Saturday, July 6, 2019

Coming Soon: Vikings and the Vikings: Essays on Television’s History Channel Series

Now available for pre-ordering from McFarland:

Vikings and the Vikings: Essays on Television’s History Channel Series
Edited by Paul Hardwick and Kate Lister

Format: softcover (6 x 9)
Copyright Date: 2019
pISBN: 978-1-4766-7374-5
eISBN: 978-1-4766-3843-0
Imprint: McFarland
Not Yet Published

Vikings and the Vikings is an excellent and wide-ranging exploration of a television series which has more successfully summoned the world of the Vikings for modern audiences than any which has preceded it. From a range of critical viewpoints, the book explores the ways in which past and present representations of “Vikings” converge in the show’s richly textured dramatization of the rise and fall of Ragnar Loðbrók—and the exploits of his heirs—creating what for many viewers is a “true” representation of the age. From the show’s sources in both saga literature and Victorian revival, to its engagement with contemporary concerns regarding gender, race, and identity, via setting, sex, society and more, this first book-length study of the History Channel series will appeal to fans of the show, Viking enthusiasts, and anyone with an interest in medievalism in the 21st century.

Paul Hardwick is a professor of English at Leeds Trinity University, where he leads the creative writing programs and teaches medieval literature. He has published widely on the art and literature of the Middle Ages, with a particular focus on misericords and animal iconography, and on medievalism.

Kate Lister is a lecturer in the school of arts and communication at Leeds Trinity University. She has published in the medical humanities, material culture, Victorian Studies, and Neo-Medievalism. She is a columnist for inews and won the Sexual Freedom Publicist of the Year Award in 2017.

Out Now: Medieval Art and the Look of Silent Film

McFarland has finally released Lora Ann Sigler's book Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design. Full details follow.

Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design
Lora Ann Sigler

Format: softcover (7 x 10)
Pages: 235
Bibliographic Info: 104 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2019
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland

The heyday of silent film soon became quaint with the arrival of “talkies.” As early as 1929, critics and historians were writing of the period as though it were the distant past. Much of the literature on the silent era focuses on its filmic art—ambiance and psychological depth, the splendor of the sets and costumes—yet overlooks the inspiration behind these.

This book explores the Middle Ages as the prevailing influence on costume and set design in silent film and a force in fashion and architecture of the era. In the wake of World War I, designers overthrew the artifice of prewar style and manners and drew upon what seemed a nobler, purer age to create an ambiance that reflected higher ideals.


Acknowledgments v
Preface 1
Introduction 5
One—Setting the Stage 7
Two—Staging the Set 43
Three—The Web We Wove 65
Four—The Weave We Wore 103
Five—Taking It to the Seats 122
Six—Living It Up: In the Hills 136
Seven—Keep the Home Buyers Turning 143
Eight—More Play for Less Pay: Women
in Film Production 156
Epilogue: That’s About the Sum of It 173
Appendix A. Mechanization and the Aftereffects of World War I 181
Appendix B. Audrey Munson: The “Girl of Dreams” 184
Appendix C. Purveyors of Fantasy: Erté and Georges Barbier 186
Appendix D. Critical Wit: James Laver 192
Appendix E. Siegfried Kracauer, Lotte Eisner and the Rise of the Nazis Hypothesis 194
Glossary 197
Chapter Notes 201
Bibliography 215
Index 221

About the Author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.

Monday, April 15, 2019

CFP 2019 Literature/Film Association Annual Conference (5/15/2019; Portland 9/12-14/2019)

Literature/Film Association Annual Conference
Discussion published by Elif Sendur on Sunday, March 31, 2019


September 12-14, 2019

University of Oregon in Portland

Portland, Oregon, USA

Keynote: Amanda Ann Klein, East Carolina University and Matt McCormick, Gonzaga University

In holding this year’s conference in downtown Portland, one of the most environmentally conscious cities in the United States, we invite attendees to consider the themes of “repurpose” and “recycle,” broadly conceived. What function—socially, politically, and economically—do sequels, remakes, and reboots serve in media culture? How do reboots and remakes allow creators and audiences to not only revisit, but reimagine familiar narratives? What historical precedents might we return to in our attempts to better understand the nature and influence of series, serials, and (trans)media franchises today? And how might adaptation studies play a vital role in these critical discussions? While we welcome papers on any aspect of adaptation studies, we are especially interested in presentations that address one or more of the following concerns (or similar topics):

  • transmedia storytelling
  • media franchising
  • recombinant culture
  • questions of authorship
  • film genres and genre cycles
  • economic and industrial perspectives on remakes
  • rebooting television series
  • evaluating sequels, remakes, and reboots
  • the question of originality and artistry in adaptation
  • environmental media and ecocritical perspectives
  • ecocinema and ecomedia
  • media and the anthropocene
  • historical precedents in series, serial, and franchise storytelling
  • formalist and narratological approaches to series, serial, and franchise storytelling
  • narrative extensions into new media, including video games
  • the impact of #OscarsSoWhite and #MeToo on reimagining adaptation
  • teaching adaptation

The LFA also welcomes work in media studies, more broadly. We have significant interest in broader 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.

Amanda Ann Klein, our keynote speaker this year, is Associate Professor of Film Studies in the English Department at East Carolina University. She is the author of American Film Cycles: Reframing Genres, Screening Social Problems, & Defining Subcultures(University of Texas Press, 2011) and co-editor of Multiplicities: Cycles, Sequels, Remakes and Reboots in Film & Television (University of Texas Press, 2016). Her manuscript, Identity Killed the Video Star: A Cultural History of MTV Reality Programming, is under contract with Duke University Press. Her scholarship has appeared in Quarterly Review of Film and Video, Jump Cut, Film Criticism, Flow, Antenna, Salon, The Atlantic, The Chronicle of Higher Education, Inside Higher Ed, and The New Yorker.

Matt McCormick has for many years been a key figure in the Portland art and film scene and is currently Assistant Professor of Integrated Media & Art at Gonzaga University in Spokane, WA. Matt’s work crosses mediums and defies genre distinctions to fashion witty, abstract observations of contemporary culture and the urban landscape. His films, which include The Subconscious Art of Graffiti Removal, Some Days Are Better Than Others, The Great Northwest, and Buzz One Four, have screened in venues ranging from the Sundance Film Festival to the Museum of Modern Art, and have been critically acclaimed by The New York Times, Art Forum, and many other media outlets. Matt has also directed music videos for bands including The Shins, Sleater-Kinney, and Broken Bells.

Please submit your proposal via this Google Form by May 15, 2019. If you have any questions or concerns, contact Pete Kunze at Accepted presenters will be notified by June 1.

All sessions will be held at the University of Oregon in Portland, located at 70 NW Couch St. in downtown Portland. Limited travel grant support is planned to be available for select graduate students, non-tenure-track faculty, and/or independent scholars and artists. Details for an added application process for such support will be shared following proposal acceptances.

The conference registration fee is $200 ($150 for students and retirees) before August 1, 2019 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association, and all presenters must be registered by September 1 to appear on the final conference program. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, visit the Literature/Film Association website at and use our PayPal feature.

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit

Wednesday, October 24, 2018

Tally on Tolkien on Screen

Recently published:

Tally, Robert T. “Three Rings for the Elven-kings: Trilogizing Tolkien in Print and Film.” Mythlore: A Journal of J. R. R. Tolkien, C. S. Lewis, Charles Williams, and Mythopoeic Literature, Vol. 36, No. 1, Fall/Winter 2017, 175-90.

The issue is available for purchase at

Thursday, August 30, 2018

New Book: Medieval Saints and Modern Screens

Sorry to have missed this earlier. 

Medieval Saints and Modern Screens: Divine Visions as Cinematic Experience
Alicia Spencer-Hall (see a blog post by the author about the book at

Series: Knowledge Communities
Price: € 95,00
ISBN: 9789462982277
Binding: Hardback
Number of pages: 304
Publication date: 01 - 12 - 2017

Preview: Download introduction and ToC
Also available as: eBook PDF - € 94,99

This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.


Alicia Spencer-Hall is an Honorary Research Fellow in the School of Language, Linguistics and Film at Queen Mary, University of London. Her research interests focus on the potentiality of trans-historical critical engagement with literature of the Middle Ages.

Coming Soon: Vying for the Iron Throne

McFarland continues its line of Game of Thrones books this fall. Contents list to be provided once it becomes available.

Vying for the Iron Throne: Essays on Power, Gender, Death and Performance in HBO’s Game of Thrones
Edited by Lindsey Mantoan and Sara Brady

Not Yet Published: FALL 2018

Bibliographic Info: appendix, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-7426-1
eISBN: 978-1-4766-3473-9
Imprint: McFarland

Game of Thrones has changed the landscape of television during an era hailed as the Golden Age of TV. An adaptation of George R.R. Martin’s epic fantasy A Song of Fire and Ice, the HBO series has taken on a life of its own with original plotlines that advance past those of Martin’s books.
The death of protagonist Ned Stark at the end of Season One launched a killing spree in television—major characters now die on popular shows weekly. While many shows kill off characters for pure shock value, death on Game of Thrones produces seismic shifts in power dynamics—and resurrected bodies that continue to fight. This collection of new essays explores how power, death, gender, and performance intertwine in the series.

About the Author(s)

Lindsey Mantoan is assistant professor of theatre at Linfield College in McMinnville, Oregon.

Sara Brady is associate professor at Bronx Community College of the City University of New York. She is also managing editor of TDR: The Drama Review.

Saturday, July 21, 2018

The Ballad of the Lone Medievalist

Lone Medievalist
A massive collaboration effort has been officially released in The Ballad of the Lone Medievalist (2018). In it, you will find 33 essays on experiences, experiments, and ideas how on how medieval academics can creatively survive, relate, and thrive in worlds where the Middle Ages remain seemingly obscure and derided by peers and students.

Apropos to cinematic medievalism is the joint-essay “A Trip to England: Discovering the Ties Between Medievalism and Pop Culture” by Danielle Girard, Sarah Huff, Justine Marsella, Alicia Protze, Abbie Rosen, and Jacki Teague. During an undergrad trip to England, medievalists emphasize how during the trip “it became clear that there was an indisputable link between the medieval sites we visited and the fan culture that we so thoroughly immersed ourselves in daily.” And “while the world of academia may marginalize medieval scholars in favor of contemporary scholars, the world of popular culture embraces and profits from the fascinating and diverse stories of medieval culture.” The examples include but are by no means limited to the works of Tolkien, George R.R. Martin, and even Stan Lee. The medieval links include King Arthur and Robin Hood with visits to Tolkien’s grave and the Warwick Castle. The essay concludes, “A class discussing the origins of the most popular fan cultures would essentially be a class on medieval literature.”

In another essay, Lee Templeton found success by deciding to teach their colleagues with the goal of presenting “the Middle Ages not as a long-past, ‘dead’ time period, but rather one that laid the foundations for many of the ideas that we consider to be ‘modern,’ one that is still very much alive in its influence on the world in which we live.” One of the exercises includes requiring “the students to organize a ‘medieval’ film festival open to faculty, staff, and students.”

John P. Sexton presents a set of 12 suggestions to “help medievalists—whether newly-minted or mid-career—make themselves at home in their jobs.” In one suggestion on utilizing current events and pop culture, Sexton tells us “popular entertainment’s perpetual fascination with medieval themes provides us ‘teaching moment’ points of entry for any medievalist.” Among the opportunities are Game of Thrones, History Channel’s Vikings series, and Robin Hood. They rightfully point out, “Every time we enter into a conversation about the links (or lack thereof) between our subject and the world around us, we increase the visibility of our discipline while making a case to our students and colleagues for the necessity and relevance of our courses.” Above all, medievalists should “Get creative. Get active. Get noticed.”

The Ballad of the LoneMedievalist is therapeutic and immensely useful.

-Scott Manning (@warpath, Historian on the Warpath)

Tuesday, July 3, 2018

Askey on Game of Thrones

The Journal of Popular Culture is currently allowing open access to articles in its February 2018 number, which includes the following essay on Game of Thrones:

Askey, Brooke. “I'd Rather Have No Brains and Two Balls”: Eunuchs, Masculinity, and Power in Game of Thrones.” The Journal of Popular Culture Volume51, Issue1, Feb. 2018, pp. 50-67, available at

Monday, June 25, 2018

New Book: Deadwood and Shakespeare

Deadwood and Shakespeare: The Henriad in the Old West
Susan Cosby Ronnenberg

Format: softcover (6 x 9)
Pages: 206
Bibliographic Info: appendix, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-6575-7
eISBN: 978-1-4766-3095-3
Imprint: McFarland

About the Book

Set in politically unstable environments, Shakespeare’s history plays—Richard II, 1 Henry IV, 2 Henry IV and Henry V—and HBO’s Western series Deadwood (2004–2006) all stand as critiques of myths of national origin, the sanitized stories we tell ourselves about how power imposes order on chaos. Drawing parallels between the Shakespeare plays and Deadwood, the author explores questions about legitimate political authority, the qualities of an effective leader, gender roles and community, and the reciprocal relationship between past and present in historical narratives.

Table of Contents

Acknowledgments vi
Preface 1
Introduction 3
1. Genres, Settings and Themes: Historical and Political Worlds in Transition 9
2. Seth Bullock as “Hotspur” and Prince “Hal” 36
3. Al Swearengen as Bolingbroke/Henry IV and Falstaff 59
4. Father-Son Relationships 81
5. Women’s Marginalization 103
6. Managing Audience Responses through Narrative Space and Events 129
7. Managing Audience Responses through Character 158
Conclusion 174
Appendix: Deadwood Episodes 177
Chapter Notes 179
Bibliography 187
Index 193

About the Author

Susan Cosby Ronnenberg is a professor of English in Winona, Minnesota.

Friday, June 22, 2018

CFP Shakespeare and Digital Humanities (Spec Issue of Humanities) (proposals by 9/14/2018)

Of potential interest:

Special Issue "Shakespeare and Digital Humanities: New Perspectives and Future Directions"

deadline for submissions:
January 28, 2019

full name / name of organization:
Humanities (ISSN 2076-0787).

contact email:

Shakespeare is now fundamentally digital. The technologies, resources and cultures of the digital age influence how we humans variously read, watch, research, and teach Shakespeare. This influence occurs in both apparent but also unseen ways since digital technologies include hidden processes, or non-human actors such as algorithms. In fact, the thing we call “Shakespeare” is the consequence of the interaction of agential humans and digital, non-human actors. The Special Issue of Humanities explores this technogenic dynamic and its significance for understandings of Shakespeare’s works and their cultural afterlives. It does so from a digital humanities perspective, with the aim of building on trends within Shakespeare studies towards the interrelation between Shakespeare’s works and a variety of contemporary technologies.

The Special Issue especially welcomes approaches that are trans-disciplinary.
  • Papers are invited from an international community of researchers interested in critically examining how digital technologies have enhanced, transformed, or challenged the appreciation and study of Shakespeare. 
  • Papers might address questions of methodology, and explore how digital humanities scholarship is applying technology and quantitative analyses to the corpus. What new insights into Shakespearean authorship, characterization, genre, and language, can computational analyses reveal? 
  • Papers might map and critically evaluate the available digital resources for Shakespeare research and teaching, including searchable text online editions, databases, and podcasts. Or, they might critically analyse forms and practices in digital cultures, from fan or vernacular productions that reiterate Shakespearean stories and characters on such platforms as Twitter and YouTube, to digital art and curation, and online Shakespeare quotation generators. 
  • In turn, papers might examine how Shakespeare theatre companies are using digital technologies both within the live performance itself, and also to create an online, commercial, and interactive presence for a production.

This Special Issue of Humanities offers an opportunity to examine the application of digital technologies to Shakespeare, in all its variety; to explore the implications of that interrelation; and, crucially, to consider what future directions scholarship and practices might take as the encounter with Shakespeare increasingly becomes digital.

Please submit 300 word proposals for original contributions and a 100-word biography (include selected publications) by 14 September 2018; email both the Guest Editor, as indicated above, and the journal (

Deadline for completed papers, if selected (5000–7000 words): 28 January, 2019

Dr. Stephen O’Neill
Guest Editor

Further Information here:

Saturday, June 16, 2018

Coming Soon: Medieval Art and the Look of Silent Film

Due out this fall from McFarland. I'll update when more details are available.

Medieval Art and the Look of Silent Film:The Influence on Costume and Set Design
Lora Ann Sigler

Format: softcover (7 x 10)
Bibliographic Info: ca. 120 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland
Not Yet Published

Blurb from Amazon (

The heyday of Silent Film, so beloved by film buffs, was an era that became instantly quaint with the arrival of “Talkies.” As early as 1929, critics and film historians were writing of the period as though of the distant past. Since then, a torrent of books has been released, many of which mention art—in the main, asking whether film could be art— others discussing the splendor of the sets, the persuasion of the ambiance, or the psychological depth of the scenario. What these authors seem to have overlooked is the work of the costume and set designers to provide the background which profoundly affects all of the above. Most especially, they failed to examine the source of the inspiration on those who created that background. To fill this apparent gap, the premise of this volume— costume and set design in the silent film— concentrates on what is arguably the most prevailing influence on both, the presumed nobility of the Middle Ages. Largely owing to the psychological upset of World War I, although beginning earlier, society was in a state of flux. Women, who had been so active during the war, refused to return exclusively to home and kitchen. Veterans, who had experienced the worst, could no longer accept the prewar class restrictions and artificial manners. It was only natural that a longing for what seemed a nobler and purer period would be created. Designers, if only partly consciously, turned to that period like flowers to the sun, creating an ambiance which they felt reflected those higher ideals. Ironically, although the influence is more than obvious in both sets and wardrobes, the period devolves into one of freedom bordering on license, and an almost complete overthrow of those old-fashioned ideals.

About the author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.

Friday, April 6, 2018

Going Viking with the Muppets

The worlds of Jim Henson offer much to delight medievalists, including a spirited rendition of "In the Navy" (from season five of The Muppet Show) with Muppet Viking-pigs attacking (and, in the end, being repelled from) a medieval seaside community.

There are multiple version of the short online including the following:

So far, only seasons one, two, and three of The Muppet Show are available for home video. Hopefully Disney will release the remaining seasons soon.

Recent Book: Swashbucklers: The Costume Adventure Series

My apologies for having missed posting this when it came out. It sounds fascinating. Hopefully, a paperback edition will be forthcoming.

Swashbucklers: The Costume Adventure Series

By James Chapman

Book Information

Format: Hardcover
ISBN: 978-0-7190-8881-0
Pages: 296
Publisher: Manchester University Press
Price: £70.00
Published Date: July 2015
BIC Category: Film and Media, Television, Radio, Films, cinema, PERFORMING ARTS / Television / History & Criticism, The arts / Film, TV & radio

Available for North and South America through Oxford University Press Academic at The US edition is priced currently at $110.


Swashbucklers is the first study of one of the most popular and enduring genres in television history - the costume adventure series. It maps the history of swashbuckling television from its origins in the 1950s to the present. It places the various series in their historical and institutional contexts and also analyses how the form and style of the genre has changed over time. And it includes case studies of major swashbuckling series including The Adventures of Robin Hood, The Buccaneers, Ivanhoe, William Tell, Zorro, Arthur of the Britons, Dick Turpin, Robin of Sherwood, Sharpe, Hornblower, The Count of Monte Cristo and the recent BBC co-production of The Three Musketeers.

Oxford University Press offers the following extended description at their site:

Swashbucklers is the first study of one of the most popular and enduring genres in television history - the costume adventure series.

James Chapman explores the history of swashbuckling television from its origins in the 1950s to the present day. He maps the major production cycles of the Anglophone swashbuckler both in Britain and in the United States and places the genre in its historical, cultural and institutional contexts. He shows how the success of The Adventures of Robin Hood in the 1950s established a template for a genre that has been one of the most successful of British television exports. And he considers how America responded to this 'British invasion' with its own swashbuckling heroes such as Zorro.

Chapman also analyses the cultural politics of the swashbuckler, considering how it has been a vehicle for the representation of ideologies of class, gender and nationhood. While some swashbucklers have promoted consensual politics, others such as Dick Turpin and Robin of Sherwood have presented us with heroes on the margins of society who challenge its inequities and injustices. The relationship of the televisions swashbuckler to the founding myths of the genre is discussed, along with how the genre has responded to the changing cultural and ideological contexts in which it is produced. What emerges is a picture of a genre that has proved remarkably flexible in adapting its form and style to match the popular tastes of audiences.

Swashbucklers is intended for students and teachers of popular television drama as well as for adventure-lovers everywhere.



1. Exporting Englishness

2. Fantasy factories

3. Revisionist revivals

4. Rebels with a cause

5. Heritage heroes

6. Millennial mavericks





James Chapman is Professor of Film Studies at the University of Leicester

New Book: The Legacy of Courtly Literature: From Medieval to Contemporary Culture

Finally getting some information on this recent release from Palgrave Macmillan. The contents list is from WorldCat as the publisher site omits this important data. The book looks especially useful for Arthurian enthusiasts.

The Legacy of Courtly Literature: From Medieval to Contemporary Culture

Editors: Nelson-Campbell, Deborah, Cholakian, Rouben (Eds.)
Series Title: Arthurian and Courtly Cultures
Copyright: 2017
Publisher: Palgrave Macmillan

$119.99 (listprice) price for USA (ISBN978-3-319-60728-3)

$89.00 (listprice) price for USA (ISBN978-3-319-60729-0)


Number of Pages: XII, 234
Number of Illustrations and Tables: 9 b/w illustrations

  • Covers a broad range of topics related to courtly literature including Shakespeare, the Harry Potter series, and the Japanese Imperial Court
  • Traces the long established tradition of courtly literature from its original medieval roots to its influence on today’s literary and artistic culture
  • Assembles the foremost experts on medieval courtly literature

About this book:

This fascinating volume examines the enduring influence of courtly tradition and courtly love, particularly in contemporary popular culture. The ten chapters explore topics including the impact of the medieval troubadour in modern love songs, the legacy of figures such as Tristan, Iseult, Lancelot, Guinevere, and Merlin in modern film and literature, and more generally, how courtly and chivalric conceptions of love have shaped the Western world’s conception of love, loyalty, honor, and adultery throughout history and to this day.

Table of Contents:

Introduction / Rouben Cholakian and Deborah Nelson-Campbell --
The Arthurian knight remythified Ovidian: the failures of courtly love in three late medieval glosses / Jane Chance --
Shakespeare's The merry wives of Windsor and the fabliau / Carol F. Heffernan --
Villon's dreams of the courtly / Rupert T. Pickens --
"You make me want to be a better man": courtly values revived in modern film / Raymond J. Cormier --
From Marie de France to J.K. Rowling: the weasel / Carol Dover --
Courtly literature: "yesterday" is today / Beverly J. Evans --
Variations on a transcultural phenomenon: the potion scene in four film versions of the legend of Tristan and Iseult / Joan Tasker Grimbert --
The musical incongruities of time travel in Arthurian film / John Haines --
The fool and the wise man: the legacy of the two Merlins in modern culture / Natalia I. Petrovskaia --

A legacy of Japanese courtly literature: the Imperial New Year Poetry Recitation Party / Yuko Tagaya --
Bibliography --

About the editors:

Deborah Nelson-Campbell is Professor of French Studies at Rice University, USA.

Rouben Cholakian is Professor Emeritus of French at Hamilton College, USA.

Wednesday, April 4, 2018

Update: Medievalism in A Song of Ice and Fire and Game of Thrones

One final book notice for the night. Here is the updated information on Shiloh Carroll's Medievalism in A Song of Ice and Fire and Game of Thrones:

Medievalism in A Song of Ice and Fire and Game of Thrones
Shiloh Carroll

March 2018
214 pages
21.6x13.8 cm
ISBN: 9781843844846
Format: Hardback

Game of Thrones is famously inspired by the Middle Ages - but how "authentic" is the world it presents? This volume offers different angles to the question.

One of the biggest attractions of George R.R. Martin's high fantasy series A Song of Ice and Fire, and by extension its HBO television adaptation, Game of Thrones, is its claim to historical realism. The author, the directors and producers of the adaptation, and indeed the fans of the books and show, all lay claim to Westeros, its setting, as representative of an authentic medieval world. But how true are these claims? Is it possible to faithfully represent a time so far removed from our own in time and culture? And what does an authentic medieval fantasy world look like?

This book explores Martin's and HBO's approaches to and beliefs about the Middle Ages and how those beliefs fall into traditional medievalist and fantastic literary patterns. Examining both books and programme from a range of critical approaches - medievalism theory, gender theory, queer theory, postcolonial theory, and race theory - Dr Carroll analyzes how the drive for historical realism affects the books' and show's treatment of men, women, people of colour, sexuality, and imperialism, as well as how the author and showrunners discuss these effects outside the texts themselves.

An e-book version of this title is available (9781787441941), to libraries through a number of trusted suppliers. See here for a full list of our partners.

Table of Contents:

Introduction: Martin and Medievalist Fantasy
Chivalric Romance and Anti-Romance
Masculinity, Femininity, and Gender Relations
Sex and Sexuality
Postcolonialism, Slavery, and the Great White Hope
Adaptation and Reception

About the Author:

Shiloh Carroll teaches in the writing center at Tennessee State University.