Titlebook: Medieval Afterlives in Popular Culture; Gail Ashton,Daniel T. Kline Book 2012 Palgrave Macmillan, a division of Nature America Inc. 2012 c

顽固

,Time Travel, Pulp Fictions, and Changing Attitudes Toward the Middle Ages: Why You Can’t Get Renaischange because we still have a stake in the Renaissance model of the world that created the superior attitude. Several years ago, I argued that American popular images of the Middle Ages were a kind of temporal Orientalism: in fiction, film, news reporting, advertising, and political cant, the perio

Organization

Conjuction

Confession, Contrition, and the Rhetoric of Tears: Medievalism and Reality Television,lly have a TV Personality.” Isaac Mizrahi, the show’s host and lead judge, turned to her in surprise and said, “Wait, you don’t have a TV personality? You cry every five minutes.”. Equally pointedly, Judge Lisa Ann Walter, on Oxygen television’s original season of ., exclaimed in the final episode,

清楚

,Brief Encounters: Arthur’s Epic Journey in Antoine Fuqua’s , (2005),of epic exercised a powerful influence on the medieval imaginary, and none more so than Virgil. Virgil’s ., along with Dares Phrygius’s narrative on the fall of Troy, entered into the foundation myths of several medieval kingdoms, presenting Aeneas, through Brutus, as an ancestor of Arthur, himself

Ballerina

,“My Other World”: Historical Reflections and Refractions in Modern Arthurian Fantasy,notes, “one can hardly call to mind a fantasy work in any genre or media without calling up the medieval (and usually the Arthurian).”. Yet, the relationship between “the medieval” and “the Arthurian” is complex. Many authors have attempted to write Arthur as historical fiction, setting their work i

跑过

微粒

The Medieval Entertainment Channel: The , Quartet,erything is available everywhere at once, what we formerly thought of as a unidirectional (that is, chronological) arrow of influence and allusion has morphed into a matrix of multiplying and constantly reorganizing relations and affinities. Princess Fiona (Cameron Diaz), by day beautiful, human, an

BIDE

Acephalic History: A Bataillian Reading of ,French “.” tell Arthur that their lord will not join his quest for the Holy Grail because Guy’s “already got one.”. In the following scene (scene 10), the film breaks form in the manner of a History Channel special—“Pictures for Schools”—to present a distinguished elderly man, “A Very Famous Historian,” to explain breathlessly that:

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2945-5936 e authors illuminate both medieval and contemporary popular culture in surprising and productive ways while interrogating the many ways in which metamedievalism reinterprets and reconceptualises the medieval.978-1-349-34085-9978-1-137-10517-2Series ISSN 2945-5936 Series E-ISSN 2945-5944

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