The legend of Robin Hood has been part of the English cultural landscape for over six centuries, evolving from the yeoman outlaw of the earliest surviving texts to the dispossessed nobleman that we recognise as his more recent incarnation.
Over the holiday season, Southwark Playhouse is presenting their reinterpretation of The Ballad of Robin Hood.
Robin Hood has enthralled generations of readers and movie goers. This English outlaw-hero has become of symbol of freedom against tyranny, stealing from the rich to give to the poor. But who was Robin Hood? How much is grounded in myth and how much is reality?
My book review of Robin Hood tale, Arrow of Sherwood by Lauren Johnson.
All four films entirely reject the setting for the legend given by the early/scholarly tradition. All four are set firmly and unmistakably in or just after the reign of Richard I (1189-99), either during Richard’s absence on Crusade, or (Marian alone) just after his death at Chaluz.
By Danièle Cybulskie When we think about Robin Hood these days, we have him firmly placed in Sherwood Forest, outside of Nottingham, in the time of “Good King Richard” (Richard I, “The Lionheart”). This would put him in the late twelfth and early thirteenth centuries. The first written records of the Robin Hood legend don’t […]
Three different medievalist narrative styles have been identified for the purposes of this volume, Medieval in Motion: modernist medievalism, post-modernist medievalism and neo-medievalism.
This study begins with an examination of Robin Hood as he appeared in popular media from the fourteenth century through the twenty-first century.
Deception and Impersonation in the Robin Hood Tradition: A Comparison of Medieval and Nineteenth-century Approaches
The linked themes of deception and impersonation have played a key role in the literary tradition of Robin Hood since its medieval inception.
While some Robin Hood books are clearly intended for young readers, others blur the boundaries, sometimes in ways we can applaud, since they help break down artificial boundaries dividing fiction for children from that for adults.
This paper will discuss issues like these in light of the long-lasting Robin Hood tradition. But the most interesting question is simply where this idea of Robin on horseback came from, and where and why the crusades became involved.
The oldest extant literary reference to Robin Hood is found in Piers Plowman when the ignorant priest Sloth confesses…
Dialectical Heroes: Robin Hood and King Arthur Across Time, Genre and Politics By Stephen Knight Research Papers in the Humanities No.6 (2007) Introduction: Initial reflection on Robin Hood and King Arthur suggests that they fulfil the most opposite, even unrelated form of dialecticality. Robin represents resistance to bad authority, Arthur represents good authority under fatal […]
This piece, as befits a journal of medieval studies, focuses on the earliest known versions of the stories of Robin Hood. It does not consider the manifestations of Robin Hood after the Reformation, let alone his resuscitation in Music Hall, Film and Television in the last century and more.
Robin Hood “Under the Greenwood Tree”: Peasants’ Revolt and the Making of a Medieval Legend By Danielle Sabatka Distinguished Senior Thesis, Pacific University, 2008 Introduction: England in the fourteenth century was in a transitional phase, experiencing social changes as a result of multiple factors, including an outbreak of the plague in 1348, the ongoing Hundred […]
The Origins of Robin Hood By R. H. Hilton Past and Present, Vol.14:1 (1958) Introduction: Thomas Becket, Henry II’s chancellor and later Archbishop of Canterbury, was an officially canonised saint, the most celebrated object of medieval English pilgrimage Simon de Montfort, Earl of Leicester, a transplanted baron from the Ile de France, was popularly and […]
The DVD and Blu-Ray versions of Robin Hood have been released. They contain the theatrical version of the film as well as an unrated version, which is approximately 15 minutes longer. Other extras on the film include twelve minutes’ worth of deleted scenes, with optional commentary and an introduction by editor Pietro Scalia; an hour-long documentary […]