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Open Access (free)
Nicola McDonald

of the field of inquiry. As an introduction to the ten essays that comprise this book, I provide neither a historical overview of the genre (authorship, audience, manuscripts) nor a survey of the different theoretical approaches that help elucidate the workings of popular culture; both of these have recently received admirable treatment elsewhere.3 Instead, I offer a short polemical essay that confronts head-on the paradox that informs and ultimately circumscribes all of our thinking about Middle English popular romance. ‘Popular’ in its capacity to attract a large

in Pulp fictions of medieval England
Le Bone Florence of Rome and bourgeois self-making
Felicity Riddy

these things than they have. This links, of course, to a larger debate over ‘popularculture, and to the extent to which the categories ‘popular’ and ‘elite’ (and the hierarchy of taste they assume) are themselves produced by the criticism that claims to be only describing them. It may be, however, that it is not only modern academic judgements that are at issue here, because the kinds of implicit distinctions and hierarchies being drawn in the twentieth century surely mirror practices from the fifteenth. The scribe of CUL Ff. 2. 38 was of Leicestershire origin and

in Pulp fictions of medieval England
Thinking, feeling, making
James Paz

–108. 32 Maria Sachiko Cecire, ‘ Ban Welondes : Wayland Smith in popular culture’, in Clark and Perkins (eds), Anglo-Saxon culture and the modern imagination , pp. 201–17, at 205. 33 See the entries on orþanc and searu in James Bosworth and T. Northcote Toller, An Anglo-Saxon dictionary (Oxford, 1898), with Supplement by T. N. Toller (1921) and Revised and enlarged addenda by A

in Dating Beowulf
Open Access (free)
Donna Beth Ellard

, 58 social scientists began to access the role that ambivalence rather than sentimentality and attachment play in parent–child relationships. As these discussions extended beyond the family unit, ‘intimacy ambivalence’ became recognized as a state of feeling that, according to Karen Prager, ‘is built into intimate relationships’, 59 whether these are enacted between couples or friends, in private or public domains. Thus, as Lauren Berlant comments, while ‘in popular culture ambivalence is seen

in Dating Beowulf