font-family: Garamond; font-size: 14pt;"> </span></div>
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<span style="font-family: Times; font-size: small;"><span style="background-color: white; font-family: Garamond, Georgia, serif; font-size: 14pt;">Jana Schulman reviews: </span><span style="background-color: white; font-family: Garamond, Georgia, serif; font-size: 14pt;">Susan Signe Morrison, </span><i><span style="background-color: white; font-family: Garamond, Georgia, serif; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/morrison-grendels-mother.html" target="_blank">Grendel’s Mother: The Saga of the Wyrd-Wife</a></span></i><span style="background-color: white; font-family: Garamond, Georgia, serif; font-size: 14pt;">. Winchester, UK; Washington, USA [sic]: Top Hat Books, 2015.</span></span></div>
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ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-665844347307927022016-08-06T16:06:00.001-04:002016-08-06T16:07:38.717-04:00Schulman reviews Morrison, Grendel's Mother<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "times"; font-size: small;"><span style="background-color: white; font-family: "garamond" , "georgia" , serif; font-size: 14pt;">Jana Schulman reviews: </span><span style="background-color: white; font-family: "garamond" , "georgia" , serif; font-size: 14pt;">Susan Signe Morrison, </span><i><span style="background-color: white; font-family: "garamond" , "georgia" , serif; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/morrison-grendels-mother.html" target="_blank">Grendel’s Mother: The Saga of the Wyrd-Wife</a></span></i><span style="background-color: white; font-family: "garamond" , "georgia" , serif; font-size: 14pt;">. Winchester, UK; Washington, USA [sic]: Top Hat Books, 2015.</span></span></div>
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<span style="font-family: "garamond"; font-size: 14pt;">Ann F. Howey reviews: </span><span style="font-family: "garamond"; font-size: 15pt;"><span style="font-size: 14pt;">Leon Mintz, </span><i><span style="color: windowtext; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/mintz-arthurian-tales.html" target="_blank">Arthurian Tales: Ambrosius Aureliani</a></span></i><span style="color: windowtext; font-size: 14pt;"><a href="http://medievallyspeaking.blogspot.com/2016/08/mintz-arthurian-tales.html" target="_blank">.</a></span><span style="font-size: 14pt;"> Pontiac, MI: Erie Harbor Productions, 2010.</span></span><span style="font-family: "garamond"; font-size: 14pt;"> </span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-49125924529603217632016-08-03T12:58:00.003-04:002016-08-03T12:58:47.501-04:00Debbie White reviews Embracing the #femfog<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white;"><span style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;"><b>Embracing the #femfog: Session at
the International Medieval Congress, Leeds, UK, July 6, 2016, organized by
Bettina Bildhauer, chaired by Diane Watt</b><br />
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</span><span style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Reviewed by
Debbie White (<a href="https://www.blogger.com/null">d.white.2@research.gla.ac.uk)</a><b> </b></span></span></span></span><span style="background-color: white;">
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><b><span style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">Embrace the #femfog:
Diversity, Medievalism and Moving Beyond Frantzen</span></b></span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="background-attachment: scroll; background-clip: border-box; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">As a first-timer at
IMC 2016, I arrived on the Sunday evening in Leeds not entirely sure what to
expect, armed only with the alarmingly thick programme, a notebook and more
spare pens than I knew what to do with. One of the highlights of the
conference, however, was a session which was not included in the programme; a
late addition to proceedings focused on ‘embracing the femfog’, which took
place on Wednesday lunchtime. The eight panellists, all of whom spoke
articulately (and impressively for academics, kept to time!) were Helen Young,
Elaine Treharne, Robert Stanton, Christina Lee, Dorothy Kim, Jonathan Hsy, Liz
Herbert McAvoy, and David Bowe, and the session was chaired by Diane Watt.... <a href="http://medievallyspeaking.blogspot.com/2016/08/femfog-bettina-bildhauer-diane-watt-et.html" target="_blank">READ FULL REVIEW HERE</a></span></span></span></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-36194206899447977972016-07-07T10:04:00.001-04:002016-07-07T10:04:34.069-04:00Medievalism @ Kzoo 20127 Session Proposals<div class="separator" style="clear: both; text-align: center;">
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<span class=""><b class=""><span class="" style="font-family: Times New Roman; font-size: medium;">Kalamazoo 2017 Call for Papers: </span></b></span></div>
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<span class=""><b class=""><span class="" style="font-family: Times New Roman; font-size: medium;">International Society for the Study of Medievalism</span></b></span></div>
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<span class="" style="text-decoration: underline;"><a class="" href="http://www.wmich.edu/medieval/congress" target="_blank"><span class="" style="font-family: Times New Roman; font-size: medium;">52nd International Congress on Medieval Studies</span></a></span></div>
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<span class=""><span class="" style="font-family: Times New Roman; font-size: medium;">Western Michigan University, Kalamazoo, MI, May 11-14, 2017.</span></span></div>
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<span class=""><b class=""><span class="" style="font-family: Times New Roman; font-size: medium;">1. Paper Session: Medievalism and Immigration</span></b></span></div>
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<span class=""><span class="" style="font-family: Times New Roman; font-size: medium;">This session is inspired by the energetic discussion that followed the 2016 ISSM panel on Medievalism and Anti-Semitism, in which the speakers and the audience made connections between the medievalism employed in twentieth-century anti-Semitic nationalisms and the medievalist propaganda behind the wave of far-right nationalism that has arisen in response to immigration throughout the last two centuries. We seek a broad range of submissions that address the way medievalism has been used in reactions to and actions against immigration and the national, ethnic, or religious ‘Other,’ from early historical examples of medievalism in nationalist movements to the rhetoric and propaganda employed by today’s anti-immigration movements.</span></span></div>
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<span class=""><b class=""><span class="" style="font-family: Times New Roman; font-size: medium;">2. Round Table: Performing Medievalisms</span></b></span></div>
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<span class=""><span class="" style="font-family: Times New Roman; font-size: medium;">Medievalism has long played a key role in great (and not so great) art, music, and literature. What is perhaps unique about medievalism as a muse is that it tends to be inspired by a radical attachment to the past. We seek contributions to this round table that examine how emotional and aesthetic sentiments inform medievalist performances, from early Robin Hood ballads and Arthurian jousts sponsored by Henry VIII, to Wagner's Ring Cycle, to the cosplayers and LARPers (Live Action Role Players) who meticulously craft their own 'medieval' weapons and clothing in the twenty-first century. We are especially interested in contributions that draw on the rich critical work being done on affect theory and the history of emotions, but we hope that our round table participants will include scholars and performers alike. We welcome short (10 minute) contributions to this discussion. </span></span></div>
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<span class=""><span class="" style="font-family: Times New Roman; font-size: medium;">ISSM is also pleased to be sponsoring a third paper session that will feature the contributors to the forthcoming collection, <i class="">The United States of Medievalism</i>, which examines how different cities and regions in the United States offer opportunities to experience the 'modern Middle Age.’ This session is organized by Susan Aronstein and Tison Pugh. We hope to see you there!</span></span></div>
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<span class=""><span class="" style="font-family: Times New Roman; font-size: medium;"><br class="" />Please follow the Medieval Institute’s <a class="" href="http://www.wmich.edu/medieval/congress/policies.html" target="_blank"><span class="" style="color: #021eaa;">rules governing participation</span></a> and <a class="" href="http://www.wmich.edu/medieval/congress/submissions/index.html" target="_blank"><span class="" style="color: #021eaa;">submission of abstracts</span></a>. Abstracts of no more than 300 words together with the <a class="" href="http://www.wmich.edu/medieval/congress/submissions/index.html#PIF" target="_blank"><span class="" style="color: #021eaa;">Participant Information Form</span></a> should be sent before <b class="">September 15, 2016</b> to Amy S. Kaufman at <a class="" href="mailto:amy.kaufman@mtsu.edu" target="_blank"><span class="" style="color: #021eaa;">amy.kaufman@mtsu.edu</span></a>. </span></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-62594791231486202242016-05-31T09:12:00.000-04:002016-05-31T09:12:02.606-04:00Johnson reviews: The Middle Ages Unlocked<div class="separator" style="clear: both; text-align: center;">
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Please find Valerie Johnson's recent review of Gillian Polack and Katrin Kania, <i><a href="http://medievallyspeaking.blogspot.com/2016/05/polack-and-kania-middle-ages-unlocked.html">The Middle Ages Unlocked: A Guide to Life in Medieval England, 1050-1300</a></i>. Forword by Elizabeth Chadwick. Stroud, UK: Amberley Publishing, 2015, for <i><a href="http://medievallyspeaking.blogspot.com/" title="http://medievallyspeaking.blogspot.com
Cmd+Click or tap to follow the link">Medievally Speaking</a></i>. Kara McShane curated this review for us.</div>
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Please also note Spencer Kornhaber's recent article, "The Ethics of Hodor," <i><a href="http://www.theatlantic.com/entertainment/archive/2016/05/the-ethics-of-hodor/484643/">The Atlantic</a></i>, 27 May, 2016, which features a long interview section with our own <a href="http://www.washjeff.edu/lauren-mayer" title="http://www.washjeff.edu/lauren-mayer
Cmd+Click or tap to follow the link">Lauryn Mayer</a>.</div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-86870751337729214522016-04-13T14:18:00.001-04:002016-04-13T15:55:52.881-04:00ISSM Statement on Anti-Discrimination <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">In light of the Mississippi, North Carolina, and
Indiana legislatures' recent anti-LGBTQ laws and initiatives, the
leadership of the International Society for the Study of Medievalism hereby publicly
rejects these laws and initiatives, which allow physicians and
other medical professionals to deny services to LGBTQ persons, encourage
employers and school officials to prevent transgender people from using the
restroom with which they identify, and privilege the belief that “sexual
relations are properly reserved” to a marriage between a man and a woman.<o:p></o:p></span></div>
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<span style="font-family: inherit;">As an international society of scholars we prize
inclusiveness, diversity, and difference, and we actively oppose discrimination
based on race, gender, religion, sexual orientation or gender identity. We
are resolved not to bring our annual conference or other events to these states
as long as these forms of discrimination exist. We will also actively support
scholars in these states who, through no fault of their own, are now subject to
discriminatory laws.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit; font-weight: normal;">Richard Utz, President</span><br />
<span style="font-family: inherit; font-weight: normal;">Karl Fugelso, Vice President</span><br />
<span style="font-family: inherit; font-weight: normal;">Amy Kaufman, Director of Conferences</span><br />
<span style="font-family: inherit; font-weight: normal;">E.L. Risden, Co-editor, Year's Work in Medievalism</span><br />
<span style="font-family: inherit; font-weight: normal;">Carol Robinson, WebMaster</span><br />
<span style="font-family: inherit; font-weight: normal;"><br /></span>
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<span style="font-family: inherit; font-weight: normal;"><br /></span>ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-33625624650831819442016-04-10T09:57:00.001-04:002016-04-10T09:57:14.301-04:00Year's Work in Medievalism publishes Poetic Play
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<span style="font-family: 'Garamond'; font-size: 12.000000pt;"><i><a href="https://sites.google.com/site/theyearsworkinmedievalism/home" target="_blank">The Year's Work in Medievalism</a></i> has a tradition of publishing 'creative' works in addition to criticism and commentary, just like <i><a href="http://medievallyspeaking.blogspot.com/" target="_blank">Medievally Speaking</a></i> regularly reviews performances, TV commercials, and medievalist games in addition to scholarly tomes. For its 2015 issue, <i>YWiM</i> includes John Houghton’s elegant “The Lay of Baldor,”
a poetic play with elements of Old Norse and Old English and more than a hint of Tolkienian
influence. You can <b><a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" target="_blank">READ THE LAY of BALDOR HERE</a></b>.</span>ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-14547569098246034422016-04-09T18:35:00.003-04:002016-04-09T18:35:56.273-04:00Michael Evans on Pre-Columbian America and Medievalism
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFI_ueM7xbDDJ2kK2OrZAQfeZJkk5VHD_YkrAXkNYQU5a0upubmwbKtaR1ouuGlSsrNXS9OKRNNbgl51ITq2Hn5_XArnsSZT9VGssD7GMWN-mgpW8GjwbMJbMI8i08uQNtFJl0eFE_E8/s1600/black_drink_ceremony-Timucuans-by-Jacque-le-Moyne-de-Margues.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwFI_ueM7xbDDJ2kK2OrZAQfeZJkk5VHD_YkrAXkNYQU5a0upubmwbKtaR1ouuGlSsrNXS9OKRNNbgl51ITq2Hn5_XArnsSZT9VGssD7GMWN-mgpW8GjwbMJbMI8i08uQNtFJl0eFE_E8/s200/black_drink_ceremony-Timucuans-by-Jacque-le-Moyne-de-Margues.jpg" width="200" /></a></div>
<span style="font-size: 11pt; font-weight: 700;"><span style="font-family: inherit;">Is pre-Columbian America Medieval?: Indigenous Absence in American Medievalisms
</span></span><br />
<span style="font-size: 11pt; font-weight: 700;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: 11pt;"><span style="font-family: inherit;">Michael R. Evans, Delta College
</span></span><br />
<span style="font-size: 11pt;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: 11pt;"><span style="font-family: inherit;">There is a population, cruelly displaced by modern society, often subject to misunderstanding and
stereotyping, and admired for its warrior culture, whose members are frequently employed as sporting
mascots. I refer, of course, to medieval white people. Examples of medievalist sports mascots include
Minnesota Vikings, Valparaiso Crusaders, and St Norbert Green Knights. Such mascots reflect America’s
enduring fascination with the European Middle Ages, but this fascination also implies the absence of an
indigenous American medieval past. There are many reasons to object to the use of Native American
mascots; one is that, placed alongside Lions, Tigers, and Bears, etc., they represent Native Americans as wild
bands of ferocious beasts. When they are compared to Vikings, Knights and Crusaders, another objection
presents itself—Native Americans are linked with peoples who no longer exist.
</span></span><br />
<span style="font-size: 11pt;"><span style="font-family: inherit;">I will consider three ways in which pre-Columbian indigenous America cultures have been excluded from the
medieval: the exclusion of Native societies from medieval history; the invention of a Medieval European
presence in pre-Columbian America; and the absence of Native identities in medieval reenactment. <a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" target="_blank">READ THE FULL ESSAY HERE</a></span></span><br />
</div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-19186458278024194362016-04-08T21:30:00.001-04:002016-04-08T21:30:28.432-04:00Johnson on Medievalism in Sons of Anarchy
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<span style="font-family: Garamond; font-weight: 700;">Biker Knights: Identity and Posthuman Medievalism in </span><span style="font-family: Garamond; font-style: italic;">Sons of Anarchy </span><br />
<span style="font-family: Garamond; font-style: italic;"><br /></span>
<span style="font-family: Garamond;">Valerie B. Johnson, Georgia Institute of Technology
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<span style="font-family: Garamond;"><br /></span>
<span style="font-family: Garamond;">The medievalism of the FX television series </span><span style="font-family: Garamond; font-style: italic;">Sons of Anarchy </span><span style="font-family: Garamond;">(2008-2014) is not inherently obvious. Set in Northern
California, the series follows a fictional outlaw motorcycle club (MC) modeled on real gangs including the Hells
Angels. Critics, fans, and creators alike discuss the series as an extended adaptation of </span><span style="font-family: Garamond; font-style: italic;">Hamlet, </span><span style="font-family: Garamond;">and the broad
narrative of the series is indeed a family tragedy. However, </span><span style="font-family: Garamond; font-style: italic;">Sons of Anarchy </span><span style="font-family: Garamond;">establishes deeper connections to the past
by delineating clear connections to medieval chivalry and knighthood through the relationships the biker cultivates,
as the knight did, with key technologies and objects that create and visually mark him as a member of this
ideologically-driven and far-flung brotherhood.1 This essay will argue that posthumanism offers an opportunity to
connect </span><span style="font-family: Garamond; font-style: italic;">Sons of Anarchy </span><span style="font-family: Garamond;">to medievalism through the exception-oriented ideology and practice of medieval chivalry.
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<span style="font-family: Garamond;"><br /></span>
<span style="font-family: Garamond;">A benefit of this connection for audiences is one of intellectually-justified enjoyment of stories which occur in the
liminal zones characterized by a cultural state of exception. The bikers often speak of the spiritual experience of
arming themselves, mounting their steeds, and seeking out whatever fate will bring them on the open road in the
spaces between towns…. <a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" target="_blank">READ THE WHOLE ESSAY HERE</a></span><br />
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ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-32278220205909503632016-04-07T14:00:00.001-04:002016-04-07T14:00:27.987-04:00Telotte on Disney's Medieval Vision<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlgkh81RvbEi012bL70_yJT4pCrig419z6cyUENLh6-MqpVREN6viCaVCYk5VMJIePqQ8vzP5BZ_W7CDuQ5amAQEJ87XAdhhJAlQJfq20KV4Au9bvdOoX0KIkaG5nCaRCvhJK2nyoCXTo/s1600/images.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlgkh81RvbEi012bL70_yJT4pCrig419z6cyUENLh6-MqpVREN6viCaVCYk5VMJIePqQ8vzP5BZ_W7CDuQ5amAQEJ87XAdhhJAlQJfq20KV4Au9bvdOoX0KIkaG5nCaRCvhJK2nyoCXTo/s320/images.jpeg" width="320" /></a></div>
<b>Flatness and Depth: Classic Disney’s Medieval Vision</b><br />
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J. P. Telotte, Georgia Institute of Technology<br />
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The architecture of film has acted, from the beginning of this [twentieth] century, as a laboratory . . .<br />
for the exploration of the built world. Since a castle is its corporate logo, we should hardly be surprised that castles, as well as other elements of medieval architecture, figure prominently in a host of classic-era Disney films. While there are very many examples to which we might point, these elements show up in numerous cartoons, such as the Oswald the Lucky Rabbit’s Oh, What a Knight (1928) and Mickey Mouse’s Ye Olden Days (1933), Giant Land (1933), and Brave Little Tailor (1938); they become emblematic of goals and values in such animated features as Snow White and the Seven Dwarfs (1937), Sleeping Beauty (1959), and The Sword in the Stone (1963); and they form the historical and cultural backdrop for various live-action adventures, such as The Story of Robin Hood and His Merrie Men (1952) and The Sword and the Rose (1953). Walt Disney himself is partly responsible for this prominence, since, as various commentators have noted, he much valued European art and culture, favored classic European fairy tales and legends as source materials, and required his animators to familiarize themselves with European art traditions. But the castle’s role as spatial representation, and as part of a larger spatial aesthetic at work in Disney’s animated films, has been overshadowed by a critical tendency to view the company’s various efforts, and indeed the Disney brand, mainly in a cultural light, often leading to assessments of his works as modern plunderings or abasements of older and highly valued forms. Yet that confrontation of the old and new, particularly the new art of animation with medieval imagery like the castle, can tell us much about the trajectory of Disney animation that largely escapes those culture-centric commentaries. <a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" target="_blank"><b>READ THE FULL ESSAY HERE</b></a>ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-57737661764553787832016-04-07T09:07:00.002-04:002016-04-07T09:07:57.283-04:00Pavlinich on Chaucer and Disney in YWiM<div class="separator" style="clear: both; text-align: center;">
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<b>The Chaucerian Debate of A u c t o r i t e versus Experience in Disney’s Sleeping Beauty and Maleficent</b></div>
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Elan Pavlinich, University of South Florida</div>
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Disney claims auctorite—a Middle English term denoting textual authority—over Maleficent, for the purpose of supplanting its predecessor, Sleeping Beauty. The various modes of auctorite that are represented in Maleficent invite analysis of the sources that Disney claims in the composition of Sleeping Beauty and Maleficent. Sleepin<span class="text_exposed_show" style="display: inline;">g Beauty claims a medieval source text, whereas Maleficent claims personal experience. By relying on such conflicting epistemologies, Maleficent puts pressure on the validity of textual auctorite, resonating with the medieval epistemic debate that emerges from heuristic practices that emerge in the twelfth century as a result of scholasticism, and later implicated in the poetry of Geoffrey Chaucer. The narrator of Legend of Good Women and the Wife of Bath counter traditional textual auctorite with an auctorite of experience that resonates with a postmodern feminist epistemology of experience. Locating Disney’s Sleeping-Beauty narratives, referring to both Sleeping Beauty and Maleficent, within the Chaucerian debate of auctorite versus experience, emphasizes the gender binary that facilitates the epistemological dichotomy, while privileging the experiences of marginalized people against male-dominated, textual traditions. Participating in this debate, Maleficent relies on an epistemology of experience to validate women’s narratives, similar to the Wife of Bath. READ THE FULL ESSAY HERE: <a href="https://l.facebook.com/?u=https%3A%2F%2Fsites.google.com%2Fsite%2Ftheyearsworkinmedievalism%2Fall-issues%2F30-2015-1&e=ATMDQn02-rAVLrBBOldCejR4NFu_B9jQwLZw9nZF_omR6BaPk782Zi16KOuLEQ" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://sites.google.com/…/theyearswor…/all-issues/30-2015-1</a></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-38952095140981732982016-04-05T22:08:00.001-04:002016-04-05T22:08:19.803-04:00Leah Haught on Outlander<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMS5LkqWfSRxNS4Pw7Ei8FChiSfa0THPHn__Bn8_X5Z263oG8p2YZflvR4HcymX9tRK8g_oq3lT6jkuAvU89Vvcv8aHDvncte_ypbye4z2b-D6LHQ-jw-7HGZGaUQclB6zmzOxOD9sV08/s1600/p10426921_b_v8_ab.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMS5LkqWfSRxNS4Pw7Ei8FChiSfa0THPHn__Bn8_X5Z263oG8p2YZflvR4HcymX9tRK8g_oq3lT6jkuAvU89Vvcv8aHDvncte_ypbye4z2b-D6LHQ-jw-7HGZGaUQclB6zmzOxOD9sV08/s320/p10426921_b_v8_ab.jpg" width="213" /></a></div>
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<b>“What if your future was the past?”: Temporality, Gender, and the “Isms” of <i>Outlander</i></b></div>
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Leah Haught, University of West Georgia</div>
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In August of 2014, Starz launched the first half of a sixteen episode series, Outlander, based on Diana Gabaldon’s hugely popular book of the same name. In it, we follow the adventures of Claire Randall Fraser, a World WarTwo combat nurse, as she time travels to 1743 Scotland, where she encounters bands of sword wielding Highlanders, sadomasochistic r<span class="text_exposed_show" style="display: inline;">ed coats, rugged landscapes, political intrigue, rampant disease, and an appalling—at least from her perspective—lack of concern for the opinions of women. Even before its official debut, the epic scope and historical-fantasy components of the show garnered comparisons to Game of Thrones, with the woman-centric narrative leading early reviewers to dub Outlander a “feminist answer to Game of Thrones” or “the Anti-Game of Thrones.” Obvious differences in setting and cast makeup aside, the two shows do have many superficial commonalities: both feature violence with archaic weaponry; acerbic, unshowered leads with varying degrees of British accents; awesome if under-explained supernatural phenomena; and lots of nudity and sex, including a disturbing amount of the non-consensual nature. As these comparisons suggest, although not a series engaged with medievalism in the strictest definition of the word, Outlander invites viewers to consume it as a medievalism through a complex juxtaposition of “modern” and “pre-modern” temporal perspectives. READ THE FULL ESSAY HERE: <a href="https://l.facebook.com/?u=https%3A%2F%2Fsites.google.com%2Fsite%2Ftheyearsworkinmedievalism%2Fall-issues%2F30-2015-1&e=ATOvGcWtWciJlR4SmNBFnsu-DVB5pTNc_kzG6BzTauf755JE0oWcqAZWYz1-Hw" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://sites.google.com/…/theyearswor…/all-issues/30-2015-1</a></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-88971952526478425822016-04-05T22:05:00.001-04:002016-04-05T22:05:38.797-04:00Ann F. Howey on BBC's Merlin <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegCF9RmAfl7nmUeyIjdSiTyHzUscCGz88k9GLAeThHWrDVBcslxoRUwl6p-guhB3TDM5GV946nAHfIUxQZ9tzz9DQyV55Djib5qi1MxBTbwFZ1N_fT6NV1maMc1EOchN3q5ZxcKDKaEY/s1600/p186398_b_v8_aa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegCF9RmAfl7nmUeyIjdSiTyHzUscCGz88k9GLAeThHWrDVBcslxoRUwl6p-guhB3TDM5GV946nAHfIUxQZ9tzz9DQyV55Djib5qi1MxBTbwFZ1N_fT6NV1maMc1EOchN3q5ZxcKDKaEY/s320/p186398_b_v8_aa.jpg" width="213" /></a></div>
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<span style="font-family: inherit;"><b>Father Doesn’t Know Best: Uther and Arthur in BBC’s <i>Merlin</i></b></span></div>
<div style="background-color: white; color: #141823; line-height: 19px; margin-bottom: 6px; margin-top: 6px;">
<span style="font-family: inherit;">Ann F. Howey, Brock University</span></div>
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<span style="font-family: inherit;">BBC’s Merlin (2008-2012) makes significant alterations to the Arthurian tradition in adapting the legend as a twenty-first-century television series. Scholars (and fans) typically draw attention to its “fantasy aesthetic” and refusal of historical realism; its playfulness with components of the legend and “masterful manipulation of viewers’ expectations”; its attempts to revise the legen<span class="text_exposed_show" style="display: inline;">d to be “more in line with contemporary values and gender parity,” as well as “with contemporary Britain’s difficult attempts to come to terms with its own diversity”; and, above all, the age of its major characters/actors: Merlin (Colin Morgan), Arthur (Bradley James), Morgana (Katie McGrath), and Gwen (Angel Coulby). The relative youthfulness of these characters allows the series to follow the maturation of traditional Arthurian heroes and villains, and it chooses to do so by exploring parent-child relationships; as Erin Chandler demonstrates, “the centrality of the parent-child relationship” is affirmed in the series’ treatment of medieval sources, and she concludes, “It is not the court which is at the heart of Merlin—it is the family” (108). What is striking about this emphasis, however,…<br />READ THE FULL ESSAY HERE: <a href="https://l.facebook.com/?u=https%3A%2F%2Fsites.google.com%2Fsite%2Ftheyearsworkinmedievalism%2Fall-issues%2F30-2015-1&e=ATPCd32leBdDKIgPyCXDWfjE7L1zpYDYo4Fk_vO60iR67tHi1bcflUUPm8VbpQ" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://sites.google.com/…/theyearswor…/all-issues/30-2015-1</a></span></span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-55363227995852277982016-04-03T16:27:00.001-04:002016-04-03T16:28:41.055-04:00Volume 30, 2015, of The Year's Work in Medievalism, Published<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYfTU-U0vTlS0dKwqXSyp1R1x_h8rh7ICCI_VTega7_KrAqEi_LZh1swNsj8ys_GaJAXjflm_u_Aal0F5lE52iXOpODFamkYKee-b-9DU3KZWNdEG5T1H-Lp7OP6DAyeGws98cVkc__qs/s1600/homeHeaderTitleImage_en_US.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYfTU-U0vTlS0dKwqXSyp1R1x_h8rh7ICCI_VTega7_KrAqEi_LZh1swNsj8ys_GaJAXjflm_u_Aal0F5lE52iXOpODFamkYKee-b-9DU3KZWNdEG5T1H-Lp7OP6DAyeGws98cVkc__qs/s1600/homeHeaderTitleImage_en_US.jpg" /></a></div>
<span style="background-color: white; font-family: inherit;"><span style="line-height: 19px;">I am happy to announce the publication of volume 30 (2015) of <a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" style="font-style: italic; font-weight: bold; text-decoration: none;">The Year's Work in Medievalism</a>, E.L. Risden and Richard Utz, eds., Shiloh Carroll and Reneé Ward, associate eds. </span><span style="background-color: black; color: white;">Here is the</span><span style="background-color: black; color: white;"> </span><strong style="background-color: black; color: white;">Table of Contents</strong><span style="background-color: black; color: white;">:</span></span><br />
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="font-weight: normal;"><span style="background-color: white; font-family: inherit;">E.L. Risden: Introduction</span></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="background-color: white; font-family: inherit;"><span style="font-weight: normal;">Ann F. Howey: Father Doesn’t Know Best: Uther and Arthur in BBC’s </span><i style="font-weight: normal;">Merlin</i></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="background-color: white; font-family: inherit;"><span style="font-weight: normal;">Leah Haught: “What if your future was the past?”: Temporality, Gender, and the “Isms” of </span><i style="font-weight: normal;">Outlander</i><span style="font-weight: normal;"> </span></span></li>
</ul>
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<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="background-color: white; font-family: inherit;"><span style="font-weight: normal;">Elan Pavlinich: The Chaucerian Debate of </span><em style="font-weight: normal;">Auctorite</em><span style="font-weight: normal;"> versus Experience in Disney’s </span><i style="font-weight: normal;">Sleeping Beauty</i><span style="font-weight: normal;"> and </span><i style="font-weight: normal;">Maleficent</i><span style="font-weight: normal;"> </span></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="font-weight: normal;"><span style="background-color: white; font-family: inherit;">J.P. Telotte: Flatness and Depth: Classic Disney’s Medieval Vision </span></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="background-color: white; font-family: inherit;"><span style="font-weight: normal;">Valerie Johnson: Identity and Posthuman Medievalism in </span><i style="font-weight: normal;">Sons of Anarchy</i><span style="font-weight: normal;"> </span></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="font-weight: normal;"><span style="background-color: white; font-family: inherit;">Michael Evans: Is pre-Columbian America Medieval?: Indigenous Absence in American Medievalisms </span></span></li>
</ul>
<ul class="" dir="" style="line-height: 1.4; list-style-image: initial; list-style-position: initial; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="border: none; margin: 0px 0px 0.25em; padding: 0.25em 0px;"><span style="background-color: white; font-family: inherit;"><span style="font-weight: normal;">John Wm. Houghton: “The Lay of Baldor: a Play for Voices”</span> </span></li>
</ul>
<span style="background-color: white; font-family: inherit;">Happy reading, and onward and forward with <a href="https://sites.google.com/site/theyearsworkinmedievalism/all-issues/30-2015-1" style="text-decoration: none;"><strong><em>The Year's Work in Medievalism</em></strong></a>.</span><br />
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ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-75245610613205689582016-02-22T14:43:00.002-05:002016-02-22T14:43:43.045-05:00Medievally Speaking reviews: Winter is Coming (Larrington) & Arthurian Animation (Salda)<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 12pt;"><span style="font-family: inherit;"><span style="color: #212121;">Stephen Basdeo reviewed </span><span style="color: #212121;">Carolyne Larrington’s </span><i style="color: #212121;"><a href="http://medievallyspeaking.blogspot.com/2016/02/larrington-winter-is-coming.html" target="_blank"><span style="font-size: 12pt;">Winter is Coming</span></a>: </i><span style="color: #212121;"><em>The Medieval World of Game of Thrones.</em> London: I. B. Tauris, 2016. The review was curated by Michael Evans.</span></span></span></div>
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<span style="color: #212121; font-family: inherit; font-size: 12pt;">Christoper Berard reviewed Michael N. Salda's, <em><a href="http://medievallyspeaking.blogspot.com/2016/02/salda-arthurian-animation.html" target="_blank"><span style="font-size: 12pt;">Arthurian Animation</span></a>: A Study of Cartoon Camelots on Film and Television</em>. Jefferson, N.C. and London: McFarland & Company, 2013. The review was curated by Kara McShane.</span></div>
ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0tag:blogger.com,1999:blog-873385641573126155.post-45141670958943046912016-01-18T20:25:00.005-05:002016-01-18T20:25:46.617-05:00Helen Nicholson reviews: Buc, Holy War, Martyrdom and Terror, in Medievally Speaking<span lang="EN-GB" style="font-size: 12pt;"><span style="background-color: white;"><div class="separator" style="clear: both; font-family: inherit; text-align: center;">
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<span lang="EN-GB" style="font-size: 12pt;"><span style="font-family: inherit;">Helen J. Nicholson just reviewed Philippe Buc, <i>Holy War, Martyrdom and Terror: Christianity, Violence and the West</i>. Philadelphia: University of Pennsylvania Press, 2015.</span></span></div>
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<span lang="EN-GB" style="background-color: white; font-size: 12pt;"><span style="font-family: inherit;"><i>This wide-ranging study sets out to establish Christianity’s role in creating violence, covering the whole history of the Christian Church from the first century to the twenty-first. Described by its author as ‘a typical laboratory experiment’ (p. 288), the book examines the writings of Christians and those living in cultures derived from Christianity to establish how they have justified and condemned violence and those who exercise it. It argues that ‘a certain way of war is peculiar to the West’ (p. 45) and that this derives from Christian ideals. Unlike many studies that claim to trace the development of a concept from the ancient world to the present day, it gives due weight to the medieval period.</i></span></span></div>
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<span style="font-size: small;"><i>As a medieval historian and a scholar of the crusades, Philippe Buc is well equipped to carry out this investigation. He discusses the ideology of the First Crusade, Joan of Arc and the Hussites. He shows how descriptions, condemnations and justifications of violence written by Christians during the French Wars of Religion and in early modern America, and by activists during the French Revolution, by the Baader-Meinhof Gang in modern Germany and by modern US presidents reflect and continue the views recorded in earlier centuries. He points out, however,</i></span>…<span style="font-size: small;"> <a href="http://medievallyspeaking.blogspot.com/2016/01/buc-holy-war-martyrdom-and-terror.html" target="_blank">READ THE ENTIRE REVIEW HERE</a></span></div>
</span></span>ricutzhttp://www.blogger.com/profile/04036718486052399765noreply@blogger.com0