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Journal articles on the topic 'Arthurian romances – History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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1

Vujin, Bojana. "“A MAGIC WEB WITH COLOURS GAY”: A QUEER READING OF ALFRED TENNYSON’S AND ELIZABETH BISHOP’S SHALOTT POEMS." Годишњак Филозофског факултета у Новом Саду 47, no. 1 (2022): 85–97. http://dx.doi.org/10.19090/gff.2022.1.85-97.

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Mediaeval romances in general, and Arthuriana in particular, have canonically been read as stories of chivalry that depict knights and ladies as the era’s epitome of masculinity and femininity. Queer readings, however, question these assumptions and expose such canonical analyses as heteronormative, gender-binaristic and heterocentric. Queer medievalism subverts the norm, showing how certain thematic and formal elements of mediaeval romances destabilize the heteronormativity of the Arthurian world. Later adaptations of Arthurian legends continue this tendency, revealing the historical construc
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2

Baum, Ilil. "Jofre (Jaufre): the circulation of Arthurian romances among late medieval Catalan Jews." Journal of Medieval Iberian Studies 11, no. 2 (2019): 222–49. http://dx.doi.org/10.1080/17546559.2019.1597275.

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3

James, T. B. "Review: The Arthurian Romances of Chrétien de Troyes. Once and Future Fictions." Literature & History 1, no. 2 (1992): 104–5. http://dx.doi.org/10.1177/030619739200100214.

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4

MORRIS, R. "Aspects of Time and Place in the French Arthurian Verse Romances." French Studies 42, no. 3 (1988): 257–77. http://dx.doi.org/10.1093/fs/42.3.257.

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5

MORRIS, ROSEMARY. "ASPECTS OF TIME AND PLACE IN THE FRENCH ARTHURIAN VERSE ROMANCES." French Studies XLII, no. 3 (1988): 257–77. http://dx.doi.org/10.1093/fs/xlii.3.257.

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6

Crane, Susan. "Ten Middle English Arthurian Romances: A Reference Guide. Jean E. Jost." Speculum 63, no. 3 (1988): 689–90. http://dx.doi.org/10.2307/2852676.

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7

Kushelevsky, Rella. "Jews Reading Arthurian Romances from the Middle Ages: On the Reception of Chrétien de Troyes'sYvain, the Knight of the Lion, based on Manuscript JTS Rab. 1164." AJS Review 42, no. 2 (2018): 381–401. http://dx.doi.org/10.1017/s0364009418000454.

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Evidence of Jewish readerships for French literature in the Middle Ages, particularly romances, has been accumulating. This article focuses on a recently discovered tale from Italy, copied in Hebrew in MS JTS Rab. 1164, as a prism through which to explore the cultural interactions between Jewish and Christian society in Italy of the early Renaissance. I first analyze the Jewish tale, which I posit has an affinity with the Arthurian romanceYvain, The Knight of the Lionby Chrétien de Troyes, and expound on the thematic and poetic links between the two stories. I then examineYvain’s reception in
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8

Robinson, Cynthia. "Arthur in the Alhambra? Narrative and Nasrid Courtly Self-Fashioning in The Hall Of Justice Ceiling Paintings." Medieval Encounters 14, no. 2-3 (2008): 164–98. http://dx.doi.org/10.1163/157006708x366245.

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AbstractThis essay reconsiders the "Arthurian" identification of a number of the scenes that compose the ornamental program of the painted ceilings above the northern and southern alcobas of the Alhambra's Hall of Justice, proposing a reading that privileges Castilian versions of well-known courtly romances over French ones. The scenes are read as representations of the stories of Flores y Blancaflor, as well as Tristán de Leonís. Both tales, however, have been further altered and adapted in order to privilege the ideological concerns of the Nasrid court, both as an Islamic political entity wi
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9

BURGESS, G. S. "Review. Arthurian Romances. Translated, with an introduction and notes, by D. D. R. Owen. Chretien de Troyes." French Studies 42, no. 4 (1988): 458. http://dx.doi.org/10.1093/fs/42.4.458-a.

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10

Lausten, Pia Schwartz. "Da Roland blev italiener – og forelsket." K&K - Kultur og Klasse 35, no. 103 (2007): 38–67. http://dx.doi.org/10.7146/kok.v35i103.22297.

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Italiensk ridderdigtning mellem epos og roman: M.M.Boiardos Orlando innamorato (1495) When Roland became an Italian – and fell in loveThough marking the invention of the chivalric epic, so famously mocked by Cervantes, Boiardo’s poem Orlando Innamorato (1494) has been overshadowed by the later, more famous works of Ariosto and Tasso, and the very genre of chivalric epic tends often to be forgotten. This article describes the cultural and historical conditions for the rise of the genre in the 15th century at the Este-court of Ferrara where an elitist humanist culture paradoxically enough coexis
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11

Silva, Karoline Dos Santos. "Infância, gênero, raça e classe nos romances caribenhos Vasto mar de sargaços e La mulâtresse Solitude / Childhood, Gender, Race and Class in the Caribbean Novels Vasto mar de sargaços and La mulâtresse Solitude." Caligrama: Revista de Estudos Românicos 25, no. 3 (2020): 101. http://dx.doi.org/10.17851/2238-3824.25.3.101-120.

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Resumo: O presente artigo tem como objetivo propor uma análise comparativa entre as personagens principais dos romances La mulâtresse Solitude, de André Schwarz-Bart, e Vasto mar de sargaços, de Jean Rhys. O recorte privilegiado neste artigo será o período da infância das duas personagens principais, levando em consideração as temáticas de gênero, raça e classe com a finalidade de comparar o cotidiano e dificuldades de uma criança negra e escravizada com o de uma criança livre e branca. Nossa análise será desenvolvida utilizando referenciais críticos e teóricos dos campos de estudos culturais,
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12

Koposov, Nikolay E. "Retropolitics, Or: Historical Memory, Democracy and Populism." Koinon 1, no. 1-2 (2020): 144–63. http://dx.doi.org/10.15826/koinon.2020.01.1.2.007.

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The article examines the genesis and evolution of the phenomenon of historical memory in the context of transformations of political ideologies. The starting point of the analysis was the phenomenon of memory wars in the modern world. The author traces origins and stages of historical memory development in line with the requirements of the democratic political culture in the West. The epoch of memory replaced the age of historically-oriented ideologies (“big narratives”) that started in the Enlightenment. The era of historical memory followed the epoch of future-oriented ideologies, and the pr
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13

Grusza, Sylwia. "Lektury bohaterek Jane Austen – utopijna edukacja sentymentalna czy ucieczka przed odpowiedzialnością?" Przegląd Humanistyczny 63, no. 2 (465) (2019): 33–45. http://dx.doi.org/10.5604/01.3001.0013.5506.

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The article is to describe an interesting phenomenon of the duplication of the literary patterns of behaviour among female protagonists created by Jane Austen. The subject of the paper is the analysis of the set books of the heroines invented by the British author in the both social and cultural context. Jane Austen’s novels can be regarded as the treasury of knowledge on the existence of the young girls at that time. The omnipresent conventions took away their right to dreams and self-fulfilment in almost every sphere of life. Lots of them found the coveted hope of improving their lives on th
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14

CROWNSHAW, RICHARD. "Deterritorializing the “Homeland” in American Studies and American Fiction after 9/11." Journal of American Studies 45, no. 4 (2011): 757–76. http://dx.doi.org/10.1017/s0021875811000946.

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Literary criticism has debated the usefulness of the trauma paradigm found in much post-9/11 fiction. Where critiqued, trauma is sometimes understood as a domesticating concept by which the events of 9/11 are incorporated into sentimental, familial dramas and romances with no purchase on the international significance of the terrorist attacks and the US's response to them; or, the concept of trauma is understood critically as the means by which the boundaries of a nation or “homeland” self-perceived as violated and victimized may be shored up, rendered impermeable – if that were possible. A co
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15

Manuwald, Henrike. "Fictionality and Pleasure. Traces of a Practice of Fictionality in Medieval German Short Verse Narratives?" Journal of Literary Theory 14, no. 2 (2020): 215–40. http://dx.doi.org/10.1515/jlt-2020-2005.

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AbstractDespite an intense debate over the past decades the question of whether the concept of fictionality can be regarded as universal or whether it needs to be historicised is still unresolved. The same question applies to the practice (or practices?) of fictionality, which come into focus once an institutional theory of fictionality is applied. In addition to the problem that literary practices can only be reconstructed incompletely for past epochs, it is methodically difficult to determine which practices should be identified, given that the practice of fictionality might have changed ove
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16

Sangenis, Anabelle Loivos Considera Conde, and Luiz Fernando Conde Sangenis. "“QUAIS MAÇÃS DE FACES ROSADAS”: FREI PEDRO SINZIG E EDUCAÇÃO CENSÓRIA NA FORMAÇÃO DO PÚBLICO LEITOR BRASILEIRO." RevistAleph, no. 20 (December 1, 2013). http://dx.doi.org/10.22409/revistaleph.v0i20.24932.

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Resumo“Através dos romances: guia para as consciências”, de Frei Pedro Sinzig, é uma rara peça de crítica literária, enviesada pelo olhar canônico do censor franciscano que supõe compor um “manual do bom leitor”. O curioso Index, com 21.553 verbetes que comentam a obra de 6.657 autores das mais díspares procedências, recomendava leituras sadias para o público leitor, além de apresentar os livros rejeitados, na tentativa de estabelecer uma mediação “controlada” da leitura (ou da não-leitura). Além disso, enseja reflexão sobre os processos de formação de leitores (dentro e fora da escola) no iní
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17

Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash
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18

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix
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19

Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno
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20

Jones, Timothy. "The Black Mass as Play: Dennis Wheatley's The Devil Rides Out." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.849.

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Literature—at least serious literature—is something that we work at. This is especially true within the academy. Literature departments are places where workers labour over texts carefully extracting and sharing meanings, for which they receive monetary reward. Specialised languages are developed to describe professional concerns. Over the last thirty years, the productions of mass culture, once regarded as too slight to warrant laborious explication, have been admitted to the academic workroom. Gothic studies—the specialist area that treats fearful and horrifying texts —has embraced the growi
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21

Hutcheon, Linda. "In Defence of Literary Adaptation as Cultural Production." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2620.

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 Biology teaches us that organisms adapt—or don’t; sociology claims that people adapt—or don’t. We know that ideas can adapt; sometimes even institutions can adapt. Or not. Various papers in this issue attest in exciting ways to precisely such adaptations and maladaptations. (See, for example, the articles in this issue by Lelia Green, Leesa Bonniface, and Tami McMahon, by Lexey A. Bartlett, and by Debra Ferreday.) Adaptation is a part of nature and culture, but it’s the latter alone that interests me here. (However, see the article by Hutcheon and Bortolotti for a discussi
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