Danièle Cybulskie, the 5MinMedievalist, shares her five favourite Middle English romances – what are yours?
As far as medieval movies go, Tristan and Isolde definitely isn’t the worst I’ve seen. I was looking for a movie to watch after work, and I thought, hey, James Franco, Sophia Moyles, Henry Cavill, and Rufus Sewell, all directed by Ridley Scott?! – this can’t be that bad. Well, it was pretty bad, but it wasn’t the worst 2 hours of my life. So what went wrong?
Magna Carta just celebrated its 800th birthday this past Monday. In honour of this incredible milestone, King’s College London, and the Magna Carta Project, hosted a 3 day conference dedicated to this historic document.
Late Medieval Knight Reflecting on his Public Life: Hugo de Urriés (c. 1405-c. 1493), Diplomacy and Translating the Classics
This article focuses on Aragonese courtier Hugo de Urriés’s public profile by means of analyzing the critical points derived from examining his personal, political, cultural and historical stands making use of an invaluable primary source, his letter to Fernando the Catholic in the early 1490s.
In this paper, I will show how Nicolette is constantly, deliberately, changing, in appearance and identity, from the beginning of the story, and how she is thus Izzard’s action transvestite.
The view has been gaining ground of late that the Gawain of Sir Gawain and the Green Knight, a knight renowned as ‘Pat fyne fader of nurture’ (1. 919) and as ‘so cortays and coynt’ of his ‘hetes’ (1. I525), degenerates at the moment of leave-taking from the Green Knight, his erstwhile host, to the level of a churl capable of abusing the ladies of that knight’s household (11.2411 -28).
French royal courts in the late twelfth century were absolutely smitten with love. Troubadaours traveled from place to place reciting stories of knights and the ladies they wooed.
The famous line from that modern romance- “A kiss is just a kiss”- is the message the Gawain-poet gave his listeners six centuries ago.
One frustration of engaging in any branch of European medieval studies as an academic pursuit is that few claim expertise about the ancient or Roman worlds, but seemingly everyone on an internet discussion forum believes him or herself knowledgeable about the medieval period, usually based on patently false beliefs.
Among the many unsolved problems which continue to exercise the mind of the student of the the one receiving directly Nibelunmgenlied, and indirectly the greatest attention today is that of the positiontaken by the Nibelungenlied in relation to the other poetical works of the period in which it was given its final form.
“The Taint of a Fault”: Purgatory, Relativism and Humanism in Sir Gawain and the Green Knight Bill Phillips Revista Alicantina de Estudios Ingleses, No. 17 (2004) Abstract Far from being a poem about the chivalric code, Sir Gawain and the Green Knight is essentially concerned with religion. The Romance genre is used to reveal the shortcomings […]
This thesis proposes to look at the equation between time and text in the later medieval period. Time-telling and tale-telling have a particularly dynamic relationship in the considers time-telling and temporal referencein an era (c.1230 – 1500) that time-measurement multiple cultural experiencesa greatvariety of types of and
attitudes to time.
Bodies, Saracen Giants, and the Medieval Romance: Transgression, Difference, and Assimilation explores the treatment of the bodies of three Saracen giants in the romances of Roland and Vernagu (c. 1330), Sir Beues of Hamtoun (c. 1330), and The Taill of Rauf Coilyear (c. 1513-42)
Interpreting Warfare and Knighthood in Late Medieval France: Writers and Their Sources in the Reign of King Charles VI (1380-1422)
Romances provided the basis of a particular kind of view of knighthood and warfare that was very influential on other literature concerning knights and warfare, as much as it was on real life practices and attitudes.
To develop this argument, a basic understanding of medieval society’s conventions is necessary in order to outline the parameters of this honor/shame culture.
This dissertation builds upon the work of feminist medievalists and other literary and cultural scholars to argue that sight, and objects that are seen, articulate love relationships between characters in medieval romances, and that seeing is frequently a locus of resistance to gender norms the texts both establish and refuse to accept.
I will examine two forms of transformation, the werewolf transformation and the monstrous human transformation, both of which feature shape shifters who presumably cannot be trusted