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Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

and their production, while M. Mills, J. Burton, P. Price, R. Dalrymple, T. Turville-Petre, S. Crane and V. B. Richmond elaborate Guy’s structure, its connections to hagiography and social MUP_McDonald_11_Chap10 217 11/18/03, 17:06 218 Rebecca Wilcox politics, and its analogues in visual art and non-romance literature.4 Yet, despite their interest in the romance, critics have almost entirely ignored one of the central themes in Guy: the hero’s domination of Eastern empires, both Christian and Saracen. This neglect has limited criticism of Guy to fairly local

in Pulp fictions of medieval England
Elisa Narin van Court

scenes inside the city walls where hundreds die daily for lack of food and water, culminating in the surrender of the Jews and their sale into slavery by the Romans. Jerusalem is informed throughout by a variety of sensibilities: religious, political, economic, and social. The Roman crusade against the Jews and Jerusalem is framed by Christian justifications; issues of empire and rule are played out within the Roman camp and between the Romans and the Jews; because the Jews have refused to pay tribute to Rome, the economics of revenge initiate, in part, the original

in Pulp fictions of medieval England
Open Access (free)
Robin Norris

each man his armour; to the fire of some his horse also is added. The tomb is a mound of turf: the difficult and tedious tribute of a monument they reject as too heavy on the dead. Weeping and wailing they put away quickly: sorrow and sadness linger. Lamentation becomes women: men must remember.’). 6 Christopher B. Krebs, A most dangerous book: Tacitus's Germania from the Roman Empire to the Third Reich

in Dating Beowulf
Open Access (free)
John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

include Barbara A. Hanawalt and Michal Kilbialka, eds, Medieval practices of space (Minneapolis: University of Minnesota Press, 2000); Mayke de Jong, Frans Theuws, and Carine van Rhijn, eds, Topographies of power in the Middle Ages (Leiden: Brill, 2001); Virginia Chieffo Raguin and Sarah Stanbury, eds, Women’s space: patronage, place, and gender in the medieval church (Albany, NY: State University of New York Press, 2005), and Geraldine Heng, Empire of magic: medieval romance and the politics of cultural fantasy (New York: Columbia University Press, 2003). 25 Mark

in Participatory reading in late-medieval England
Alcuin Blamires

proclaim news of his divine forgiveness. Gowther marries her and they inherit the empire. Sir Gowther has seemed in the past too slight and eccentric, too brusque and melodramatic to attract much serious notice apart from MUP_McDonald_03_Ch2 45 11/18/03, 16:58 46 Alcuin Blamires classificatory investigation of its folktale affiliations and bureaucratic inquiry into its generic status.2 What modicum of attention it has otherwise gained has arisen because it draws upon the discourse of demonology on the one hand and the discourse of penitence on the other. The

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

expected answer is clearly not ‘Florence, of course’. Florence may inherit but she cannot rule: in fact she is made to faint at this juncture as if to acquiesce in her own incapacity. And so the unequal distribution of public power between men and women perpetuates itself; the landless Emere acquires an empire, Florence sends him away and her nightmares begin. The period I have already identified in which she is neither a daughter nor a wife is the period of the horrific history that gets pieced together at the end of the poem. As bourgeois reading matter, Le Bone

in Pulp fictions of medieval England