With this essai I would like to advocate for a reconsideration of religion as an essential topic for medievalism studies.
Through the Looking Glass Darkly: Medievalism, Satanism, and the Dark Illumination of the Self in the Aesthetics of Black Metal
This paper explores the appropriation of the Old English poem by modern popular culture in such a distinctive 20th-century art-form as the comic book, which proves that a heroic, legendary story already old for the Anglo-Saxons —it was set in geardagum, ‘the ancient days’— still elicits the interest of the audience in the modern world.
Primetime Paganism: Popular-Culture Representations of Europhilic Polytheism in Game of Thrones and Vikings
Photographer Euan Forrester spent three years following the Society of Creative Anachronism (SCA) to better understand about the organization and the people who take part in it. He has now created a short film that showcases the wonderful photographs of their events: Euan took in events from the northwest United States and Canada – known in SCA […]
While the reliance of the fantasy market on medieval motifs – its reliance on medievalism, to be more precise – is not news, there remain a few thoughts to be articulated about the means by which so many popular female protagonists continue to have staying power and high market value within particular systems of power, systems familiar to the medievalist even when decontextualized, displaced and relocated elsewhere in the space–time continuum of the imagination.
“Richard ΠΙ with aliens” is how Cornell (102) describes “Sins of the Father,” an episode of Star Trek: TheNext Generation (hereafter TNG) in which the Klingon warrior Worf, son of Mogh, seeks to restore his family’s honour by exposing and challenging those responsible for falsely accusing his dead father of treason to the Klingon Empire.