A look at the movie adaptions of Sir Gawain and the Green Knight, along with other media.
J.R.R. Tolkien, the medievalist who became the father of modern fantasy literature, translated many poems out of Old English, Old Norse and Middle English into carefully versified modern English.
The spoken word plays a central role in Sir Gawain and the Green Knight, one of the best-known Middle English texts.
That the scribe and artist of the Gawain manuscript may have been one and the same person raises some interesting questions about this unique and famous manuscript.
Among the striking features of the modest manuscript, London, British Library, MS Cotton Nero A.x., are ten full-page illustrations of the poems and a further two taking up most of their pages.
King Arthur: Legend of the Sword premiered May 2017 MAN CANDY ALERT! When I sat down to watch “King Arthur” over this past…
This paper explores medieval environmental attitudes through a historical reading of Sir Gawain and the Green Knight
This week, we have the retelling of the epic Arthurian romance of Sir Gawain and the Green Knight in this 1984 fantasy reboot.
A close reading of three selected passages of the Middle English alliterative romance Sir Gawain and the Green Knight provides a detailed picture of fictional and fairy-tale manifestations of courtly and polite behaviour in Middle English, a period that imported many new terms of courtesy and politeness from French.
J.R.R. Tolkien, the medievalist who became the father of modern fantasy literature, translated many poems out of Old English, Old Norse and Middle English into carefully versified modern English
This essay attempts to re-appraise selected passages of Chaucer’s Canterbury Tales and Sir Gawain and the Green Knight from a wider military historical and archaeological perspective.
The Middle English poem Sir Gawain and the Green Knight and its Old Irish ancestor The Feast of Bricriu recount a remarkable stranger’s challenge to the hero, in effect, ‘You can chop off my head if you’ll let me return the blow.’
Let’s take five minutes to look at medieval alliterative poetry, using some of the most famous poems of the period.
This project documents and analyzes the gendered transformation of magical figures occurring in Arthurian romance in England from the twelfth to the sixteenth centuries.
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).
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.
Although I think that the notion of modern art as organic must be qualified and questioned, there is a certain force and validity to Jordan’s distinction between medieval and modern art. Modern art expects the parts to be somewhat subordinate to the whole. The dominant stress of New Criticism was on the organic nature of art.
I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts.
“The Taint of a Fault”: Purgatory, Relativism and Humanism in Sir Gawain and the Green Knight Bill Phillips Revista Alicantina de Estudios Ingleses, No.…
Seasonal Setting and the Human Domain in Early English and Early Scandinavian Literature Paul Sander Langeslag University of Toronto: Doctor of Philosophy, Centre for…
This thesis investigates the function and representation of female characters through Arthurian tropes in three fourteenth-century English Arthurian texts: Sir Gawain and the Green Knight, ‘The Wife of Bath’s Tale,’ and Sir Launfal.
The Vikings left behind several kinds of evidence during their stay in Anglo-Saxon England. Richard Dance notes that ‘one crucial aspect is the etymological.’
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.
The Middle English Romances are somewhat difficult to study as a group. In order to examine these works accurately, one must take into consideration other literature produced at the same tirne, as well as that which preceded it.