Examining depictions of Africans in medieval and contemporary Arthurian literature, television and film.
Lincolnshire and the Arthurian Legend
Chaucer’s Arthuriana

The majority of medieval scholars, including Roger Sherman Loomis, argue that the popularity of the Arthurian legend in England was therefore on the wane in the latter half of the fourteenth century; as a result, the major writers of the period, such as John Gower and Geoffrey Chaucer, refrained from penning anything beyond the occasional reference to King Arthur and his court.
Oh, for Shame: Public Perception and Punishment in Chretien’s Cliges
The British Kingdom of Lindsey

The first piece of evidence which offers support for the above contention comes from the kingdom-name ‘Lindsey’ itself. Two forms of this name exist in Anglo-Saxon sources, reflecting two different Old English suffixes:6 Lindissi (later Lindesse, as used by Bede and the earliest manuscripts of the Anglo-Saxon Chronicle)7 and Lindesig…
A Perfect Reign of Queen and King?: An Analysis of King Arthur and Queen Guinevere in their Leadership Roles
Breuddwyd Rhonabwy: A historical narrative?
Missionaries and Crusaders in Thomas Malory’s Morte d’Arthur
Madness in Medieval Arthurian Literature
“La Belle Dame Sans Merci?”: Gawain’s Knightly Identity and the Role of Women in Sir Gawain and the Green Knight
The Myth of Merlin and the Men Behind the Legend
The Arthur of the chronicles
Treason and Betrayal in the Middle English Romances of Sir Gawain
Monstrous transformations: loyalty and community in four medieval poems
Lofty Depths and Tragic Brilliance: The Interweaving of Celtic and Anglo-Saxon Mythology and Literature in the Arthurian Legends
Reflection of the Wars of the Roses in Thomas Malory`s Le Morte D`Arthur: Literary-cultural analysis
Many Motives: Geoffrey of Monmouth and the Reasons For His Falsification of History
“Thus he rode sorowyng”: Travel Narratives and the Ethics of Sexual Behavior in Le Morte d’Arthur

The Arthurian oeuvre traditionally maintains a plot structure that requires knights to depart from the Round Table, either as a response to a challenge or in quest of chivalric “aventure,” followed by a return to Camelot. Within this narrative framework, there exists an intricately designed logic to descriptions of movement and travel. In particular, sex and travel appear inseparable.
































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