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Grounded in intersectional feminist interpretive frameworks, Women's Restorative Medievalismsexamines how contemporary women writers engage the premodern past to animate intertwined histories of oppression and resistance in service of visionary futures.

From King Arthur and Robin Hood, through to video games and jousting-themed restaurants, medieval culture continues to surround us and has retained a strong influence on literature and culture throughout the ages. This fascinating and illuminating guide is written by two of the leading contemporary scholars of medieval literature, and explores: The influence of medieval cultural concepts on literature and film, including key authors such as Shakespeare, Tennyson, and Mark Twain The continued appeal of medieval cultural figures such as Dante, King Arthur, and Robin Hood The influence of the medieval on such varied disciplines such as politics, music, children's literature, and art. Contemporary efforts to relive the Middle Ages. Medievalisms: Making the Past in the Present surveys the critical field and sets the boundaries for future study, providing an essential background for literary study from the medieval period through to the twenty-first century.

This is the first volume fully dedicated to Iberoamerican neomedievalisms. It examines “the Middle Ages\" and its uses in Iberoamerica: the Spanish and Portuguese American postcolonies. It is an especially timely topic as scholars in neomedievalism studies become increasingly conscious that the field has different trajectories outside Europe and beyond the English-speaking world. The collection provides needed alternatives to the by-now standardized understanding of neomedievalism as allied to nationalism, nostalgia, xenophobia, origin stories, elitism, and white Christian identity. It dislocates the field from its established trends and finds generative, yet unexplored examples of neomedievalism: political, religious, literary, and gendered. The volume will be of interest to established scholars of neomedievalism studies, to scholars of Latin America, and to the new and growing generation of students and colleagues interested in truly global neomedievalist studies.

This book traces the history of encounter between Eastern and Western cultures by closely examining a body of medieval travel writings penned or related by Europeans and by inhabitants of East Asia. Whilst these texts are usually considered in the context of kindred European or Chinese literature, this study will make a case for considering them as a common literature of medieval encounters with foreign people. For the modern historian writing in a world that so consciously thinks of itself as 'global', these accounts offer a precious lens through which to enter into the world before globalization. In particular, the book shows that these narratives show the similarity in how Eastern and Western travellers thought and behaved in the face of difference, and will show that individuals often held somewhat different views, shaped by their particular experience or agendas, than those of their government or of local cultural convention.

In Pornographic Archaeology: Medicine, Medievalism, and the Invention of the French Nation, Zrinka Stahuljak explores the connections and fissures between the history of sexuality, nineteenth-century views of the Middle Ages, and the conceptualization of modern France. This cultural history uncovers the determinant role that the sexuality of the Middle Ages played in nineteenth-century French identity.Stahuljak's provocative study of sex, blood, race, and love in nineteenth- and early twentieth-century medical and historical literature demonstrates how French medicine's obsession with the medieval past helped to define European sexuality, race, public health policy, marriage, family, and the conceptualization of the Middle Ages. Stahuljak reveals the connections between the medieval military order of the Templars and the 1830 colonization of Algeria, between a fifteenth-century French marshal and the development of Richard von Krafft-Ebing's theory of sadism, between courtly love and the 1884 law on divorce. Although the developing discipline of medieval studies eventually rejected the influence of these medical philologists, the convergence of medievalism and medicine shaped modern capitalist French society and established a vision of the Middle Ages that survives today.

A translation into English of Albert Henry's definitive edition of Adenet le Roi's 'Cleomadés', a story based on a tale from 'The One Thousand and One Nights'. Palace and pageantry, music and feast contribute to the poetic beauty of the tale, in which the hero Cleomadés and his sweetheart Clarmondine share love of an intensity evoking that of Layla and Majnun, of Isolde and Tristan, of Guinevere and Lancelot. When adventures with a mechanical flying horse separate them disastrously, the lovers undertake epic journeys and devise ingenious ruses to effect their eventual union. In medieval French tradition, their ardour is the consuming passion of the narrative. However, Cleomadés is replete with material on the status of women, of the disabled, of the insane, of religious toleration, of violent behaviour, of duty toward parents. Produced in Paris in 1285 under the patronage of Marie de Brabant, queen of France and daughter of Adenet's first patron, Cleomadés crowns its author's illustrious career.

In Printing the Middle Ages Siân Echard looks to the postmedieval, postmanuscript lives of medieval texts, seeking to understand the lasting impact on both the popular and the scholarly imaginations of the physical objects that transmitted the Middle Ages to the English-speaking world. Beneath and behind the foundational works of recovery that established the canon of medieval literature, she argues, was a vast terrain of books, scholarly or popular, grubby or beautiful, widely disseminated or privately printed. By turning to these, we are able to chart the differing reception histories of the literary texts of the British Middle Ages. For Echard, any reading of a medieval text, whether past or present, amateur or academic, floats on the surface of a complex sea of expectations and desires made up of the books that mediate those readings.Each chapter of Printing the Middle Ages focuses on a central textual object and tells its story in order to reveal the history of its reception and transmission. Moving from the first age of print into the early twenty-first century, Echard examines the special fonts created in the Elizabethan period to reproduce Old English, the hand-drawn facsimiles of the nineteenth century, and today's experiments with the digital reproduction of medieval objects; she explores the illustrations in eighteenth-century versions of Guy of Warwick and Bevis of Hampton; she discusses nineteenth-century children's versions of the Canterbury Tales and the aristocratic transmission history of John Gower's Confessio Amantis; and she touches on fine press printings of Dante, Froissart, and Langland.

Since the inclusion of medieval studies in the modern academy, professional scholars have insisted on distinguishing their work from extra-academic lovers of medieval culture. Richard Utz surveys how scholars' exteriorization of amateur interest in the medieval past narrowed the epistemological range of medieval scholarship and how reception studies, feminism, and postmodernism gradually expanded approaches to the Middle Ages. His manifesto advocates an integration of academic medievalists' work within the equally valuable artistic and sociopolitical contexts of reading the medieval past.

This book examines feminist textual and cinematic engagements with the idea of the Middle Ages in the nineteenth and twentieth centuries, arguing that the idea of the medieval past is central to the work of novelists and directors interested in embodiment and vulnerability. Careful and illuminating analysis of particular moments in fiction, film, and political discourse dismantles the false binary between popular and intellectual medievalisms, which rests on gendered understandings of genre and audience, while demonstrating that masculinist or patriarchal medievalisms have an equal but understudied counterpart. The book's first three chapters cover Jane Austen's Northanger Abbey and its afterlives, the final works of Virginia Woolf, and late twentieth-century film and music videos from the United States. The final chapter examines the treatment of women's bodies and vulnerability in both political theory and recent electoral politics, arguing that they share a common thread of misogyny rooted in the idea of the medieval past, and that one way to challenge that misogyny is by looking at complex feminist engagements with that same past, both real and imagined.