tag:blogger.com,1999:blog-25836158707900987042024-03-14T01:56:42.940-04:00Medieval Studies on ScreenSponsored by The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture, the Medieval Studies on Screen blog (formerly Medieval Studies at the Movies) supplements an earlier discussion list and is intended as a gateway to representations of the medieval on film, television, computers, and portable electronic devices.The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.comBlogger279125tag:blogger.com,1999:blog-2583615870790098704.post-21329110856463587972024-02-17T22:50:00.000-05:002024-02-17T22:50:02.382-05:00Advance Notice - Cinema Medievalia<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtMe4AfMpfbi5gsQ3bWc2_fc1bm9-lH0gnUg1GE1oDwaL-bVnSPCnmp-HNiiH9cLvDMtF82QSJ5wtslad9cYjTmVNLxMenLOkmvZSwfYXdywczz8VfyjIrL7QTUeGWt-njvo0fZdFoCfhAIl5lKJGsncwd3o5AYE6nniP1ayydbveXX2ITFJKQsKCYHw/s714/CM.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="714" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtMe4AfMpfbi5gsQ3bWc2_fc1bm9-lH0gnUg1GE1oDwaL-bVnSPCnmp-HNiiH9cLvDMtF82QSJ5wtslad9cYjTmVNLxMenLOkmvZSwfYXdywczz8VfyjIrL7QTUeGWt-njvo0fZdFoCfhAIl5lKJGsncwd3o5AYE6nniP1ayydbveXX2ITFJKQsKCYHw/w224-h320/CM.jpg" width="224" /></a></div><br /> Coming soon from McFarland:<p></p><h1 style="text-align: left;">Cinema Medievalia: New Essays on the Reel Middle Ages</h1><p>Not Yet Published</p><p>$55.00</p><p><br /></p><p>New 2024 Pre-Order</p><p>Available for <a href="https://mcfarlandbooks.com/product/cinema-medievalia/" target="_blank">pre-order / backorder</a></p><p><br /></p><p>Edited by Kevin J. Harty and Scott Manning</p><p>Format: softcover (7 x 10)</p><p>Pages:</p><p>Bibliographic Info: ca. 75 photos, notes, bibliography, index</p><p>Copyright Date: 2024</p><p>pISBN: 978-1-4766-8916-6</p><p>eISBN: 978-1-4766-5361-7</p><p>Imprint: McFarland</p><p><br /></p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-7381320981550995042023-09-11T00:01:00.002-04:002023-09-11T00:01:14.277-04:00New Book - Memory and Medievalism in George RR Martin and Game of Thrones<h1 style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzACqfukQ3hVyoTu_GTs01Y2UFWHVQC1k4zDeDjPn0hdSlquKuozlgmrvcmqPXoHdxjajyaOJrO5Q-zPbKSpMNx-0WhMlXhetuY_m8rxXXb9v8ff1OtRzsvdf6K6Pzg80udlbC4skCNBMmE9VHcoi7jdBO3jLZLAkcQ8I1sAHIVgcTNoD1p5mYALsPg/s852/MaMiGRRMaGoT.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="852" data-original-width="568" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVzACqfukQ3hVyoTu_GTs01Y2UFWHVQC1k4zDeDjPn0hdSlquKuozlgmrvcmqPXoHdxjajyaOJrO5Q-zPbKSpMNx-0WhMlXhetuY_m8rxXXb9v8ff1OtRzsvdf6K6Pzg80udlbC4skCNBMmE9VHcoi7jdBO3jLZLAkcQ8I1sAHIVgcTNoD1p5mYALsPg/s320/MaMiGRRMaGoT.jpg" width="213" /></a></div>Memory and Medievalism in George RR Martin and Game of Thrones: The Keeper of All Our Memories</h1><p>Carolyne Larrington (Anthology Editor), Anna Czarnowus (Anthology Editor)</p><p><br /></p><p>Full details on ordering information can be found on the publisher's website at this <a href="https://www.bloomsbury.com/us/memory-and-medievalism-in-george-rr-martin-and-game-of-thrones-9781350269590/" target="_blank">link</a>.</p><p><br /></p><h2 style="text-align: left;">Product details</h2><p>Published<span style="white-space: pre;"> </span>Sep 08 2022</p><p>Format<span style="white-space: pre;"> </span>Hardback</p><p>Edition<span style="white-space: pre;"> </span>1st</p><p>Extent<span style="white-space: pre;"> </span>240</p><p>ISBN<span style="white-space: pre;"> </span>9781350269590</p><p>Imprint<span style="white-space: pre;"> </span>Bloomsbury Academic</p><p>Illustrations<span style="white-space: pre;"> </span>12 bw illus</p><p>Dimensions<span style="white-space: pre;"> </span>9 x 6 inches</p><p>Publisher<span style="white-space: pre;"> </span>Bloomsbury Publishing</p><p><br /></p><p><br /></p><h2 style="text-align: left;">Description</h2><p>This book explores the connections between history and fantasy in George RR Martin's immensely popular book series 'A Song of Ice and Fire' and the international TV sensation HBO TV's Game of Thrones. Acknowledging the final season's foregrounding of the cultural centrality of history, truth and memory in the confrontation between Bran and the Night King, the volume takes full account of the TV show's conclusion in its multiple readings across from medieval history, its institutions and practices, as depicted in the books to the show's own particular medievalism. The topics under discussion include the treatment of the historical phenomena of chivalry, tournaments, dreams, models of education, and the supernatural, and the different ways in which these are mediated in Martin's books and the TV show. The collection also includes a new study of one of Martin's key sources, Maurice Druon's Les Rois Maudits, in-depth explorations of major characters in their medieval contexts, and provocative reflections on the show's controversial handling of gender and power politics.</p><p><br /></p><p>Written by an international team of medieval scholars, historians, literary and cultural experts, bringing their own unique perspectives to the multiple societies, belief-systems and customs of the 'Game of Thrones' universe, Memory and Medievalism in George RR Martin and Game of Thrones offers original and sparky insights into the world-building of books and show.</p><p><br /></p><h2 style="text-align: left;">Table of Contents</h2><p>Introduction</p><p>Part I – Memory</p><p>1. On Medieval Dream Tradition in George R. R. Martin's A Song of Ice and Fire </p><p>Bartlomiej Blaszkiewicz (University of Warsaw, Poland)</p><p>2. The Medievalist Emotional Economy in George R. R. Martin's A Song of Ice and Fire </p><p>Anna Czarnowus (University of Silesia, Poland)</p><p><br /></p><p>Part II – Reimagining History</p><p>3. George R.R. Martin's A Song of Ice and Fire and Maurice Druon's Les Rois Maudits (The Accursed Kings) </p><p>Carolyne Larrington (University of Oxford, UK)</p><p>4. Broken Bodies, Broken Kingdoms, Broken Promises: The Revolutionary Failure of A Game of Thrones </p><p>Robert Rouse (University of British Columbia, Canada) and Cory Rushton (St Francis Xavier University, Canada)</p><p><br /></p><p>Part III – Faith and Salvation</p><p>5. The Dog, the Cynic, and the Saint: The Case of Sandor Clegane </p><p>Thomas Honegger (Friedrich-Schiller-Universität Jena, Germany)</p><p>6. The Figure of George R.R. Martin's Septon Meribald and the Franciscan Legacy </p><p>Maria Blaszkiewicz University of Warsaw, Poland)</p><p><br /></p><p>Part IV – Key Institutions</p><p>7. The Citadel and the Ivory Tower: Academia and Education in Westeros </p><p>Mikayla Hunter (University of Oxford, UK)</p><p>8. The Iron Bank Will Have Its Due: Trade and Economics in Game of Thrones </p><p>Caroline Batten (University of Oxford, UK)</p><p><br /></p><p>Part V – Chivalry: Theory and Practice</p><p>9. The Warrior(s) in Crisis: The Knights of Westeros and the Process of Civilization </p><p>Anja Müller (Siegen University, Germany)</p><p>10. Tournaments and Judicial Duels in George R.R. Martin's The World of Ice & Fire and A Song of Ice and Fire </p><p>Przemyslaw Grabowski-Górniak (Independent Scholar, Poland)</p><p>Part VI - The HBO Effect: Violence and Misogyny</p><p>11. From Romance to Rape: The Portrayal of Masculine Sexuality in Game of Thrones </p><p>Kristina Hildebrand (Halmstad University, Sweden)</p><p>12. The Case of Cersei Lannister: Neomedievalist Misogyny in George R.R. Martin's A Song of Ice and Fire </p><p>Sylwia Borowska-Szerszun (University of Bialystok, Poland)</p><p>Index</p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-57208699650018486962023-08-08T01:27:00.008-04:002023-08-08T01:27:42.075-04:00CFP ICMS 2024: Neomedievalism and New Media (A Roundtable) (9/15/2023; ICMS 5/9-11/2024)<h2 style="text-align: left;">ICMS 2024: Neomedievalism and New Media (A Roundtable)</h2><div>source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2023/07/20/icms-2024-neomedievalism-and-new-media-a-roundtable">https://call-for-papers.sas.upenn.edu/cfp/2023/07/20/icms-2024-neomedievalism-and-new-media-a-roundtable</a>.<br /><br />deadline for submissions: <br />September 15, 2023<br /><br />full name / name of organization: <br />Alan Perry<br /><br />contact email: <br /><a href="mailto:aperry2@saic.edu">aperry2@saic.edu</a><br /><br /><br /><br /><h3 style="text-align: left;">Speaking Opportunity – Open Call</h3><br /><h3 style="text-align: left;">ICMS 2024: Neomedievalism and New Media (A Roundtable)</h3><br />In-Person at the International Congress on Medieval Studies 2024, Kalamazoo, MI<br /><br />Deadline: September 15, 2023<br /><br />This roundtable discussion seeks participants interested in discussing how the pressing topics of imagined medievalism in popular culture, hierarchies and power dynamics in technology, and new media art intersect. We will critically analyze and examine the parallels between digital platforms and technological change in the Late Middle Ages with regards to their implications for governance, culture, and social dynamics. Additionally, we will assess the influence of neomedievalism in shaping communication, information dissemination, and the construction of knowledge in new media.<br /><br />300-word abstracts must be submitted via the ICMS Confex system here: <a href="https://icms.confex.com/icms/2024/cfp.cgi">https://icms.confex.com/icms/2024/cfp.cgi</a><br /><br />Discussions are listed alphabetically.<br /><br />For further information please contact:<br /><br />Alan Perry<br />Art & Technology Studies<br />School of the Art Institute of Chicago<br /><a href="mailto:aperry2@saic.edu">aperry2@saic.edu</a><br /><br /><br />Last updated July 25, 2023<div><br /></div></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-75424965055804188862023-08-08T01:23:00.001-04:002023-08-08T01:23:14.373-04:00CFP Early Modern England on Film: Appropriation, Adaptation, and Translation (9/30/2023; NeMLA 2024)<h2 style="text-align: left;">Early Modern England on Film: Appropriation, Adaptation, and Translation</h2><br />deadline for submissions: <br />September 30, 2023<div><br /></div><div>source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2023/07/31/early-modern-england-on-film-appropriation-adaptation-and-translation">https://call-for-papers.sas.upenn.edu/cfp/2023/07/31/early-modern-england-on-film-appropriation-adaptation-and-translation</a>.<br /><br />full name / name of organization: <br />Northeast Modern Language Association (NeMLA)<br /><br />contact email: <br /><a href="mailto:jennifer.topale@du.edu">jennifer.topale@du.edu</a><br /><br /><br /><br />In the field of Shakespearean studies, attempts to make Shakespeare more accessible to new audiences often include the work of appropriation, adaptation, and translation. In her essay “Beyond Shakespeare: Early Modern Adaptation Studies and Its Potential” Jennifer Clement reminds us that “[s]cholars looking to study Shakespeare on film can not only count a lifetime supply of material, but associate themselves with Shakespeare’s canonical credibility and film’s mass market appeal.” While there have been countless examples of Shakespeare’s plays being adapted on film for a contemporary audience across different cinema genres (musicals, children’s animation, sci-fi, and Indian cinema), not all of these films have received the same level of research interest by literary scholars. Additionally, many other early modern figures and texts have also been appropriated, adapted, or translated for film and television, but conversation is often limited to the world of cinema studies. Lastly, many early modern figures and texts that have not been appropriated, adapted, or translated should be considered for future productions, and scholarly interest and research on this topic can further encourage the creation and development of these possible film representations.<br /><br />This panel seeks to further examine appropriation, adaptation, and translations on film of early modern figures and texts, including non-traditional adaptations that do not maintain persistent fidelity to the original. Of particular interest are: (1) Shakespearean representations in Indian or other non-Hollywood cinema and/or non-traditional fidelity to his plays; (2) under-represented historical figures, including early modern women beyond Anne Boleyn; and (3) non-Shakespearean texts, including the works of Shakespeare’s contemporaries, as well as later early modern authors, such as John Milton and Margaret Cavendish. Abstracts should consider this year’s convention keyword “SURPLUS,” as well as differences in the terms: appropriation, adaptation, and translation. Additionally, while concepts and theories in film-studies may influence some of your analysis, proposals that primarily situate research from within a literary perspective, as opposed to a film-studies frame of reference, are highly encouraged.<br /><br />Abstracts are due by 30 September 2023. To submit an abstract, please log into the NeMLA Online Submission System at: <a href="https://www.cfplist.com/nemla/Home/Login">https://www.cfplist.com/nemla/Home/Login</a><br /><br />Abstracts must include:<div><ul style="text-align: left;"><li>Title (80 characters or less)</li><li>Abstract (200 to 300 words)</li><li>Brief Bio</li><li>Media Needs (project/screen/laptop)</li></ul><br />Please direct all questions to Jennifer Topale at <a href="mailto:Jennifer.topale@du.edu">Jennifer.topale@du.edu</a>.<br /><br />Further details and information about this particular session can be found at the official CFP page for the session: <a href="https://www.cfplist.com/nemla/Home/S/20549">https://www.cfplist.com/nemla/Home/S/20549</a>.<br /><br /><br /><br />Last updated August 4, 2023</div></div><div><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-6298814068163814532023-04-02T14:28:00.001-04:002023-04-02T14:28:12.027-04:00Check It Out: Neomedievalism, Popular Culture, and the Academy<i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_BfevxifLSmbxjcreNTVVX-uMwNDp7L0shWOLriEldZWzjYkBDKGKxbvmPiDsCKici1cagce7YGCp8GXYtYvT9HfLo506vS-5nqLY2JMmqhgmZFNVEF1Un9TztMGbLNnUo-i3D6tMe3paLzKC9POAZUUSxaydO4GbN2I9Le5OQJIrB58xTCAx3xc/s1000/NPCatAjpg.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="665" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_BfevxifLSmbxjcreNTVVX-uMwNDp7L0shWOLriEldZWzjYkBDKGKxbvmPiDsCKici1cagce7YGCp8GXYtYvT9HfLo506vS-5nqLY2JMmqhgmZFNVEF1Un9TztMGbLNnUo-i3D6tMe3paLzKC9POAZUUSxaydO4GbN2I9Le5OQJIrB58xTCAx3xc/s320/NPCatAjpg.jpg" width="213" /></a></div><br />Finally had a chance to review this. Looks like a great resource. <br /></i><br /> <br /><h1 style="text-align: left;">Neomedievalism, Popular Culture, and the Academy: From Tolkien to Game of Thrones</h1><br />by KellyAnn Fitzpatrick<br /><br />Full details and ordering information from the publisher is available at this <a href="https://boydellandbrewer.com/9781843845416/neomedievalism-popular-culture-and-the-academy/" target="_blank">link</a>.<div><br /><br /><br />TITLE DETAILS<br /><br />244 Pages<br /><br />21.6 x 13.8 cm<br /><br />Series: <a href="https://boydellandbrewer.com/search-results/?series=byd3-medievalism">Medievalism</a><br />Series Vol. Number: 16<br /><br />Imprint: D.S.Brewer<br /><br /><br />Hardcover<br />9781843845416<br />October 2019<br />$95.00 / £65.00<br /><br />Ebook (EPDF)<br />9781787447028<br />October 2019<br />$29.95 / £24.99<br /><br />Ebook (EPUB)<br />9781800109308<br />October 2019<br />$29.95 / £24.99<br /><br /><br /><h2 style="text-align: left;">Description</h2><br />The medieval in the modern world is here explored in a variety of media, from film and book to gaming.<br /><br />Medievalism - the ways in which post-medieval societies perceive, interpret, reimagine, or appropriate the Middle Ages - permeates popular culture. From Disney princesses to Game of Thrones, medieval fairs to World of Warcraft, contemporary culture keeps finding new ways to reinvent and repackage the period. Medievalism itself, then, continues to evolve while it is also subject to technological advances, prominent invocations in political discourse, and the changing priorities of the academy. This has led some scholars to adopt the term "neomedievalism", a concept originating in part from the work of the late Umberto Eco, which calls for new avenues of inquiry into the way we think about the medieval.<br />This book examines recent evolutions of (neo)medievalism across multiple media, from Tolkien's Lord of the Rings to the film Beowulf and medieval gaming. These evolutions can take the form of what one might consider to be pop culture objects of critique (art, commodity, amusement park, video game) or academic tools of critique (monographs, articles, lectures, university seminars). It is by reconciling these seemingly disparate forms that we can better understand the continual, interconnected, and often politicized reinvention of the Middle Ages in both popular and academic culture.<br /><br /><br /><h2 style="text-align: left;">Contents</h2>Introduction<br />1. The Academy and the Making of Neomedievalism<br />2. Tolkien: From Medieval Studies to Medievalist Fantasy<br />3. Hollywood Genders the Neomedieval: Sleeping Beauty/Beowulf/Maleficent<br />4. Game of Thrones: Neomedievalism and the Myths of Inheritance<br />5. Magic: The Gathering and the Markets of Neomedievalism<br />6. Digital Gaming: Coding a Connective Neomedievalism<br />Bibliography<br /><br /><br /><br /><h2 style="text-align: left;">Author</h2><br />KELLYANN FITZPATRICK is an affiliated researcher at the Georgia Institute of Technology.<br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-69963086806061447592023-01-17T20:57:00.005-05:002023-01-17T20:57:54.624-05:00CFP Science Fiction and Fantasy Gaming Conference (1/20/2023; Online 2/27-28/2023)<br /><i> Cross-posted from the SFRA list. Note the impending deadline.</i><div><br /></div><div><h1 style="text-align: left;">Call for Papers: Science Fiction and Fantasy Gaming Conference</h1><div><br /></div><br />Please see information below about MultiPlay Gaming Network's upcoming Science Fiction and Fantasy Gaming Conference on the 27th and 28th February 2023.<br /><br />MultiPlay is excited to host a two-day online conference on science fiction and fantasy in games! The conference intends to cover a broad range of anything regarding science fiction, fantasy, or speculative fiction in gaming.<br /><br />Day One will thematically focus on Science Fiction and Day Two will thematically focus on Fantasy. Both days will be online conferences hosted via Windows Teams. Presentations will last twenty minutes, with a ten-minute Q&A at the end of each session.<br /><br />We are currently seeking abstracts related to anything regarding science fiction or fantasy in video games of no more than 300 words, including references using the Harvard reference style guide, to be accompanied with a 100 word author biography.<br /><br />We will also accept abstracts dealing with games that blur the two genres, or any sort of speculative fiction element in games, and they will be given a slot on either of the two days if accepted. We will also consider abstracts that deal with analog gaming instead of digital<br /><br />Please send all abstracts to <a href="mailto:networkmultiplay@gmail.com">networkmultiplay@gmail.com</a> with the heading ‘SFF Conference’ by January 20th. This week is the final week that we are accepting abstracts for this conference!<br /><br />If you have any further questions, please email <a href="mailto:networkmultiplay@gmail.com">networkmultiplay@gmail.com</a><br /><br /><br /><br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-8346346462874264422023-01-04T17:24:00.000-05:002023-01-04T17:24:06.671-05:00Out Now: Playing the Crusades<i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkO9p1N_R9yFUPgE1CULl-shOQO3A2_Nf-B2u6fIfviMK9ChKMcaHhzfFV4NGmSurSVgVqEAlt5kEcb7gbn6UXmao238cJKKuKXTEKY92PDx70cV74CazGRLYBGS1jpDbROzy2uaqbH6JrR7Jx9zgAOEI-zGR2G84uc3WhQLd_5opYTtOTWIZrZZY/s560/PtC.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="560" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkO9p1N_R9yFUPgE1CULl-shOQO3A2_Nf-B2u6fIfviMK9ChKMcaHhzfFV4NGmSurSVgVqEAlt5kEcb7gbn6UXmao238cJKKuKXTEKY92PDx70cV74CazGRLYBGS1jpDbROzy2uaqbH6JrR7Jx9zgAOEI-zGR2G84uc3WhQLd_5opYTtOTWIZrZZY/s320/PtC.jpg" width="200" /></a></div><br />New from Routledge:</i><div><br /><h1 style="text-align: left;">Playing the Crusades<br /></h1><h4 style="text-align: left;">Engaging the Crusades, Volume Five</h4></div><div><br />Edited By Robert Houghton</div><div><br />Copyright Year 2021</div><div><br /></div><div>Full details and ordering information available at this <a href="https://www.routledge.com/Playing-the-Crusades-Engaging-the-Crusades-Volume-Five/Houghton/p/book/9780367716356#">link</a>. </div><div><br />Paperback<br />$18.36</div><div>Hardback</div><div>$47.96<br />eBook<br />$18.36<br /><br /><br />ISBN 9780367716356 (pb)<br />Published September 26, 2022 by Routledge<br />122 Pages<br /><br /><br /><br /><h3 style="text-align: left;">Book Description</h3><br />Engaging the Crusades is a series of volumes which offer windows into a newly emerging field of historical study: the memory and legacy of the crusades. Together these volumes examine the reasons behind the enduring resonance of the crusades and present the memory of crusading in the modern period as a productive, exciting, and much needed area of investigation.<br /><br />This volume considers the appearance and use of the crusades in modern games; demonstrating that popular memory of the crusades is intrinsically and mutually linked with the design and play of these games. The essays engage with uses of crusading rhetoric and imagery within a range of genres – including roleplaying, action, strategy, and casual games – and from a variety of theoretical perspectives drawing on gender and race studies, game design and theory, and broader discussions on medievalism. Cumulatively, the authors reveal the complex position of the crusades within digital games, highlight the impact of these games on popular understanding of the crusades, and underline the connection between the portrayal of the crusades in digital games and academic crusade historiography.<br /><br />Playing the Crusades is invaluable for scholars and students interested in the crusades, popular representations of the crusades, historical games, and collective memory.<br /><br /><br /><br /><h3 style="text-align: left;">Table of Contents</h3><br /><br />Introduction: crusades and crusading in modern games<br /><br />Robert Houghton<br /><br /><br /><br />A sacred task, no cross required: the image of crusading in computer gaming-related non-Christian science fiction universes<br /><br />Roland Wenskus<br /><br /><br /><br />‘I’m not responsible for the man you are!’: crusading and masculinities in <i>Dante’s Inferno</i><br /><br />Katherine J. Lewis<br /><br /><br /><br />‘Show this fool knight what it is to have no fear’: freedom and oppression in <i>Assassin’s Creed</i> (2007)<br /><br />Oana-Alexandra Chirilă<br /><br /><br /><br />Crusader kings too? (Mis)Representations of the crusades in strategy games<br /><br />Robert Houghton<br /><br /><br /><br />Learning to think historically: some theoretical challenges when playing the crusades<br /><br /><br /><br />Andreas Körber, Johannes Meyer-Hamme, and Robert Houghton<br /><br /><br /><br /><h3 style="text-align: left;">Editor(s)</h3>Biography<br /><br /><br /><br />Robert Houghton is Senior Lecturer in Medieval History at the University of Winchester. His research focuses on religious and political relationship networks in the central Middle Ages and on representations of the medieval world in modern games. Recent publications include ‘Italian Bishops and Warfare during the Investiture Contest: The Case of Parma’ (2018) and ‘World, Structure and Play: Digital Games as Historical Research Tools’ (2018).<br /><br /><br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-27765888958086806602022-10-22T19:47:00.008-04:002022-10-22T20:43:48.407-04:00Out Now from McFarland: Power and Subversion in Game of Thrones: Critical Essays on the HBO Series<i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS7bKdwg-e6MefvhPI-6vynojkv5ABe-Fdf5Ttlnzc9mT4JyLBx2UrBUQB9CP-ePWIyTQQ_6_UzZegOvJbFg5dM4kMs9KGrEzzP4abgXDDL25lKBun9ThC3K3ikoxKfHe9wpFOLZJ4obpBiRw8NxgnZQ0MKYdB6QOUKe_44JqWScHJOW_AIateq8Y/s750/PaSiGoT.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS7bKdwg-e6MefvhPI-6vynojkv5ABe-Fdf5Ttlnzc9mT4JyLBx2UrBUQB9CP-ePWIyTQQ_6_UzZegOvJbFg5dM4kMs9KGrEzzP4abgXDDL25lKBun9ThC3K3ikoxKfHe9wpFOLZJ4obpBiRw8NxgnZQ0MKYdB6QOUKe_44JqWScHJOW_AIateq8Y/s320/PaSiGoT.jpg" width="213" /></a></div><br />Further information and ordering information is available at McFarland's website from this <a href="https://mcfarlandbooks.com/product/power-and-subversion-in-game-of-thrones/" target="_blank">link</a>.</i><div><br /><h1 style="text-align: left;">Power and Subversion in <i>Game of Thrones</i>: Critical Essays on the HBO Series</h1><br /><h3 style="text-align: left;">Bibliographic Details</h3><br />Edited by A. Keith Kelly<br /><br />Format: softcover (6 x 9)<br /><br />Pages: 198<br /><br />Bibliographic Info: notes, bibliographies, index<br /><br />Copyright Date: 2022<br /><br />pISBN: 978-1-4766-8264-8;$39.95<br /><br />eISBN: 978-1-4766-4466-0<br /><br />Imprint: McFarland<br /><br /><br /><br /><br /><h3 style="text-align: left;">About the Book</h3><br />This collection of essays examines the structures of power and the ways in which power is exercised and felt in the fantasy world of Game of Thrones. It considers how the expectations of viewers, particularly within the genre of epic fantasy, are subverted across the full 8 seasons of the series. The assembled team of international scholars, representing a variety of disciplines, addresses such topics as the power of speech and magic; the role of nationality and politics; disability, race and gender; and the ways in which each reinforces or subverts power in Westeros and Essos.<br /><br /><br /><br /><br /><h3 style="text-align: left;">Table of Contents</h3><br />Acknowledgments v<br /><br /><br />Introduction<br />A. Keith Kelly 1<br /><br /><br />List of Seasons and Episodes: HBO’s Game of Thrones 7<br /><br /><br />Breaking the Wheel: Game of Thrones and the American Zeitgeist<br />Daniel Vollaro 13<br /><br /><br />Dangerous Nostalgia: Fantasies of Medievalism, Race, and Identity<br />Robert Allen Rouse 30<br /><br /><br />Game of Victims and Monsters: Representation of Sexual and Female Violence<br />Sylwia Borowska-Szerszun 48<br /><br /><br />Subversion or Reinforcement? Patriarchy and Masculinity<br />Andrew Howe 68<br /><br /><br />“I’ll go with anger”: Female Rage in and at Game of Thrones<br />Lindsey Mantoan 87<br /><br /><br />The Developing Verbal Power of Daenerys: A Pragmatics Analysis<br />Graham P. Johnson 108<br /><br /><br />“Who has a better story than Bran the Broken?”: The Power of Disability Narratives<br />Jan Doolittle Wilson 131<br /><br /><br />Magic’s Failure to Reanimate Fantasy<br />Jason M. Embry 161<br /><br /><br />A Brief Conclusion on the Conclusion<br />A. Keith Kelly 181<br /><br /><br />About the Contributors 185<br /><br /><br />Index 187<br /><br /><br /><br /><br />About the Author(s)<br /><br /><br />A. Keith Kelly is a professor of English at Georgia Gwinnett College, outside of Atlanta, where he teaches medieval literature, linguistics and writing. In addition to being a poet and author of short fiction, he has published work on literary pragmatics, Old Norse saga, the works of J.R.R. Tolkien and the representation of the Middle Ages in film and television.<br /><br /><br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-2140166127567528772022-10-22T17:53:00.005-04:002022-10-22T20:45:15.869-04:00Recent from McFarland: Being Dragonborn: Critical Essays on The Elder Scrolls V: Skyrim <i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxt0V79P3i5-BiLSjByaMf4gIvaWs5wvKAcZ69os03P2IXJU73_Ny07zGJXgPgUasNcMWUMxUVzXgFgz_jA-84PcDZWDIhupou8BfNS5m6LuST_r2DpaVWZaQiDCR2_T9aMgJvPCAY91-hn9ftaDgSlDs8DOx2EtpocnjjuyzyIv7UV3Md-dR-HEg/s714/BDCEES5.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="714" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxt0V79P3i5-BiLSjByaMf4gIvaWs5wvKAcZ69os03P2IXJU73_Ny07zGJXgPgUasNcMWUMxUVzXgFgz_jA-84PcDZWDIhupou8BfNS5m6LuST_r2DpaVWZaQiDCR2_T9aMgJvPCAY91-hn9ftaDgSlDs8DOx2EtpocnjjuyzyIv7UV3Md-dR-HEg/s320/BDCEES5.jpg" width="224" /></a></div><br />Full details and ordering information is available from McFarland's website at this <a href="https://mcfarlandbooks.com/product/being-dragonborn/" target="_blank">link</a>.</i><div><br /><h1 style="text-align: left;">Being Dragonborn: Critical Essays on<i> The Elder Scrolls V: Skyrim</i></h1><br />Edited by Mike Piero and Marc A. Ouellette<br /><br />Series Editor Matthew Wilhelm Kapell<br /><br />$29.95<br /><br />Format: softcover (7 x 10)<br /><br />Pages: 236<br /><br />Bibliographic Info: notes, bibliography, index<br /><br />Copyright Date: 2021<br /><br />pISBN: 978-1-4766-7784-2<br /><br />eISBN: 978-1-4766-4356-4<br /><br />Imprint: McFarland<br /><br />Series: Studies in Gaming<br /><br /><br /><br /><br /><h3 style="text-align: left;">About the Book</h3><br /><br />The Elder Scrolls V: Skyrim is one of the bestselling and most influential video games of the past decade. From the return of world-threatening dragons to an ongoing civil war, the province of Skyrim is rich with adventure, lore, magic, history, and stunning vistas. Beyond its visual spectacle alone, Skyrim is an exemplary gameworld that reproduces out-of-game realities, controversies, and histories for its players. Being Dragonborn, then, comes to signify a host of ethical and ideological choices for the player, both inside and outside the gameworld. These essays show how playing Skyrim, in many ways, is akin to “playing” 21st century America with its various crises, conflicts, divisions, and inequalities. Topics covered include racial inequality and white supremacy, gender construction and misogyny, the politics of modding, rhetorics of gameplay, and narrative features. <br /><br /><br /><br /><br /><h3 style="text-align: left;">Table of Contents</h3><br />Acknowledgments v<br /><br />Introduction: Skyrim as an Exemplary Gameworld<br /><br />Mike Piero and Marc A. Ouellette 1<br /><br /><br /><br /><br />Part I: “Skyrim is our land”: Neomedievalism, Heroism and Ethno-Nationalist Gameplay<br /><br />From Hero to Zero: Nationalistic Narratives and the Dogma of Being Dragonborn<br /><br />Joshua Call and Thomas Lecaque 14<br /><br />Grounding the Neomedieval Gameworld: The Dragonborn Between History and Myth<br /><br />Alicia McKenzie 28<br /><br />Expanding the Frontier Through War: Skyrim’s Ludic Contribution to the Frontier Myth<br /><br />Brent Kice 45<br /><br /><br /><br /><br />Part II: “Then I took an arrow in the knee”: Agency and Alterity<br /><br />Queer Harpies and Vicious Dryads: Hagravens, Spriggans and Abject Female Monstrosity in Skyrim<br /><br />Sarah Stang 60<br /><br />All the Wheels of Cheese: Hoarding and Collecting Behaviors in Skyrim<br /><br />D’An Knowles Ball 75<br /><br />Escapism as Contested Space: The Politics of Modding Skyrim<br /><br />Liamog S. Drislane 91<br /><br /><br /><br /><br />Part III: “Sky above, voice within”: Ethics and Politics Within Skyrim’s Cosmology<br /><br />Nature Versus Player: Skyrim Players and Modders as Ecological Force<br /><br />Misha Grifka Wander 106<br /><br />Portraits of the Neomedieval Family-Idyllic: Patriarchal Oikos and a Love Without Love in Skyrim<br /><br />Mike Piero and Marc A. Ouellette 120<br /><br />Skyrim’s Competitive Cosmology: A Fluctuating Economy of Power and Parasitic Deification<br /><br />Trevor B. Williams 137<br /><br />Testing Your Thu’um: Rhetoric, Violence, Uncertainty and the Dragonborn<br /><br />Stephen M. Llano 154<br /><br /><br /><br /><br />Part IV: “Who wrote the Elder Scrolls?” Emergent Narratives and Difficult Questions<br /><br />Emergent Worlds and Illusions of Agency: Worldbuilding as Design Practice in Skyrim<br /><br />Wendi Sierra 172<br /><br />Taking Your Time as Dragonborn: Reconciling Skyrim’s Ludic and Narrative Dimensions Through a Detective Story Typology<br /><br />Andrew A. Todd 188<br /><br />The Death of Paarthurnax: The “Good Temptation”?<br /><br />C. Anne Engert and Tony Perrello 202<br /><br /><br /><br /><br />About the Contributors 221<br /><br /><br /><br />Index 223<br /><br /><br /><br /><br /><h3 style="text-align: left;">About the Author(s)</h3><br />Mike Piero is a Professor of English at Cuyahoga Community College in Cleveland, Ohio.<br /><br /><br />Marc A. Ouellette is an award-winning educator who teaches cultural and gender studies at Old Dominion University, where he is the Learning Games Initiative Research Fellow.<br /><br /><br /><br />Series editor Matthew Wilhelm Kapell lives in Brooklyn and teaches American studies, anthropology, and writing at Pace University.<br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-63472258282793595092022-10-22T16:39:00.005-04:002022-10-22T19:08:25.606-04:00Coming Soon from McFarland: Larsen's Science, Technology and Magic in The Witcher: A Medievalist Spin on Modern Monsters<i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBkkrvCUqhPgnwela_3fqE051JpNmV1FadxDqerZAVUcWkdXagWQbKNvCH5Yj0Mg1qqzAAgyXuQN5XrdOEf8XxZKIxwFLJIWvfYKZHl4r817-b0IwboxL-eM5IszcPBBk5o5Tm-RZRbcAwLiQGPjoRqAvrwFIw2Z-E-qqkPqLRcXMkNo8_GSI2Rss/s750/STaMiW.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBkkrvCUqhPgnwela_3fqE051JpNmV1FadxDqerZAVUcWkdXagWQbKNvCH5Yj0Mg1qqzAAgyXuQN5XrdOEf8XxZKIxwFLJIWvfYKZHl4r817-b0IwboxL-eM5IszcPBBk5o5Tm-RZRbcAwLiQGPjoRqAvrwFIw2Z-E-qqkPqLRcXMkNo8_GSI2Rss/s320/STaMiW.jpg" width="213" /></a></div><br />Due late 2022/early 2023. Further details and pre-ordering information are available from McFarland's website at this <a href="https://mcfarlandbooks.com/product/science-technology-and-magic-in-the-witcher/" target="_blank">link</a>.</i><div><br /><h2 style="text-align: left;">Science, Technology and Magic in The Witcher: A Medievalist Spin on Modern Monsters</h2><br />Kristine Larsen. </div><div><br /></div><div>Series Editors Donald E. Palumbo and C.W. Sullivan III<br /><br />Format: softcover (6 x 9)<br /><br />Copyright Date: 2022<br /><br />pISBN: 978-1-4766-8385-0<br /><br />eISBN: 978-1-4766-4817-0<br /><br />Imprint: McFarland<br /><br />Series: Critical Explorations in Science Fiction and Fantasy<br /><br /><br /><br /><br />About the Book<br /><br />As Andrzej Sapkowski was fleshing out his character Geralt of Rivia for a writing contest, he did not set out to write a science textbook—or even a work of science fiction. However, the world that Sapkowski created in his series The Witcher resulted in a valuable reflection of real-world developments in science and technology. As the Witcher books have been published across decades, the sorcery in the series acts as an extension of the modern science it grows alongside.<br /><br /><br /><br />This book explores the fascinating entanglement of science and magic that lies at the heart of Sapkowski’s novel series and its widely popular video game and television adaptations. This is the first English-language book-length treatment of magic and science in the Witcher universe. These are examined through the lenses of politics, religion, history and mythology. Sapkowski’s richly detailed universe investigates the sociology of science and ponders some of the most pressing modern technological issues, such as genetic engineering, climate change, weapons of mass destruction, sexism, speciesism and environmentalism. Chapters explore the unsettling realization that the greatest monsters are frequently human, and their heinous acts often involve the unwitting hand of science.<br /><br /><br /><br /><br />About the Author(s)<br /><br />Kristine Larsen is a professor of astronomy at Central Connecticut State University, where her teaching and research focus on the intersections between science and society. Her publications include numerous articles and book chapters on J.R.R. Tolkien’s uses of astronomy in his writings.<br /><br /><br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-52018702493222816362022-10-22T16:33:00.002-04:002022-10-22T16:33:51.581-04:00Coming Soon from McFarland: The World of Final Fantasy VII Essays on the Game and Its Legacy<i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-FQXKoSyuWE_UVWDx4y5apPBENUHNbwU81Cb-1B92bobfTONP8JiktFwz2B2eZCQmZySoRkdb2_0a737zZxJ02dCLpMbaZSXFfp_6cMXoQhBJRMIwE_NHIkM8TYi0zC5KDyGCMzee1pMPRUQ3GfIAehr-qSiuNpgD8wyUt62Wh43rEiMH17ETtE/s750/TWoFF7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-FQXKoSyuWE_UVWDx4y5apPBENUHNbwU81Cb-1B92bobfTONP8JiktFwz2B2eZCQmZySoRkdb2_0a737zZxJ02dCLpMbaZSXFfp_6cMXoQhBJRMIwE_NHIkM8TYi0zC5KDyGCMzee1pMPRUQ3GfIAehr-qSiuNpgD8wyUt62Wh43rEiMH17ETtE/s320/TWoFF7.jpg" width="213" /></a></div><br />Due late 2022/early 2023. Further details and pre-ordering information are available from McFarland's website at this <a href="https://mcfarlandbooks.com/product/the-world-of-final-fantasy-vii/" target="_blank">link</a>.</i><div><br /><h2 style="text-align: left;">The World of Final Fantasy VII: Essays on the Game and Its Legacy</h2><br />Bibliographic Details<br /><br />Edited by Jason C. Cash and Craig T. Olsen. Series Editor Matthew Wilhelm Kapell<br /><br />Format: softcover (6 x 9)<br /><br />Copyright Date: 2022<br /><br />pISBN: 978-1-4766-8186-3<br /><br />eISBN: 978-1-4766-4725-8<br /><br />Imprint: McFarland<br /><br />Series: Studies in Gaming</div><div><br /><br />About the Book<br /><br />Final Fantasy VII altered the course of video game history when it was released in 1997 on Sony’s PlayStation system. It converted the Japanese role-playing game into an international gaming standard with enhanced gameplay, spectacular cutscenes and a vast narrative involving an iconic cast. In the decades after its release, the Final Fantasy VII franchise has grown to encompass a number of video game sequels, prequels, a feature-length film, a novel and a multi-volume remake series.<br /><br />This volume, the first edited collection of essays devoted only to the world of Final Fantasy VII, blends scholarly rigor with fan passion in order to identify the elements that keep Final Fantasy VII current and exciting for players. Some essays specifically address the game’s perennially relevant themes and scenarios, ranging from environmental consciousness to economic inequity and posthumanism. Others examine the mechanisms used to immerse the player or to improve the narrative. Finally, there are several essays devoted specifically to the game’s legacy, from its influence on later games to its characters’ many crossovers and cameos.<br /><br /><br /><br />About the Author(s)<br /><br />Jason C. Cash is an associate professor at SUNY Delhi, where he teaches literature, composition, and film. His research interests include Irish fiction and video game narrative. He lives in Oneonta, New York.<br /><br /><br />Craig T. Olsen is an associate professor and director of the writing center at the University of Arkansas at Monticello. His areas of research include gaming literacy, music and storytelling within video games, multimodality, digital spaces, writing centers, and creative rhetoric.<br /><br /><br />Series editor Matthew Wilhelm Kapell lives in Brooklyn and teaches American studies, anthropology, and writing at Pace University.</div><div><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-20912567509261152052022-08-25T02:26:00.004-04:002022-08-25T02:26:33.139-04:00Hughes on The Northman in ArthurianaFrom the latest issue of <i>Arthuriana</i>:<br /><br />Hughes, Shaun F.D. "Some Thoughts on <i>The Northman</i> (2022)." <i>Arthuriana</i>, vol. 32 no. 2, 2022, p. 89-101. <i>Project MUSE</i>, <a href="https://doi.org/10.1353/art.2022.0014">doi:10.1353/art.2022.0014</a>.<br /><br /> Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-4568568537397959042022-08-23T02:33:00.007-04:002022-08-23T02:33:49.132-04:00New Essay: Manning on Joan the Woman<i>My thanks to Scott Manning for the head's up on this:<br /></i><br />Manning, Scott. “Joan of Arc’s Gunpowder Artillery in Cecil B. DeMille’s <i>Joan the Woman</i> (1916).” <i>Film & History</i>, vol. 52, no. 1, Summer 2022, pp. 18-31. <i>Project MUSE</i>, <a href="https://muse.jhu.edu/article/862227">https://muse.jhu.edu/article/862227</a>.<div><br /></div><div><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-65020724611743295162022-06-18T00:12:00.004-04:002022-06-18T00:12:29.987-04:00Coming Soon: Dragon's Lair and the Fantasy of Interactivity<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjfmV6kOZnuWSDHWGB8Ki1TJn4gMSXrZSjfIcR0hfngoJDrbTCPXQ3AWjYVWfDFy8JYUubFjiA3W9SDG1sZUndrRUawLpLMsz9ycp9PTGwN6SFhWpIcfCRcK_Z8BfSl-6dhdn8dj4soRyx4cBu3HV2XdkKDJqRRXDPfywzf2HbdIVDhFuH-pNaY-Q/s506/DLatFoI.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="506" data-original-width="315" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjfmV6kOZnuWSDHWGB8Ki1TJn4gMSXrZSjfIcR0hfngoJDrbTCPXQ3AWjYVWfDFy8JYUubFjiA3W9SDG1sZUndrRUawLpLMsz9ycp9PTGwN6SFhWpIcfCRcK_Z8BfSl-6dhdn8dj4soRyx4cBu3HV2XdkKDJqRRXDPfywzf2HbdIVDhFuH-pNaY-Q/s320/DLatFoI.jpg" width="199" /></a></i></div><i><br />Coming Soon from Lexington Books:</i><p></p><h2 style="text-align: left;">Dragon's Lair <i>and the Fantasy of Interactivity</i></h2><p>M J CLARKE</p><p>Lexington Books</p><p>Pages: 150 • Trim: 6 x 9</p><p>978-1-7936-3603-4 • Hardback • July 2022 • $95.00 • (£73.00)</p><p>978-1-7936-3604-1 • eBook • June 2022 • $45.00 • (£35.00)</p><p>Further details and ordering at <a href="https://rowman.com/ISBN/9781793636034/Dragon's-Lair-and-the-Fantasy-of-Interactivity">https://rowman.com/ISBN/9781793636034/Dragon's-Lair-and-the-Fantasy-of-Interactivity</a>.</p><p><br /></p><p>Perhaps no arcade game is so nostalgically remembered, yet so critically bemoaned, as <i>Dragon’s Lair</i>. A bit of a technological neanderthal, the game implemented a unique combination of videogame components and home video replay, garnering great popular media and user attention in a moment of contracted economic returns and popularity for the videogame arcade business. But subsequently, writers and critics have cast the game aside as a cautionary tale of bad game design. In Dragon’s Lair <i>and the Fantasy of Interactivity</i>, MJ Clarke revives <i>Dragon’s Lair </i>as a fascinating textual experiment interlaced with powerful industrial strategies, institutional discourse, and textual desires around key notions of interactivity and fantasy. Constructing a multifaceted historical study of the game that considers its design, its makers, its recording medium, and its in-game imagery, Clarke suggests that the more appropriate metaphor for <i>Dragon’s Lair </i>is not that of a neanderthal, but a socio-technical network, infusing and advancing debates about the production and consumption of new screen technologies. Far from being the gaming failure posited by evolutionary-minded lay critics, Clarke argues, <i>Dragon’s Lair</i> offers a fascinating provisional solution to still-unsettled questions about screen media.</p><p><br /></p><p><b>Table of Contents:</b></p><p>Acknowledgments</p><p>Introduction</p><p>Chapter 1: <i>Dragon's Lair</i>: The Hardware</p><p>Chapter 2: <i>Dragon's Lair</i>: The Business</p><p>Chapter 3: <i>Dragon's Lair</i>: The Disc</p><p>Chapter 4: <i>Dragon's Lair</i>: The Fantasy</p><p>References</p><p>About the Author</p><p><br /></p><p><b>Author Information:</b></p><p>MJ Clarke is associate professor in TV, film, and media studies at California State University, Los Angeles.</p><p><br /></p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-27127908207527080002022-06-17T00:40:00.003-04:002022-06-17T00:40:20.313-04:00Recent Book: Shakespeare’s Serial Returns in Complex TV<h2 style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwEhmkQH-VEymO0YG1L_0RAtBb0YAu1nZQ8StFFurENnvGLU2x9FqK5X7PjrICUhi_PA9kdK9gpoC9f-M4GXWduZjmpXMe_y8Nh1_4VXFT6_nyxkqI-1TvCNRMbYmRJP28E-LSWi24UavGZP_nNPmOiE-XLfEpKxllrfcUSD6iUiZe6hIzMxukleE/s1162/SSRiCT.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1162" data-original-width="827" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwEhmkQH-VEymO0YG1L_0RAtBb0YAu1nZQ8StFFurENnvGLU2x9FqK5X7PjrICUhi_PA9kdK9gpoC9f-M4GXWduZjmpXMe_y8Nh1_4VXFT6_nyxkqI-1TvCNRMbYmRJP28E-LSWi24UavGZP_nNPmOiE-XLfEpKxllrfcUSD6iUiZe6hIzMxukleE/s320/SSRiCT.jpg" width="228" /></a></div><br /><i>Shakespeare’s Serial Returns in Complex TV</i></h2><p>Authors: Christina Wald</p><p>Palgrave Macmillan, 2020</p><p>Available in hardcover and as an ebook</p><p>Full details at <a href="https://link.springer.com/book/10.1007/978-3-030-46851-4">https://link.springer.com/book/10.1007/978-3-030-46851-4</a></p><p><br /></p><p>Traces Shakespearean influences on, and engagements in, contemporary TV series</p><p>Demonstrates how the serial complexity of current TV shows helps us understand the dramaturgical serialisations in Shakespeare’s plays</p><p>Discusses a range of adaptational strategies that range from deliberate rewritings to ‘non-adaptations' (i.e. to unintentional returns of Shakespearean plots, characters, and motifs)</p><p>Part of the book series: Reproducing Shakespeare (RESH)</p><p><br /></p><p>About this book</p><p>This book examines how Shakespeare’s plays resurface in current complex TV series. Its four case studies bring together <i>The Tempest</i> and the science fiction-Western <i>Westworld</i>, <i>King Lear</i> and the satirical dynastic drama of <i>Succession</i>, <i>Hamlet </i>and the legal thriller <i>Black Earth Rising</i>, as well as <i>Coriolanus </i>and the political thriller <i>Homeland</i>. The comparative readings ask what new insights the twenty-first-century remediations may grant us into Shakespeare’s texts and, vice versa, how Shakespearean returns help us understand topical concerns negotiated in the series, such as artificial intelligence, the safeguarding of democracy, terrorism, and postcolonial justice. This study also proposes that the dramaturgical seriality typical of complex TV allows insights into the seriality Shakespeare employed in structuring his plays. Discussing a broad spectrum of adaptational constellations and establishing key characteristics of the new adaptational aggregate of serial Shakespeare, it seeks to initiate a dialogue between Shakespeare studies, adaptation studies, and TV studies.</p><p><br /></p><p><br /></p><p><br /></p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-69203762163028470522022-06-17T00:23:00.001-04:002022-06-17T00:23:15.084-04:00CFP Disney and the Middle Ages collection (7/15/2022)<i>Apologies for cross-posting;</i><div><br /><h2 style="text-align: left;">Disney and the Middle Ages</h2>source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/disney-and-the-middle-ages">https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/disney-and-the-middle-ages</a></div><div><br />deadline for submissions: <br />July 15, 2022<br /><br />full name / name of organization: <br />Christina M. Carlson, Mariah L. Cooper, and Joshua Parks<br /><br />contact email: <br /><a href="mailto:disneymedievalvolume@gmail.com">disneymedievalvolume@gmail.com</a><br /><br /><br /><br />Call for Papers<br /><br /> Edited Volume on Disney and the Middle Ages<br /><br /> <br /><br />We invite proposals for an edited collection of essays on medievalism in Disney media for Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo. The Walt Disney Company's films, theme parks, and merchandise are full of people, places, and things coded as “medieval,” and because Disney's medievalism is often coded as white and Christian, it is especially relevant to medieval studies' ongoing struggle with white supremacy within and outside the field.<br /><br /> <br /><br />We encourage authors to consider the role of the Walt Disney Company in shaping popular perceptions of the Middle Ages, as well as the function of medievalism in Disney’s ideological projects. How does Disney’s medievalist media represent gender, race, religion, disability, and other features of medieval life? What do those representations reveal about modern life as seen and shaped by Disney?<br /><br /> <br /><br />We welcome submissions from a wide variety of disciplines including literary studies, history, religious studies, gender studies, musicology, art history, and film studies. Critical perspectives such as ecocriticism, animal studies, queer theory, critical race studies, disability studies, material culture, and postcolonial theory are also encouraged. In addition, we welcome submissions from non-medievalist scholars with expertise in twentieth- and twenty-first-century media and culture. <br /><br /> <br /><br />Proposals of 300 to 500 words should be submitted by email to <a href="mailto:disneymedievalvolume@gmail.com">disneymedievalvolume@gmail.com</a> by Friday July 15, 2022. We aim to notify authors about accepted submissions by September 1, 2022. We have been invited to submit this collection for publication in Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo.<br /><br /> <br /><br />Please write to the above email address with any questions, or contact Christina M. Carlson (<a href="mailto:cmcarlson@iona.edu">cmcarlson@iona.edu</a>), Mariah Cooper (<a href="mailto:mlcooper@mun.ca">mlcooper@mun.ca</a>), and/or Joshua Parks (<a href="mailto:joshua.t.parks@gmail.com">joshua.t.parks@gmail.com</a>).<br /><br /> <br />We look forward to hearing from you.<br /><br /> <br /><br /><br />Last updated June 7, 2022<br />This CFP has been viewed 19 times.</div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-87920542228733496642021-11-28T23:54:00.001-05:002021-11-28T23:54:27.195-05:00CFP Shadow Screens: Unmade, Unseen, Unreleased Film and Television Conference (1/31/2022; Sheffield, UK/Online 5/23-24/2022)<h1 style="text-align: left;">Shadow Screens: Unmade, Unseen, Unreleased Film and Television</h1><p>deadline for submissions: January 31, 2022</p><p>full name / name of organization: </p><p>James Fenwick (Sheffield Hallam University) / Kieran Foster (University of Nottingham)</p><p>contact email: j.fenwick@shu.ac.uk</p><p>source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2021/11/18/shadow-screens-unmade-unseen-unreleased-film-and-television">https://call-for-papers.sas.upenn.edu/cfp/2021/11/18/shadow-screens-unmade-unseen-unreleased-film-and-television</a></p><p><br /></p><p>Two-day international conference, 23rd to 24th May 2022 to be held in person at Sheffield Hallam University, Sheffield, UK and online</p><p><br /></p><p>Keynotes: To be confirmed</p><p><br /></p><p>Convenors:</p><p><br /></p><p>Dr James Fenwick (j.fenwick@shu.ac.uk Sheffield Hallam University)</p><p><br /></p><p>Dr Kieran Foster (Kieran.foster@nottingham.ac.uk University of Nottingham)</p><p><br /></p><p>Unmade, unseen, and unreleased films and TV programmes are a burgeoning area of academic study, allowing for the excavation of hidden and lost histories, new insights and perspectives on structural barriers and inequalities in the media industries, and the reframing of the understanding of how the media industries operate. The film and television industries are built on a labour force that has largely worked on projects that were never, and will never, be made, whilst substantial amounts of investment and resource goes towards these unmade projects. The reasons contributing to the unmade are myriad and the industrial scale of these lost projects is staggering. The availability of new archival sources, alongside academic and popular interest, are driving this field of inquiry, which presents opportunities for rethinking film and television history and for the development of counter histories. At the same time, the appeal of ‘lost’ films is furthered by the discovery of unproduced screenplays. As well as books on Kubrick’s Napoleon and The Greatest Movies You’ll Never See, recent years have seen documentary films on ‘lost projects’ such as Lost in La Mancha (2002) and Jodorowsky’s Dune (2013), radio adaptations of unmade films like Welles’s Heart of Darkness, and stage readings of unproduced Hammer horrors such as Vampirella. There are also archives filled with audio-visual footage of outtakes, cuts, and unseen material of films that might have been. Even more tantalising are those archives containing films and television that have been unseen for many decades, lost to time and that have gone unrecorded in official histories.</p><p><br /></p><p>Building on recent works on this topic, including the collection Shadow Cinema: The Historical and Production Contexts of Unmade Film (2020), this conference proposes to examine the unmade, unseen, and unreleased across the full spectrum of film, television, and other screen industries. How can we make sense of the unmade, unseen, and unreleased? How does it impact on current histories of film and television? What are the counter histories that can be constructed? And what does it reveal about the way the film and television industries operate?</p><p><br /></p><p>We invite papers for submission on any aspect of unmade, unseen, and unreleased film, television, and other screen media. Suggested topics include, but are by no means limited to:</p><p></p><ul style="text-align: left;"><li>Gender / racial inequalities and unmade projects</li><li>Structural barriers and the unmade</li><li>The screenplay process: agents, script readers etc</li><li>The unmade as alternative media history</li><li>Archival approaches to the study of the unmade, unseen, and unreleased</li><li>Case studies of unrealised screenplays</li><li>Development hell</li><li>Methodologies for using unmade screenplays as a resource for scholarly research</li><li>Realisations of unmade projects</li><li>Outtakes and unused footage</li><li>Forgotten and unseen films</li><li>Fandom and unmade projects</li><li>The literary status of unproduced screenplays</li><li>Industrial perspectives</li><li>Creative failure</li><li>Other unmade screen industry projects i.e. videogames</li></ul><p></p><p><br /></p><p>Proposals for twenty-minute presentations to be emailed to Dr James Fenwick: j.fenwick@shu.ac.uk and Dr Kieran Foster (kieran.foster@nottingham.ac.uk) with a submission deadline of 31st January 2022. Abstracts should be no more than 250 words and include a 100-word biography.</p><p><br /></p><p>Convenor biographies:</p><p><br /></p><p>Dr Kieran Foster, is a teaching associate in film and television at the University of Nottingham. He is the author of the forthcoming monograph Hammer Goes to Hell: The House of Horrors Unmade Films and co-editor of Shadow Cinema (2020) and Studying the Unmade, Unseen, Unreleased: Theories, Methods, Histories (forthcoming, Intellect).</p><p><br /></p><p>Dr James Fenwick, senior lecturer in Department of Media Arts and Communication at Sheffield Hallam University. Author of Stanley Kubrick Produces (2020) and Unproduction Studies and the American Film Industry (2021) and co-editor of Shadow Cinema (2020) and Studying the Unmade, Unseen, Unreleased: Theories, Methods, Histories (forthcoming, Intellect).</p><p><br /></p><p>There will be a small delegate fee for attendees.</p><p><br /></p><p>Standard delegate fee: £35</p><p>Postgraduate colleagues: £15</p><p><br /></p><p>Last updated November 19, 2021</p>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-17419840097766442392021-09-11T03:06:00.005-04:002021-09-11T03:09:26.154-04:00New from Oxford UP - The Oxford Handbook of Music and Medievalism<div style="text-align: left;"><span style="font-family: inherit;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-lWGkBewzKNQ/YTxT4N8VYBI/AAAAAAAAANc/RHcysHZY_Qkr3MnVmxazvcgM-mXp3chrgCLcBGAsYHQ/s550/OHoMaM.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="550" data-original-width="378" height="320" src="https://1.bp.blogspot.com/-lWGkBewzKNQ/YTxT4N8VYBI/AAAAAAAAANc/RHcysHZY_Qkr3MnVmxazvcgM-mXp3chrgCLcBGAsYHQ/s320/OHoMaM.jpg" width="220" /></a></div>Worth a look for medievalism on screen:</i></span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><h2><span style="font-family: inherit;"><i>The Oxford Handbook of Music and Medievalism </i></span></h2><span style="font-family: inherit;">Edited by Stephen C. Meyer and Kirsten Yri </span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><span style="font-family: inherit;"><span style="color: black;"><a href="https://global.oup.com/academic/product/the-oxford-handbook-of-music-and-medievalism-9780190658441" target="_blank">https://global.oup.com/academic/product/the-oxford-handbook-of-music-and-medievalism-9780190658441</a></span></span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><span style="font-family: inherit;">Oxford Handbooks</span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><span style="font-family: inherit;">Presents a cross-section of a diverse and growing area of study<br />Draws connections between musical styles and eras<br />Approaches topics from multiple disciplinary and thematic perspective<br /></span> <span style="font-family: inherit;"><br /><br /><br />$175.00 (Hardcover)</span></div><div style="text-align: left;"><span style="font-family: inherit;"> </span></div><div style="text-align: left;"><span style="font-family: inherit;">Also Available As: Ebook<br /></span> <span style="font-family: inherit;"><br />Published: 02 March 2020 <br /><br /> 848 Pages | 86 musical examples; 34 illustrations <br /><br /> 6-3/4 x 9-3/4 inches <br /><br />ISBN: 9780190658441 <br /><br /><br /></span> <span style="font-family: inherit;"><br /><br /><b>Description</b><br /><br /><i>The Oxford Handbook of Music and Medievalism</i> provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's <i>Carmina Burana</i> or Peter Jackson's <i>Lord of the Rings</i> films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film <i>Excalibur </i>and also less familiar examples such as Eduard Lalo's <i>Le Roi d'Ys</i>. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.<br /><br /><br /><br /><b>Table of Contents </b><br /></span> <span style="font-family: inherit;"><br /><br />Introduction [Stephen Meyer and Kirsten Yri] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 1: Romanticizing the Medieval: The Longing for the Middle Ages in the Nineteenth Century <br />1. Medievalisms in Early Nineteenth-Century German Thought [Laura K. T. Stokes]<br />2. From Knight Errant to Family Man: Romantic Medievalism and Domesticity in Brahms's <i>Romanzen aus L. Tieck's Schöne Magelone</i>, op. 33 (1865, 1869) [Marie Sumner Lott]<br />3. Liszt's Medievalist Modernism [Balázs Mikusi]<br />4. Soldiers and Censors: Verdi's Medieval Imagination [Liana Püschel]<br />5. The Distant Past as Mirror and Metaphor:ÂPortraying Medievalism in Historical French Grand Operas [Diana Hallman]<br />6. Medievalism and Regionalist Identity in Lalo's <i>Le Roi d'Ys </i>[Elinor Olin]<br />7. Romantic Medievalist Nationalism in Schumann's <i>Genoveva</i>, Then and Now [Michael S. Richardson]<br />8. The Middle Ages in Richard Wagner's Music Dramas [Barbara Eichner] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 2: Performing the Middle Ages <br />9. Medievalism at the University: Collegia and Choral Societies [Jacob Sagrans]<br />10. Medieval Folk in the Revivals of David Munrow [Edward Breen]<br />11. Re-sounding Carl Dreyer's <i>La Passion de Jeanne d'Arc</i> [Donald Greig] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 3: Medievalism and Compositional Practice in the Twentieth Century <br />12. Medievalism and Anti-Romanticism in Carl Orff's <i>Carmina Burana</i> [Kirsten Yri]<br />13. Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins [Lisa Colton]<br />14. Hucbald's Fifths and Vaughan Williams's <i>Mass</i>: The New Medieval in Britain Between the Wars [Deborah Heckert]<br />15. The Return of <i>Ars subtilior</i>?: Rhythmic Complexity and Appeal of Codex Chantilly Six Hundred Years Hence [Aleksandra Vojcic]<br />16. Miserere: Arvo Pärt and the Medieval Present[Laura Dolp]<br />17. The Postmodern Troubadour [Anne Stone] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 4: Reimagining the Medieval Woman <br />18. Tolling Bells and Otherworldly Voices: Joan of Arc's Sonic World in the Early Twentieth Century [Elizabeth Dister]<br />19. Medievalism and Rued Langgaard's Romantic Image of Queen Dagmar [Nils Holger-Petersen]<br />20. Nature, Vision, and Light in <i>Vision-Aus dem Leben der Hildegard von Bingen</i> [Jennifer Bain]<br />21. Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch [Gillian L. Gower] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 5: Echoes of the Middle Ages in Folk, Rock, and Metal <br />22. Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles [Elizabeth Upton]<br />23. "Ramble On": Medievalism as Nostalgic Practice in Led Zeppelin's use of J. R. R. Tolkien [Caitlin Carlos]<br />24. A Gothic Romance: Neomedieval Echoes of <i>Fin'amor</i> in Gothic and Doom Metal [Ross Hagen]<br />25. Viking Metal [Simon Trafford]<br />26. Medievalism and Identity Construction in Pagan Folk Music [Scott R. Troyer] </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br />Section 6: Medievalism of the Screen <br />27. From the Music of the Ainur to the Music of the Voiceover: Sounding Medievalism in <i>The Lord of the Rings</i> [Stephen C. Meyer]<br />28. Faith, Fear, Silence and Music in Ingmar Bergman's Medieval Vision of <i>The Virgin Spring</i> and <i>The Seventh Sea</i>l [Alexis Luko]<br />29. Hope Against Fate or Fata Morgana? Music and Mythopoiesis in Boorman's <i>Excalibur </i>[David Clem]<br />30. The Many Musical Medievalisms of Disney [John Haines]<br />31. Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America [James Deaville]<br />32. Fantasy Medievalism and Screen Media[James Cook]<br />33. Gaming the Medievalist World in Harry Potter [Karen M. Cook] <br /></span> <span style="font-family: inherit;"><br /></span> <span style="font-family: inherit;"><br /><b>Author Information </b><br /></span> <span style="font-family: inherit;"><br /><br />Stephen C. Meyer is Professor of Musicology at the University of Cincinnati's College-Conservatory of Music. He is the author of Carl Maria von Weber and the Search for a German Opera (2003) and Epic Sound: Music in Postwar Hollywood Biblical Films (2015) as well as numerous articles on topics ranging from nineteenth-century German opera to film music to the history of recorded sound. He is editor of Music in Epic Film: Listening to Spectacle (2016), and from 2014 to 2018 he served as the Editor-in-Chief for the Journal of Music History Pedagogy.<br /><br />Kirsten Yri is Associate Professor of Musicology at the Faculty of Music at Wilfrid Laurier University in Canada. She has published widely on the role of the early music revival and the intersections between music and medievalism in American Music, Intersections, Early Music, and Women and Music. Her work on medievalism and rock music (Dead Can Dance, Black Sabbath, and Corvus Corax) has been published in Current Musicology, Popular Music, and Postmedieval. Her recent research examines parody, gender, and social programs in Carl Orff's Trionfi against a context of German contemporary literary and philosophical debates. <br />Contributors: <br /></span> <span style="font-family: inherit;"><br /><br />Jennifer Bain, Professor of Music, Dalhousie University<br /><br />Edward Breen, Coordinator of the Music Department, The City Literary Institute, London<br /><br />Caitlin Vaughn Carlos, Adjunct Faculty, Chapman University<br /><br />David Clem, Instructor of Music History, Greatbatch School of Music, Houghton College<br /><br />Lisa Colton, Reader in Musicology, University of Huddersfield<br /><br />James Cook, Lecturer in Early Music, University of Edinburgh<br /><br />Karen M. Cook, Assistant Professor of Music History, The Hartt School of the University of Hartford<br /><br />James Deaville, Professor, School for Studies in Art & Culture: Music at Carleton University<br /><br />Elizabeth Dister, Webster University Faculty Development Center<br /><br />Laura Dolp, Associate Professor, Montclair State University <br /><br />Barbara Eichner, Senior Lecturer in Music, Oxford Brookes University<br /><br />Gillian L. Gower, Visiting Assistant Professor of Musicology, Southern Methodist University<br /><br />Donald Greig, Founding Member, The Orlando Consort<br /><br />Ross Hagen, Assistant Professor of Music Studies, Utah Valley University<br /><br />John Haines, Professor of Music and Medieval Studies, University of Toronto <br /><br />Diana R. Hallman, Associate Professor, University of Kentucky<br /><br />Deborah Heckert, Department of Music, Stony Brook University<br /><br />Alexis Luko, Associate Professor of Music, School for Studies in Art & Culture and the College of the Humanities at Carleton University <br /><br />Stephen Meyer, Professor of Musicology, College-Conservatory of Music of the University of Cincinnati<br /><br />Balázs Mikusi, Head of Music, National Széchényi Library in Budapest since 2009<br /><br />Elinor Olin, Music History Faculty, Northern Illinois University<br /><br />Nils Holger Petersen, Associate Professor emeritus of Church History, University of Copenhagen<br /><br />Liana Püschel, Teaching Assistant of Musicology, Università degli studi di Torino, Humanities Faculty<br /><br />Michael S. Richardson, Assistant Professor of Musicology, University of St. Thomas<br /><br />Jacob Sagrans, Independent Scholar, Editor, Administrator, and Choral Performer<br /><br />Laura K. T. Stokes, Performing Arts Librarian and Visiting Lecturer in Music, Brown University<br /><br />Anne Stone, Associate Professor of Musicology, Graduate Center of the City University of New York<br /><br />Marie Sumner Lott, Associate Professor of Music History, Georgia State University in Atlanta<br /><br />Simon Trafford, Lecturer in Medieval History, Institute of Historical Research, University of London<br /><br />Scott R. Troyer, Ph.D. candidate, University of Cincinnati College-Conservatory of Music<br /><br />Elizabeth Randell Upton, Associate Professor of Musicology, UCLA<br /><br />Aleksandra Vojcic, Associate Professor of Music Theory, The University of Michigan<br /><br />Kirsten Yri, Associate Professor of Musicology, Wilfrid Laurier University </span></div><div style="text-align: left;"><span style="font-family: inherit;"><br /><br /></span> </div>Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-3252098506048614262021-07-17T22:32:00.005-04:002021-07-17T22:37:13.662-04:00Now in paperback: From Medievalism to Early-Modernism <p style="text-align: left;"><span style="font-family: verdana;"><span><i> </i></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><span><i><a href="https://1.bp.blogspot.com/-piRh0-VLsfw/YPOSBBte7yI/AAAAAAAAAM8/Rj4c9BR7lkgSNAbL7bNCKX3peb9ZLW0tQCLcBGAsYHQ/s1254/9780367664725.tif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1254" data-original-width="827" height="320" src="https://1.bp.blogspot.com/-piRh0-VLsfw/YPOSBBte7yI/AAAAAAAAAM8/Rj4c9BR7lkgSNAbL7bNCKX3peb9ZLW0tQCLcBGAsYHQ/s320/9780367664725.tif" /></a></i></span></span></div><span style="font-family: verdana;"><span><i>Out now in paperback. Definitely worth a look. </i><br /><br /></span></span><h2 style="text-align: left;"><span style="font-family: verdana;"><span> From Medievalism to Early-Modernism: Adapting the English Past </span></span></h2><p><span style="font-family: verdana;"><span> Edited by Marina Gerzic and Aidan Norrie<br /></span></span> <span style="font-family: verdana;"><span><br /> Copyright Year 2019 <br /></span></span> <span style="font-family: verdana;"><span><br />Paperback ISBN 9780367664725<br /><br /> Published September 30, 2020 by Routledge <br /> 284 Pages </span></span></p><p><span style="font-family: verdana;"><span>Available at <a href="https://www.routledge.com/From-Medievalism-to-Early-Modernism-Adapting-the-English-Past/Gerzic-Norrie/p/book/9780367664725">https://www.routledge.com/From-Medievalism-to-Early-Modernism-Adapting-the-English-Past/Gerzic-Norrie/p/book/9780367664725</a>. <br /></span></span> <span style="font-family: verdana;"><span><br /></span></span> <span style="font-family: verdana;"><span><br /></span></span> <span style="font-family: verdana;"><span><br /><b>Book Description </b><br /><br /></span></span> <span style="font-family: verdana;"><span><i>From Medievalism to Early-Modernism: Adapting the English Past</i> is a collection of essays that both analyses the historical and cultural medieval and early modern past, and engages with the medievalism and early-modernism—a new term introduced in this collection—present in contemporary popular culture. By focusing on often overlooked uses of the past in contemporary culture—such as the allusions to John Webster’s <i>The Duchess of Malfi</i> (1623) in J.K. Rowling’s <i>Harry Potter</i> books, and the impact of intertextual references and internet fandom on the BBC’s <i>The Hollow Crown: The Wars of the Roses</i>—the contributors illustrate how cinematic, televisual, artistic, and literary depictions of the historical and cultural past not only re-purpose the past in varying ways, but also build on a history of adaptations that audiences have come to know and expect. <i>From Medievalism to Early-Modernism: Adapting the English Past</i> analyses the way that the medieval and early modern periods are used in modern adaptations, and how these adaptations both reflect contemporary concerns, and engage with a history of intertextuality and intervisuality.<br /></span></span></p><p><span style="font-family: verdana;"><span><br /></span></span> <span style="font-family: verdana;"><span><br /><b>Table of Contents </b><br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />Acknowledgements <br /><br />List of Figures <br /><br />Notes on Contributors <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />1. Introduction: Medievalism and Early-Modernism in Adaptations of the English Past <br /><br />Marina Gerzic and Aidan Norrie <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />Section I: Cultural Medievalism and Early-Modernism <br /><br />2. Wonder Woman and the <i>Nine Ladies Worthy</i>: The Male Gaze and what it takes to be a ‘Worthy Woman’ <br /><br />Simone Celine Marshall <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />3. The King, the Sword, and the Stone: The Recent Afterlives of King Arthur <br /><br />Sarah Gordon <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />4. Brand Chaucer: The Poet and the Nation <br /><br />Martin Laidlaw <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />5. Moving between Life and Death: Horror films and the Medieval Walking Corpse <br /><br />Polina Ignatova <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />6. From <i>Cabaret </i>to <i>Gladiator</i>: Refiguring Masculinity in Julie Taymor’s <i>Titus </i><br /><br />Marina Gerzic <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />7. "There’s My Exchange": The Hogarth Shakespeare <br /><br />Sheila T. Cavanagh <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />8. Bloody Brothers and Suffering Sisters: <i>The Duchess of Malfi</i> and Harry Potter <br /><br />Lisa Hopkins <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />Section II: Historical Medievalism and Early-Modernism <br /><br />9. Playing in a Virtual Medieval World: Video Game Adaptations of England through Role-play <br /><br />Ben Redder <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />10. "I can piss on Calais from Dover": Adaptation and Medievalism in Graphic Novel Depictions of the Hundred Years’ War (1337–1453) <br /><br />Iain A. MacInnes <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />11. Beyond "tits and dragons": Medievalism, Medieval History, and Perceptions in <i>Game of Thrones</i> <br /><br />Hilary Jane Locke <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />12. Re-fashioning Richard III: Intertextuality, Fandom, and the (Mobile) Body in <i>The Hollow Crown: The Wars of the Roses</i> <br /><br />Marina Gerzic <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />13. The Many Afterlives of Elizabeth Barton <br /><br />Annie Blachly <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />14. The Queen, the Bishop, the Virgin, and the Cross: Catholicism versus Protestantism in <i>Elizabeth </i><br /><br />Aidan Norrie <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />15. "Unseen but very evident": Ghosts, Hauntings, and the Civil War Past <br /><br />Michael Durrant <br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br />Index<br /><br /></span></span> <span style="font-family: verdana;"><span><br /></span></span> <span style="font-family: verdana;"><span><br /></span></span> <span style="font-family: verdana;"><span><br /><b>Editor(s) Biography </b><br /><br /></span></span> <span style="font-family: verdana;"><span><br />Marina Gerzic works for the Centre for Medieval and Early Modern Studies at The University of Western Australia, in both research and administrative roles. She also works as the Executive Administrator for the Australian and New Zealand Association for Medieval and Early Modern Studies, and as the editorial assistant for the academic journal <i>Parergon</i>. She has published articles on film and adaptation theory, Shakespeare, pedagogy, cinematic music, cultural studies, science fiction, comics and graphic novels, and children’s literature.<br /><br /><br /><br />Aidan Norrie is a historian of monarchy, and is currently a Chancellor’s International Scholar in the Centre for the Study of the Renaissance at The University of Warwick. He is the editor, with Lisa Hopkins, of <i>Women on the Edge in Early Modern Europe</i> (Amsterdam University Press); and, with Mark Houlahan, of <i>On the Edge of Early Modern English Drama </i>(MIP University Press).<br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br /></span></span> <span style="font-family: verdana;"><span><br /><br /></span></span></p>Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-8777780077033157872021-06-26T01:11:00.006-04:002021-06-26T01:11:30.221-04:00Coming Soon from Mcfarland: Knights Templar in Popular Culture<p style="text-align: left;"><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://1.bp.blogspot.com/-7RkjJQT_yUI/YNa2uqhJO3I/AAAAAAAAAMo/REl2WSLC6rME7DVSQuBTQmTEF4H3u2yTgCLcBGAsYHQ/s750/KTiPC.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="750" data-original-width="500" height="320" src="https://1.bp.blogspot.com/-7RkjJQT_yUI/YNa2uqhJO3I/AAAAAAAAAMo/REl2WSLC6rME7DVSQuBTQmTEF4H3u2yTgCLcBGAsYHQ/w213-h320/KTiPC.jpg" width="213" /></a></i></div><i>Just announced:</i><br /><br /><p></p><h2 style="text-align: left;"><i>The Knights Templar in Popular Culture: Films, Video Games and Fan Tourism</i></h2><p style="text-align: left;">Full details at <a href="https://mcfarlandbooks.com/product/the-knights-templar-in-popular-culture/">https://mcfarlandbooks.com/product/the-knights-templar-in-popular-culture/</a><br /></p><p>Patrick Masters<br /> New 2021<br />Not Yet Published</p><p>Available for pre-order at $39.95 <br /><br />Format: softcover (6 x 9)<br /> Pages: TBA<br /> Bibliographic Info: appendix, bibliography, index<br /> Copyright Date: 2021<br /> pISBN: 978-1-4766-8197-9<br /> eISBN: 978-1-4766-4571-1<br /> Imprint: McFarland<br /><br /> <br /> Patrick Masters has published writings on the Knights Templar in The Conversation and The Independent. He lives in the UK. <br /><br /> </p>Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-40125662630847498492021-05-05T21:33:00.008-04:002021-05-05T21:33:49.963-04:00CFP: Work & Play: 2021 Literature/Film Association Conference (7/1/21; New Orleans 10/21-23/21)<p> </p><form action="https://www.paypal.com/cgi-bin/webscr" method="post" target="_top">
<h3><span style="color: black;"><b>WORK & PLAY</b></span></h3>
<h4><span style="font-family: verdana, sans-serif;"><b>202</b><b>1 Literature/Film Association Conference </b></span></h4>
<h4><b><span style="font-family: verdana, sans-serif;">New Orleans, Louisiana, USA </span></b></h4>
<h4><b><span style="font-family: verdana, sans-serif;">October 21 to October 23, 2021 </span></b></h4><h4><b><span style="font-family: verdana, sans-serif;">(further details and link to registration at <a href="http://litfilm.org/conference/">http://litfilm.org/conference/</a>)<br /></span></b></h4><h4><b><span style="font-family: verdana, sans-serif;"> <br /></span></b></h4>
<p><span style="font-family: verdana, sans-serif;">Keynote: Vicki Mayer, Tulane University </span></p>
<p><span style="font-family: verdana, sans-serif;">Holding the annual
conference of the Literature/Film Association in New Orleans raises
questions of labor and leisure in relation to adaptation in the study of
literature, film, and media. Not only has the city served as the home
to writers and filmmakers, but it also has become a major media capital
in its own right, enticing television and film production with tax
incentives and its distinctive culture. As “work” and “play” have
motivated a good deal of recent scholarship across literature, film, and
media studies, we invite presentations that put these concerns in
conversation with adaptation, broadly defined. While we welcome papers
on any aspect of film and media studies, we are especially interested in
presentations that address one or more of the following concerns
regarding work or play: </span></p>
<ul type="disc"><li><span style="font-family: verdana, sans-serif;">the work behind adapting into a different medium </span></li><li><span style="font-family: verdana, sans-serif;">labor and cultural production </span></li><li><span style="font-family: verdana, sans-serif;">authorship and adaptation </span></li><li><span style="font-family: verdana, sans-serif;">the workplace as cultural intersection/metaphor in literature, film, and media </span></li><li><span style="font-family: verdana, sans-serif;">production studies and below-the-line labor </span></li><li><span style="font-family: verdana, sans-serif;">play in cultural production </span></li><li><span style="font-family: verdana, sans-serif;">teaching adaptation and adapting teaching </span></li><li><span style="font-family: verdana, sans-serif;">labor, social change, and adaptation </span></li><li><span style="font-family: verdana, sans-serif;">adaptation as textual play </span></li><li><span style="font-family: verdana, sans-serif;">game play as adaptation </span></li><li><span style="font-family: verdana, sans-serif;">games as adaptations or adapting games </span></li><li><span style="font-family: verdana, sans-serif;">play in analyzing and interpreting text </span></li><li><span style="font-family: verdana, sans-serif;">plays as adaptations or adapting plays into a different medium </span></li><li><span style="font-family: verdana, sans-serif;">performance as adaptation </span></li></ul>
<p><span style="font-family: verdana, sans-serif;">We also have
significant interest in general studies of American and international
cinema, film and technology, television, new media, and other cultural
or political issues connected to the moving image. In addition to
academic papers, presentation proposals about pedagogy or from creative
writers, artists, and filmmakers are also welcome. </span></p>
<p><span style="font-family: verdana, sans-serif;"> </span></p>
<p><span style="font-family: verdana, sans-serif;">Vicki Mayer is
Professor of Communication at Tulane University. Her research
encompasses media and communication industries, their political
economies, infrastructures, and their organizational work cultures. Her
publications seek to theorize and illustrate how these industries shape
workers and how media and communication work shapes workers and
citizens. Her theories inform her work in the digital humanities and
pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her
books include <i>Producing Dreams, Consuming Youth: Mexican Americans and Mass Media</i>; <i>Below the Line: Producers and Production Studies in the New Television Economy</i>; and <i>Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy</i>. </span></p>
<p><span style="font-family: verdana, sans-serif;"> </span></p>
<p><span style="font-family: verdana, sans-serif;">Please submit your proposal via <a data-saferedirecturl="https://www.google.com/url?q=https://nam11.safelinks.protection.outlook.com/?url%3Dhttps%253A%252F%252Fforms.gle%252FXoteqgvNCbjCwwWw5%26data%3D04%257C01%257Cpkunze%2540tulane.edu%257C36e089a73d50415111f108d8f9c9e681%257C9de9818325d94b139fc34de5489c1f3b%257C1%257C0%257C637533992842131907%257CUnknown%257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%253D%257C1000%26sdata%3D3QATdNRF1nPhQrYGZZxek1hWjFrwAA02FCLTwVnP%252BMU%253D%26reserved%3D0&source=gmail&ust=1618340725290000&usg=AFQjCNGAxjFMusFw-Sw2FX25Qz8iZD5Zfw" href="https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fforms.gle%2FXoteqgvNCbjCwwWw5&data=04%7C01%7Cpkunze%40tulane.edu%7C36e089a73d50415111f108d8f9c9e681%7C9de9818325d94b139fc34de5489c1f3b%7C1%7C0%7C637533992842131907%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C1000&sdata=3QATdNRF1nPhQrYGZZxek1hWjFrwAA02FCLTwVnP%2BMU%3D&reserved=0" rel="noopener" target="_blank">this link</a> by July 1, 2021. If you have any questions or concerns, contact Pete Kunze at <a href="mailto:litfilmconference@gmail.com" rel="noopener" target="_blank">litfilmconference@gmail.com</a><wbr></wbr>.
Accepted presenters will be notified by July 15, and the conference
program will be available by August 1. We anticipate being in person,
but we will follow CDC guidelines accordingly.</span></p>
<p><span style="font-family: verdana, sans-serif;">The conference hotel
rate of $199/night is available at the Four Points Sheraton French
Quarter. Limited travel grant support is planned to be available for
select graduate students, non-tenure-track faculty, and/or independent
scholars and artists. We also will award Best Graduate Student Paper.
Details for an added application process for such support will be shared
following proposal acceptances in July. </span></p>
<p><span style="font-family: verdana, sans-serif;">The conference
registration fee is $200 ($150 for students and retirees) before October
1, 2021 and $225 ($175 for students and retirees) thereafter. All
conference attendees must also be current members of the Literature/Film
Association. Annual dues are $20. To register for the conference and
pay dues following acceptance of your proposal, select your registration
and click on the PayPal “Buy Now” button below that will take you to
where you can sign in to your PayPal account and complete the
transaction. </span></p>
<p><span style="font-family: verdana, sans-serif;"> </span></p>
<p><span style="font-family: verdana, sans-serif;">Presenters will be invited to submit their work to the <i>Literature/Film Quarterly</i> for potential publication. For details on the journal’s submission requirements, visit <a data-saferedirecturl="https://www.google.com/url?q=https://nam11.safelinks.protection.outlook.com/?url%3Dhttp%253A%252F%252Fwww.salisbury.edu%252Flfq%26data%3D04%257C01%257Cpkunze%2540tulane.edu%257C36e089a73d50415111f108d8f9c9e681%257C9de9818325d94b139fc34de5489c1f3b%257C1%257C0%257C637533992842141902%257CUnknown%257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%253D%257C1000%26sdata%3DjBFmvngVAPUVlTLRlSRTofAVRvDAwIGCHYln3AbWFd8%253D%26reserved%3D0&source=gmail&ust=1618340725291000&usg=AFQjCNHzPzseRdeQ0fkUksn_oCDHkopEWA" href="https://nam11.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.salisbury.edu%2Flfq&data=04%7C01%7Cpkunze%40tulane.edu%7C36e089a73d50415111f108d8f9c9e681%7C9de9818325d94b139fc34de5489c1f3b%7C1%7C0%7C637533992842141902%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C1000&sdata=jBFmvngVAPUVlTLRlSRTofAVRvDAwIGCHYln3AbWFd8%3D&reserved=0" rel="noopener" target="_blank">here</a>. </span></p>
</form>
Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-15944034687054144442021-03-24T17:17:00.003-04:002021-03-24T18:57:23.746-04:00Medievalisms on the Screen Conference Schedule Posted<div style="background-color: white; font-family: Georgia, "Times New Roman", "DejaVu Serif", serif; font-weight: normal; line-height: 1.5em; margin-bottom: 0.75em; margin-top: 0.75em; text-align: left;"><i>Here's the <a href="https://medievalstudies.ceu.edu/article/2021-03-24/medievalisms-screen-representation-middle-ages-audiovisual-media-21st-century" target="_blank">updated press release</a> for the conference. Try this<a href="https://docs.google.com/forms/d/1wUduTiR173XVzPQ7P0TxVcXtDXcse1F5WeodK_iToJY/viewform?edit_requested=true" target="_blank"> alternate link to register</a>. (My thanks to June-Ann Greely for the head's up.)<br /></i><br /></div><h1 class="title" id="page-title" style="background-color: white; font-family: Georgia, "Times New Roman", "DejaVu Serif", serif; font-weight: normal; line-height: 1.5em; margin-bottom: 0.75em; margin-top: 0.75em;">Medievalisms on the Screen: The Representation of the Middle Ages in Audiovisual Media in the 21st Century</h1><div class="panel-display burr-flipped clearfix radix-burr-flipped" style="background-color: white; font-family: "Open Sans", sans-serif; font-size: 16px;"><div class="container-fluid"><div class="row" style="box-sizing: border-box; margin-left: -15px; margin-right: -15px;"><div class="col-md-8 radix-layouts-content panel-panel" style="box-sizing: border-box; float: left; min-height: 1px; padding-left: 15px; padding-right: 15px; position: relative; width: 578.328px;"><div class="panel-panel-inner"><div class="panel-pane pane-node-created" style="color: #666666; font-size: 13.28px; padding-bottom: 12px;"><div class="pane-content">March 24, 2021</div></div><div class="panel-pane pane-entity-field pane-node-body"><div class="pane-content"><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even"><p style="margin: 0px 0px 1.5em; text-align: center;"><strong>Medievalisms on the Screen: The Representation of the Middle Ages in Audiovisual Media in the 21st Century (April 29 - May 1, 2021)</strong></p><p style="margin: 1.5em 0px; text-align: center;"><img alt="" class="media-element file-default panopoly-image-original" data-delta="1" src="https://medievalstudies.ceu.edu/sites/medievalstudies.ceu.edu/files/styles/panopoly_image_original/public/media_browser/assassins_creed_screenshot.jpg?itok=khatTJVm" style="border: 0px; height: auto; max-width: 100%; vertical-align: bottom;" /></p><p style="margin: 1.5em 0px;"><em><strong>Register <a href="https://docs.google.com/forms/d/1wUduTiR173XVzPQ7P0TxVc%20XtDXcse1F5WeodK_iToJY/edit" style="color: #00a9d5; text-decoration-line: none;">here</a> to follow the conference online. </strong></em></p><div class="WordSection1"><p style="margin: 0px 0px 1.5em;">The technological advancements in audiovisual production that have taken place in the first two decades of the 21st century have accentuated the multiple representations of the Middle Ages in popular media. The explosion of the video game industry, the refinement of digital technologies for the re-creation of historical locations and spaces, and the popularization of streaming services, like YouTube and Netflix, have all fostered an increase in platforms for representing the medieval past. Be it the crusaders of <i>Assassin’s Creed</i> (2007) or the Scandinavian world of <i>Vikings </i>(2013-2020), the fantasy universe of <i>Game of Thrones </i>(2011-2019), bands like Rhapsody of Fire<i> </i>or the hack-and-slash hell of <i>Dante’s Inferno </i>(2011), it is a non-academic version of the past that is more familiar to the general public.</p><p style="margin: 1.5em 0px;">The ways in which media affects our perception of the past have real-world ramifications. Specific, distorted representations of the Middle Ages have served as fuel for acts of violence and contributed to the rise of authoritarian, xenophobic, and racist political agendas. Interestingly, this process has gone past traditional “medieval” scenarios and entered into a more global arena: the 2015 Indian film <i>Padmaavati </i>exacerbated tensions in Hindu-Muslim relations in some regions of the subcontinent, further highlighting the close connections among media production, politics, and representations of the past.</p><p style="margin: 1.5em 0px;">The purpose of this interdisciplinary PhD conference is to explore the characteristics and implications of calling an audiovisual product “medieval” in the 21st century. From products that purposely undermine their own historicity like <i>A Knight’s Tale </i>(2001) to those that rely on “accuracy” as part of their advertisement, such as certain videogames, from “Europe-based” productions like <i>Dark Souls</i> to Netflix’s <i>Kingdom </i>(2019) set in Korea, or Team Ninja’s <i>Nioh </i>(2017) set in Japan, we have invited contributions from every area of knowledge relevant to this discussion. Topics might include but are not limited to:</p></div><ul style="margin: 1.5em 0px; padding: 0px 0px 0px 30px;"><li><i>Global Middle Ages in popular media</i></li><li><i>Media and national identity</i></li><li><i>Accuracy vs. authenticity</i></li><li><i>Gender relations in medieval productions</i></li><li><i>Magic and the supernatural</i></li><li><i>Political histories and their (sub)conscious implications</i></li><li><i>Middle Ages and fantasy</i></li><li><i>Rock music and the Middle Ages</i></li><li><i>Screenwriting, cinematography, and representation</i></li><li><i>Gameplay mechanics, coding, and procedural rhetoric</i></li><li><i>History popularization and education</i></li><li><i>LARPers and the Middle Ages</i></li><li><i>Museums, memory, and cultural institutions </i></li></ul><p style="margin: 1.5em 0px;"><i>Organizing team: Juan Manuel Rubio Arévalo (main organizer), </i><em>Karolina Anna Kotus, Vania Buso, Halil Evren Sünnetcioglu, Juan Bautista Juan López</em></p><p style="margin: 1.5em 0px;"><em><br /></em></p></div></div></div></div></div></div></div></div></div></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-13598801246501552472021-03-24T17:12:00.002-04:002021-03-24T17:12:15.924-04:00Belated News: Medievalism on the Screen Conference <i>Sorry to have missed this earlier. H-Net is not my favorite resource for CFPs.<br /></i><br /><h2 style="text-align: left;">Call for Papers!: Medievalism on the Screen: The representation of the Middle Ages in Audiovisual Media in the 21st century</h2><div>Source: <a href="https://networks.h-net.org/node/73374/announcements/6899944/call-papers-medievalism-screen-representation-middle-ages">https://networks.h-net.org/node/73374/announcements/6899944/call-papers-medievalism-screen-representation-middle-ages</a></div><div><br />Announcement published by Juan Rubio on Wednesday, December 2, 2020</div><div><br />Type: Call for Papers</div><div><br />Date: February 1, 2021 to May 3, 2021</div><div><br />Location: Austria<br /><br /><br />Medievalisms on the Screen.<br /><br />The representation of the Middle Ages in Audiovisual Media in the 21st century (April 29th-May 1st 2021)<br /><br />PhD Conference, Department of Medieval Studies<br /><br />Central European University, Budapest/Vienna<br /><br />The technological advancements in audiovisual production that have taken place in the first two decades of the 21st century have accentuated the multiple representations of the Middle Ages in popular media. The explosion of the videogame industry, the refinement in digital technologies for the recreation of past spaces, and the popularization of streaming services like YouTube and Netflix have all allowed for an increase in the venues for the representation of the medieval past. Be it the crusaders of Assassin’s Creed (2007) or the Scandinavian world of Vikings (2013-2020); from the fantasy universe of Game of Thrones (2011-2019) or bands like Rhapsody of Fire, to the hack-n-slash hell of Dante’s Inferno (2011), it is a non-academic version of the past which is more familiar to the general public.<br /><br />The way in which media affects our perceptions of the past have real-world ramifications. A specific distorted version of the Middle Ages has served as fuel for acts of violence and the rise of authoritarian, xenophobic and racist political agendas. Interestingly, this is a process that has gotten outside of traditional “medieval” scenarios into a more global arena: the 2015 Indian film Padmaavati exacerbated Hindu-Muslim relations in some regions of the sub-continent, further highlighting the relation between media and politics regarding the representation of the past.<br /><br />The purpose of this PhD interdisciplinary conference is to explore the characteristics and implications of calling an audiovisual product “medieval” in the 21st century. From products that purposely undermine their own historicity like A Knight’s Tale (2001), to those that rely on “accuracy” as part of their advertisement as in the case of videogames; from “European-based” productions like Dark Souls, to Netflix’s Kingdom (2019) set in Korea or Team Ninja’s Nioh (2017) set in Japan, we invite contributions from every area of knowledge relevant to this discussion.<br /><br />Topics might include, but are not limited to:<br /><br /><ul style="text-align: left;"><li>Periodization and setting</li><li>Gender relations in medieval productions</li><li>Middle ages and pedagogy</li><li>(Sub)conscious political implications</li><li>Middle-ages and fantasy</li><li>Rock music and the middle ages</li><li>Accuracy vs. authenticity</li><li>Global middle ages in popular media</li><li>Media and national identity</li><li>Production, screenwriting and representation</li><li>Gameplay mechanics, coding and procedural rhetoric</li><li>LARPERS and the middle ages</li><li>Museums, memory and cultural institutions</li></ul><br />Paper proposals, no longer than 400 words in length for a paper between 25 to 30 minutes, should be sent to the organizers (e-mail account) no later than February 1st, 2021. The full slate of selected papers will be announced within two weeks after the submission deadline.<br />Contact Info: <br /><br /><br />Juan Manuel Rubio Arévalo: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: <a href="https://medievalstudies.ceu.edu/people/juan-manuel-rubio-arevalo">https://medievalstudies.ceu.edu/people/juan-manuel-rubio-arevalo</a><br /><br />Karolina Anna Kotus: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: <a href="https://medievalstudies.ceu.edu/people/karolina-anna-kotus">https://medievalstudies.ceu.edu/people/karolina-anna-kotus</a><br /><br />Juan Bautista Juan López:PhD candidate in Medieval Studies, Central European University, Austria/Vienna: <a href="https://medievalstudies.ceu.edu/people/juan-bautista-juan-lopez">https://medievalstudies.ceu.edu/people/juan-bautista-juan-lopez</a></div><div><br />Contact Email: <a href="mailto:rubio-arevalo_juan@phd.ceu.edu">rubio-arevalo_juan@phd.ceu.edu</a></div><div><br />URL:<a href="https://medievalstudies.ceu.edu/">https://medievalstudies.ceu.edu/</a><br /><br /><br /><br /><br /><br /><br /></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-45372249650843520012021-03-15T19:10:00.002-04:002021-03-15T19:10:10.019-04:00CFP Shakespeare on Television: Seminar (4/1/21; World Shakespeare Conference remote 7/18-24/21)<h2 style="text-align: left;">DEADLINE EXTENDED: Shakespeare on Television: Seminar at the WSC 2021 (online)</h2>Source: <a href="https://call-for-papers.sas.upenn.edu/cfp/2021/03/12/deadline-extended-shakespeare-on-television-seminar-at-the-wsc-2021-online">https://call-for-papers.sas.upenn.edu/cfp/2021/03/12/deadline-extended-shakespeare-on-television-seminar-at-the-wsc-2021-online</a><div><br />deadline for submissions: <br />April 1, 2021<br /><br />full name / name of organization: <br />World Shakespeare Congress, Singapore<br /><br />contact email: <br /><a href="mailto:retowinckler@gmail.com">retowinckler@gmail.com</a><br /><br /><br /><br />We hereby welcome contributions to the seminar “Shakespeare on Television” for the 11th World Shakespeare Congress: Shakespeare Circuits (Singapore, 18-24 July 2021), to be held online. <br /><br />If you are interested, please send a short abstract between 100 and 300 words and your short bio by April 1, 2021 to the listed email address and enrol for our seminar by making it your first choice on the form on the conference website (<a href="http://139.196.28.181:9090/wsc2021/Seminars.html#form-tag">http://139.196.28.181:9090/wsc2021/Seminars.html#form-tag</a>).<br /><br />Seminar Description<br /><br />26. Shakespeare on Television<br /><br />Convenors: Victor Huertas MARTIN (University of Valencia, Spain) and Reto WINCKLER (South China Normal University, China)<br /><br />The reception history of Shakespeare’s works is mirrored in the trajectory of television series as a form of popular entertainment that has come to be appreciated as high culture. At both levels, Shakespeare is frequently alluded to, parodied, ransacked for characters and motifs, and emulated wholesale. This seminar welcomes theoretical papers and case studies that revise Shakespeare studies to bear on the analysis and interpretation of Shakespeare-inflected television serials; account for the proliferation of Shakespearean memes, echoes, allusions, citations, narrative structures, and references in contemporary television series; define adaptation practices in serial Shakespeares; discuss serial Shakespeares around the globe; undertake critical theory and cultural studies approaches to Shakespeare and television series; address gender, race, and class in serial Shakespeares; critically assess analogies between Shakespeare and television series; analyse the impact of television serials on contemporary Shakespeare performance; evaluate presentist approaches to Shakespeare and television; and more.<br /><br /><br /><br />Last updated March 15, 2021<br /><div><br /></div><div><br /></div></div>The Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culturehttp://www.blogger.com/profile/01669907740972508440noreply@blogger.com0tag:blogger.com,1999:blog-2583615870790098704.post-19873250828154324532021-02-01T20:48:00.003-05:002021-02-01T20:51:34.031-05:00Recent Scholarship: Brode and Brode's It's the Disney Version!<p><span style="font-size: small;"><span style="font-family: verdana;"><i> </i></span></span><span style="font-size: small;"><i>I finally picked up a copy of this intriguing collection. </i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><i><a href="https://1.bp.blogspot.com/-QP5jAHJEQp4/YBiv92CgkWI/AAAAAAAAALI/TlZnRSuptDU4ow2RRH7AN1GWFgwEr9ogACLcBGAsYHQ/s472/ItDV.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="472" data-original-width="315" height="320" src="https://1.bp.blogspot.com/-QP5jAHJEQp4/YBiv92CgkWI/AAAAAAAAALI/TlZnRSuptDU4ow2RRH7AN1GWFgwEr9ogACLcBGAsYHQ/s320/ItDV.jpg" /></a></i></span></div><span style="font-size: small;"><i><br /></i></span><p></p><p></p><p><span style="font-size: small;"><span style="font-family: verdana;"></span></span></p><div class="isbn-title-container">
<div class="isbn-title" style="text-align: left;"><h2 style="text-align: left;"><i><span style="font-family: verdana;">It's the Disney Version!: Popular Cinema and Literary Classics</span></i></h2><h1><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: verdana;"><a href="https://rowman.com/ISBN/9781442266070/It%27s-the-Disney-Version-Popular-Cinema-and-Literary-Classics">https://rowman.com/ISBN/9781442266070/It%27s-the-Disney-Version-Popular-Cinema-and-Literary-Classics</a> <br /></span></span></span></h1></div><div class="isbn-subtitle">
</div>
<div class="isbn-author">
<h3><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: verdana;">Edited by Douglas Brode and Shea T. Brode</span></span></span></h3><div class="isbn-imprint"><span style="font-size: small;"><span style="font-family: verdana;">Rowman & Littlefield Publishers</span></span></div>
<div class="isbn-pages"><span style="font-size: small;"><span style="font-family: verdana;">
Pages: 254
•
Trim: 6 x 9 </span></span></div><div class="isbn-pages"><span style="font-size: small;"><span style="font-family: verdana;"> </span></span></div>
<div class="isbn-format-label"><span style="font-size: small;"><span style="font-family: verdana;">
978-1-4422-6606-3 • Hardback • June 2016 • <span style="font-weight: bold;">$95.00</span> • (£73.00)
</span></span></div>
<div class="isbn-format-label">
</div>
<div class="isbn-format-label"><span style="font-size: small;"><span style="font-family: verdana;">
978-1-4422-6607-0 • eBook • June 2016 • <span style="font-weight: bold;">$90.00</span> • (£69.00) </span></span></div><div class="isbn-format-label"><span style="font-size: small;"><span style="font-family: verdana;"> </span></span></div>
</div>
</div><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><div class="isbn-tab-page-title">
<section class="TOP-DOTTED-SEPARATOR"></section>
<div class="isbn-summary">
<div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span>In
1937, the first full-length animated film produced by Walt Disney was
released. Based on a fairy tale written by the Brothers Grimm, </span><span style="font-style: italic;">Snow White and the Seven Dwarfs</span><span>
was an instant success and set the stage for more film adaptations over
the next several decades. From animated features like and </span><span style="font-style: italic;">Bambi</span><span> to live action films such as </span><span style="font-style: italic;">Mary Poppins</span><span>,
Disney repeatedly turned to literary sources for inspiration—a
tradition the Disney studios continues well into the twenty-first
century. <br /><br />In </span><span style="font-style: italic;">It’s the Disney Version!: Popular Cinema and Literary Classics</span><span>,
Douglas Brode and Shea T. Brode have collected essays that consider the
relationship between a Disney film and the source material from which
it was drawn. Analytic yet accessible, these essays provide a
wide-ranging study of the term “The Disney Version” and what it conveys
to viewers. Among the works discussed in this volume are </span><span style="font-style: italic;">Alice in Wonderland</span><span>, </span><span style="font-style: italic;">Mary Poppins</span><span>, </span><span style="font-style: italic;">Pinocchio,</span><span style="font-style: italic;">Sleeping Beauty</span><span>, </span><span style="font-style: italic;">Tarzan</span><span>, and </span><span style="font-style: italic;">Winnie the Pooh</span><span>.<br /><br />In
these intriguing essays, contributors to this volume offer close
textual analyses of both the original work and of the Disney
counterpart. Featuring articles that consider both positive and negative
elements that can be found in the studio’s </span><span><span><span><span>output, </span><span style="font-style: italic;">It’s the Disney Version!: Popular Cinema and Literary Classics</span><span> will be of interest to scholars and students of film, as well as the diehard Disney fan.</span></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>Contents (from <a href="https://www.worldcat.org/title/its-the-disney-version-popular-cinema-and-literary-classics/oclc/946158245" target="_blank">WorldCat</a>):</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>
Introduction: once upon a time at the movies / Douglas Brode --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
"And they lived happily ever after?": Disney's animated adaptation of
Snow White and the seven dwarfs (1937) and Fleischers' Gulliver's
travels / David McGowan --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
Marionette as metaphor: Pinocchio and evolving attitudes toward education / Jean-Marie Apostolides --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
Here be gay dragons: queer allegory and Disney's The reluctant dragon / Tison Pugh --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
Uncle Walt's Uncle Remus: Disney's distortion of Harris's hero / Peggy A. Russo --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
"Glory in the flower": Disneyfying Bambi / David Payne --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
Through the cinematic looking glass: Walt Disney's 1951 animated Alice and Tim Burton's 2010 film / Sarah Boslaugh --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
Walt Disney and Robert Louis Stevenson: Haskin's Treasure island or Stevenson's Kidnapped? / Scott Allen Nollen --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
Of medieval ballads and movie musicals: Walt Disney and the Robin Hood legend / Shea T. Brode with Douglas Brode --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
"Do you believe in fairies?": Peter Pan, Walt Disney, and me / Elizabeth Bell --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
"In God's good time": Walt Disney and 1950s Cold War culture / Cynthia J. Miller and A. Bowdoin Van Riper --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
Perchance to dream: a narrative analysis of Disney's Sleeping beauty / Alexis Finnerty with Douglas Brode --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
"It's a jungle out there, kid!": Walt Disney and the American 1960s / Greg Metcalf --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
"Higitus! figitus!": of Merlin and Disney magic / Susan Aronstein --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
"This is not the Mary Poppins I know!": P.L. Travers goes to Hollywood / David S. and Olga Silverman --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
The wonderful worlds of Dickens and Disney: animated adaptations of Oliver Twist and A Christmas carol / Shari Hodges Holt --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
The tao at Pooh corner: Disney's portrayal of a very philosophical bear / Anne Collins Smith and Owen M. Smith --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
From icon to Disneyfication: a mermaid's aesthetic journey / Finn Hauberg Mortensen --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
Pocahontas as Disney princess: history, legend, literature, and movie mythology / Kathy Merlock Jackson and Gary Edgerton --</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br /><b>
"Driven to sin": Victor Hugo's complex vision of humanity in Disney's The hunchback of Notre Dame / Michael Smith --</b></span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><br />
The integrity of an ape-man: Burroughs, Disney, and the meaning of the Tarzan myth / Stanley A. Galloway.</span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span> </span></span></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span>Authors: <br /></span></span></span></div><div class="ddd-truncated" id="isbnSummaryID" style="overflow-wrap: break-word;"><span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span><div class="tab-pane" id="ctl00_ContentPlaceHolder_ISBNTabs_C2">
<div class="isbn-bio">
<span style="font-size: small;"><span style="font-family: verdana;"><span style="font-weight: bold;">Douglas Brode</span><span>
teaches popular culture at Syracuse University’s Newhouse School of
Public Communications, the University of Texas at San Antonio, and Our
Lady of the Lake University (also in San Antonio). He has published more
than 35 books, including </span><span style="font-style: italic;">Rod Sterling and The Twilight Zone</span><span> (2009). He is the coeditor of </span><span style="font-style: italic;">Myth, Media, and Culture in Star Wars: An Anthology</span><span> (2012) and </span><span style="font-style: italic;">Sex, Politics and Religion in Star Wars: An Anthology</span><span> (2012), and</span><span style="font-style: italic;"> Dracula’s Daughters: The Female Vampire on Film</span><span> (2013). Brode is a contributor to the upcoming PBS-TV mini-series: American Masters: Walt Disney. </span><span style="font-weight: bold;">Shea T. Brode</span><span> has an MA in Literature and Cultural Studies from the University Autonoma in Madrid. Douglas and Shea are the coeditors of </span><span style="font-style: italic;">The Star Trek Universe: Franchising the Final Frontier</span><span> (2015) and </span><span style="font-style: italic;">Gene Roddenberry’s Star Trek: The Original Cast Adventures</span><span> (2015).</span></span></span>
</div>
</div></div>
</div>
</div><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><p><span style="font-size: small;"><span style="font-family: verdana;"><br /></span></span></p>Medieval Studies on Screenhttp://www.blogger.com/profile/03070808822017878692noreply@blogger.com0