The legend of Robin Hood has him and his Merry Men based in Sherwood Forest. But a closer look at the medieval tales suggests his hiding place was in a different forest.
With dozens of adaptations of the medieval tale of Robin Hood in film, could this latest one offer viewers something new? More importantly, is it any good?
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.
The legend was clearly not the only work of popular culture in what I propose as the long fifteenth century, but it does serve as a very useful representation for examining the growth of Englishness.
Examining the Middle Ages through modern eyes: movies, TV, stage, tourism and books. How do we perform the Middle Ages?
By Danièle Cybulskie When we think about Robin Hood these days, we have him firmly placed in Sherwood Forest, outside of Nottingham, in…
Winner of the University of Chicago’s National Guild of St. Margaret of Scotland Prize for the best BA paper on a medieval topic
This thesis examines the significance of the Virgin Mary in England between the late fifteenth century and early sixteenth century. The primary sources selected indicate the variety of ideas circulating about her during this period. Strictly religious texts such as the Bible and early Christian writings ground Late Medieval beliefs about Mary in their historical context.
A recurring theme in several medievalist crime novels is the subject of outlaws. They are used to create ambience, they can be the adversary and main threat to the protagonists, they can be cast in somewhat more heroic roles, and they are sometimes essential to the plot.
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.
Modern assumptions about medieval justice still tend to see this process of amelioration as merely occasional and exceptional: mercy needed to be applied only where special circumstances made it inappropriate to apply the full rigours of the law. This, however, is seriously to misunderstand both the purpose and the pervasiveness of mercy in the operation of medieval justice.
This study begins with an examination of Robin Hood as he appeared in popular media from the fourteenth century through the twenty-first century.
The linked themes of deception and impersonation have played a key role in the literary tradition of Robin Hood since its medieval inception.
The medieval English forest has long been a space of contested legal meanings. After King William I first created the 75,000-acre New Forest, the English monarchy sought to define the vert, both legally and ideologically, as a multiplicity of sites in which the king’s rights were vigorously enforced.
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.
The English North is “Not London” but is “before Scotland,” a strangely liminal space between the familiar
South and those undesirables north of the River Tweed.
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:…
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.