Titlebook: Afterlives of the Lady of Shalott and Elaine of Astolat; Ann F. Howey Book 2020 The Editor(s) (if applicable) and The Author(s), under exc

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Postscript,text(s), Lady/Elaine adaptations and allusions reiterate the importance of this figure as a way of imagining our options, whether to negotiate our relationship with the past, our relationship with social expectations of gender, or our expectations of art and the role of artists in our society.

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Book 2020gement with medievalism, social constructions of gender, and representations of the role of art in society. Although the figure of Elaine first appeared in medieval texts, including Malory’s .Le Morte Darthur., Tennyson’s poems about the Lady and Elaine drew unprecedented response from musicians, ar

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The Lady and Elaine: Medieval Literature and Victorian Adaptation,hat tradition in the nineteenth century, and briefly surveys some of his contemporaries’ responses. By analyzing the medieval pre-texts and Tennyson’s poetry, and outlining relevant scholarly debates about them, this chapter establishes the literary context with which later adaptations engage.

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,“She Hath a Lovely Face”: The Lady/Elaine in Art,ron, and George Wooliscroft Rhead) and paintings (by Toby Edward Rosenthal, William Holman Hunt, and J. W. Waterhouse) before considering the role of new technologies in the dissemination and creation of Lady/Elaine images in the twenty-first century, including online artworks and a cross-stitch des

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Patterns and Parody: The Lady/Elaine in Literature,mon images. The chapter then analyzes examples of parody in various short poems, C. J. Williams’ silent film, Elizabeth Stuart Phelp’s “The Lady of Shalott” and David Benedictus’ . to illustrate the ways parody critiques Tennyson’s medievalism.