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Nicola McDonald

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 family history (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

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

was fuelled by my own identity and ancestry, by traces of names and occupations almost forgotten by the passage of time, by a family history 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

in Dating Beowulf
Ad Putter

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 family history. The hero has no name apart from her appellation ‘fair son’, and no heirloom materialises the affinity between father and son

in Pulp fictions of medieval England
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 family history, 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  166 166 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

in The power of vulnerability
Open Access (free)
Imitation of Spenserian satire
Rachel E. Hile

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 family history? 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

in Spenserian satire