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Applying C.S. Lewis' metaphor of authors being cathedral-builders to understand intertextual writing (combining influences with innovation) provides a fascinating lens to understand T.H. White's Arthurian work. Exploring how White's The Once and Future King influenced J.K. Rowling's Harry Potter series (particularly her characters Vernon and Dudley Dursley) provides a particularly interesting example of how fantasy authors use intertextuality to create original works.

Parrots (Psittaciformes), with about 400 species widely distributed across continents and oceanic islands, stand out among birds for their poor conservation status [...]

The paper presents a reading of Helen Macdonald's non-fiction book H Is for Hawk, that focuses on the adoption of the temporal perspective of a predator (the instantaneousness of the attack and capture of the prey) instead of the typically human way of addressing the temporality spreading over a past, a present, and a future (memory, mourning, anxiety). Rethinking the inherited cultural practice of keeping and taming goshawks, the British writer narrates the process of mental merging with the female goshawk she trains. Through her engagement as an austringer (keeper of hawks), she also questions such categories as gender, class, and nationality. In parallel to her own experience, she reads the personal story of yet another transgressive austringer, the homosexual author T. H. White. This double line of vital/textual experience deconstructs the dominant cultural stance of heterosexual masculinity and sketches a peculiar queertopia. 

Often, Christianity and the Scriptures are viewed through either a purely academic lens or an emotionally based lens. While both methods have value and use, they also have major flaws that can hinder our growth and understanding. This thesis presents a more effective approach to understanding the Scriptures and our Christian faith. By combining both the heart and the mind, we have a method that can see the truth and logic of Christianity without missing the wonder and amazement of Christianity. This method was called True Myth by C.S. Lewis, for it acknowledges the total truth of everything in Christianity and the Scriptures from Genesis one through to the last chapter of Revelation, while at the same time embracing the mythical nature of our faith. It can accept what seems impossible by human standards, as wondrous, fantastical, and completely true, while also seeing the historical and scientific truth of Christianity. Thus, providing a faith that is grounded in logic and rationality while still accepting the amazing and fantastic nature of the triune God. This thesis will also look at myths and legends, both ancient and modern, and show how we can see Christ through them. It will enable us to truly see that God reveals Himself to all people and that truth always points to Him, no matter where it is found.

The feminist movement of the 1960s and 1970s directly impacted the evolution of the Fantasy Literature genre, changing it from a genre dominated by male authors and characters to one filled with many strong-willed, intelligent female characters that were written by female authors. Historians have often studied the impact of the First Women’s Right’s Movement on society but have often overlooked the impact the second wave of feminism had on society and have completely overlooked its tremendous impact on the Fantasy Literature genre. The works of authors writing before the Second Women’s Right’s Movement, T.H. White and J.RR. Tolkien, were compared to works written during and after the movement by authors such as William Goldman, Ursula K. Le Guinn, Patricia A. McKillip, Marion Zimmer Bradley and Janny Wurts and Raymond E. Feist. Fantasy Literature went from a genre solely dominated by male authors with powerful male characters and foolish or evil female characters to a genre with many female authors creating entire works centered on the adventures and abilities of strong-willed and intelligent women.

Reviewers and critics of Helen Macdonald’s H Is for Hawk (2014) tend to focus on the text’s treatment of grief and falconry. None has attended to the myriad intertextualities in the memoir. H Is for Hawk is a self-consciously allusive and literary text. Macdonald’s writing imitates and reimagines the rich tradition of writing about human encounters with the wild and personal grief. Books, therefore, play an important role in shaping Macdonald’s experience of bereavement. By tracing her changing relationship to them and the ways in which their tropes are reworked, one gains an insight into Macdonald’s recovery through her search for authentic expression.

The complex intertextuality of T.H. White's The Once and Future King problematizes definitions of source and adaptation in medievalism. Positioned as a footnote to, a preface to, and a commentary upon Malory's Morte Darthur, White's work demonstrates the productive possibilities of adaptive relationships that frustrate our attempts to 'taxonomize' them.

T.H. White not only uses medieval hunting treatises for source material in The Once and Future King, he also engages in interpretive reading. He makes the implicit explicit through exclamatory amplification and thereby demonstrates a close affinity for medieval modes of reading and writing.

This article reads Cooper's 1975 Arthurian bildungsroman in the context of contemporaneous arguments about fantasy as the genre of the inner self. It traces changing ideas about the educational uses of fantasy and myth as a way of understanding the book's narrative techniques and its allegorization of the journey inward.

'Restless Arthur' uses the technique of visual rhetoric to analyze 'Restless' (2015), a music video produced by the band New Order. The analysis examines the use of Arthurian narrative and trope in contemporary popular culture.