I focus on him here is his
reputation as an influential advocate of medieval popular romance; what
I want to demonstrate is the extent to which such advocacy is, in the
history of romance scholarship, invariably compromised.
10 Percy’s inscription is printed in Hales and Furnivall, Bishop Percy’s Folio
Manuscript, vol. 1, p. lxxiv.
11 Chaplain to the Northumberlands and author of their familyhistory (a
position he secured on the back of the Reliques’ popular success), Percy
was appointed in 1769 one of the King’s Chaplains en route, via a
deanship, to the
was fuelled by my own identity and ancestry, by traces of names and occupations almost forgotten by the passage of time, by a familyhistory of blacksmiths and other workers, at once too late and too soon for the ideals of the craft movement to be fulfilled. Academia has offered me a way up the social ladder, but not without an attendant anxiety about what is left behind, what is lost or abandoned, in the pursuit of an intellectual career, the life of the mind at the expense of the craft of the hands. I have tried to counter this sense of loss with scholarship that
to emphasise the
continuity of the story line. While it would obviously be misleading to
say that such continuity is wholly absent from the Conte du Graal,
Chrétien’s fabula plainly does not unravel as perspicuously as Percyvell’s,
either in terms of presentation (witness the temporal distortions) or
content. Specifically, compared with Percyvell’s mother, Perceval’s
has been strikingly more successful in erasing the boy’s familyhistory.
The hero has no name apart from her appellation ‘fair son’, and no
heirloom materialises the affinity between father and son
The failure and success of a Swedish film diversity initiative
Mara Lee Gerdén
us that she would
continue working on this theme, digging even deeper into the familyhistory, going further back in time, beyond her own upbringing and childhood.
She became silent for a moment. We, the other participants, listened carefully to this silence. Then she continued talking, telling us that she and her
Vulnerability and cultural policy
two brothers underwent constant abuse growing up. In her home, domestic
violence was a standard procedure –her mom hit her and her brothers, and
her father hit her mom. But despite this abuse, or because of
person could read this in 1603 and not think, upon reading of
the “happy bed” of Mary and Lord Darnley, of Lord Darnley’s eventual
murder, less than two years after his ill-fortuned wedding?
Did Drayton have reservations about the new king (such reservations
as McCabe thinks motivated Spenser’s portrait of Mary in The Faerie
Queene) and thus wanted to remind readers of James’s embarrassing
familyhistory? Did he describe his pen as “forward” not because it was
too early, but because it was too “forward” in the sense of aggressive (i.e.,
the opposite of “froward”) when