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Greeks and Saracens inGuy of Warwick

10 Romancing the East: Greeks and Saracens in Guy of Warwick Rebecca Wilcox Guy’s ties to the East For decades, literary critics such as Frederic Jameson and Stephen Knight have argued that medieval romance, for the most part, unquestioningly reflects dominant ideologies of the ruling elite.1 Far from conforming to this prescription, however, the fourteenth-century popular romance Guy of Warwick engages contemporary socio-political concerns in critical and transformative ways. Guy’s fantastic reworking of England’s past through its titular hero both recognises

in Pulp fictions of medieval England

9 Epic romance on Western and Eastern Fronts Introduction: the romance of volunteer work Most volunteer nurses of the First World War were female, young, and – within the limits of their time – well educated. They were more likely than trained nurses to publish memoirs of the war. Somewhat paradoxically, they were also more likely to write about the intricacies of nursing practice. While the writings of trained nurses focused on the courage and endurance of patients, those of volunteers emphasised the drama of nursing itself. Chapter  8 explored the ways in

in Nurse Writers of the Great War
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The author reviews Barry Jenkins’s 2018 film adaptation of Baldwin’s novel, If Beale Street Could Talk, finding that Jenkins’s lush, painterly, and dreamlike visual style successfully translates Baldwin’s cadenced prose into cinematic language. But in interpreting the novel as the “perfect fusion” of the anger of Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the novel’s most significant aspect, its gender politics. Baldwin began working on If Beale Street Could Talk shortly after being interviewed by Black Arts poet Nikki Giovanni for the PBS television show, Soul!. Giovanni’s rejection of Baldwin’s claims that for black men to overcome the injuries of white supremacy they needed to fulfill the breadwinner role prompted him to rethink his understanding of African American manhood and deeply influenced his representation of the novel’s black male characters. The novel aims to disarticulate black masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of the novel surfaces in his treatment of the character of Frank, who in the novel serves as an example of the destructiveness of patriarchal masculinity, and in his rewriting of the novel’s ending.

James Baldwin Review
Essays in popular romance
Editor: Nicola McDonald

This collection and the romances it investigates are crucial to our understanding of the aesthetics of medieval narrative and to the ideologies of gender and sexuality, race, religion, political formations, social class, ethics, morality and national identity with which those narratives emerge.

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10 A polemical introduction Nicola McDonald The Middle English romances have been called the ‘ugly ducklings of medieval English studies’.1 In a discipline that contests even the most basic definition of the genre, romance’s low prestige is one of the few critical certainties. Despite its status as medieval England’s most popular secular genre (more than one hundred romances are extant), the origin of the modern novel (still the most significant literary form), the ancestor of almost all contemporary popular fiction (in print and on screen) and the most

in Pulp fictions of medieval England
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Romances, novels, and the classifications of Irish Romantic fiction

2 Gothic genres: romances, novels, and the classifications of Irish Romantic fiction In his Revelations of the dead-alive (1824), John Banim depicts his time-travelling narrator encountering future interpretations of the fiction of Walter Scott. In twenty-first-century London, Banim's narrator realises, Scott is little read; when he is, he is understood, as James Kelly points out, ‘not as the progenitor of the historical novel but rather as the last in line of an earlier Gothic style’. 1 According to the readers encountered in his travels

in The gothic novel in Ireland, c. 1760–1829

1 Incorporation in the Siege of Melayne Suzanne Conklin Akbari In the debate concerning precisely what constitutes a medieval ‘romance’ the Siege of Melayne occupies a special position. As a number of readers have noted, this poem participates in the conventions both of romance (understood as a genre fundamentally concerned with the deeds of knights) and of hagiography. The focus of such cross-generic readings is usually the character of Archbishop Turpin who, as Barron puts it, has ‘as much of the saint as of the soldier in his nature’.1 The crossgeneric status

in Pulp fictions of medieval England
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What lovers want

4 Sir Degrevant: what lovers want Arlyn Diamond According to Sir Degrevant, an early fifteenth-century romance with a lively plot and remarkable density of description, what women want is a handsome, valiant, wealthy and noble lover, triumph over fierce paternal opposition, a splendid wardrobe, and a fabulous room of their own.1 What men want is a noble reputation, a huge deer park in which to spend their days hunting, extensive and prosperous estates, triumph over would-be oppressors, and a beautiful opinionated heiress. And, the happy ending suggests, they

in Pulp fictions of medieval England
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Coding same-sex union in Amis and Amiloun

3 A, A and B: coding same-sex union in Amis and Amiloun Sheila Delany Form I take my title from the rhyme scheme of a tantalising but little studied Middle English romance, Amis and Amiloun.1 The poem is composed in twelve-line stanzas, rhymed AAB AAB CCB DDB, with a metrical scheme of four, four and three stresses corresponding to the rhyme. This is a variant of the well-known ‘tail-rhyme’ stanza found in some Middle English lyrics and in over twenty Middle English romances. Six of these tail-rhyme romances appear for the first time in the famous Auchinleck

in Pulp fictions of medieval England

2 The twin demons of aristocratic society in Sir Gowther Alcuin Blamires Sir Gowther is a 700-line narrative probably originating (in its Middle English form) about 1400 in the North Midlands. It is extant in two mildly divergent manuscript texts, which will here be referred to as the ‘Advocates’ and ‘Royal’ versions.1 Sir Gowther is conspicuous for that surface crankiness and drastic speed which are often found in medieval English verse romances and which readily provoke a modern reader’s suspicion that no very challenging contact with medieval society is being

in Pulp fictions of medieval England