The continuous interest in medieval literature, history and culture, has resulted in a significant number of works on medievalism. Medievalism, however, has many faces, which range from motifs and themes loosely connected with the Middle Ages, to works set in the period. This book explores all such diverse aspects of medievalism and attempts to show the different ways in which consecutive literary periods appropriated medieval literature and culture.
Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2008. 229 pp.
Contents: Marcin Cieniuch: Layers of fictionality. Reading Victorian medievalism in A. S. Byatt’s Possession
– Lindsay Clarke: The alchemy of imagination – Anna Czarnowus: Artificial discourse of national belonging: the case of Anglo-Saxonism
– Jacek Fabiszak: The gender of the Vice: from the Medieval she-vice to the Renaissance she-villain in Shakespeare’s Macbeth
– Keiko Hamaguchi: Rewriting Arthurian legends in Soseki: «Kairoko» and Malory – Łukasz Hudomięt: The portrayal of (d)evil
in Iris Murdoch’s The Flight from the Enchanter, A Fairly Honourable Defeat and The Time of the Angels
– Dagmara Krzyżaniak: Medieval dramatic tradition revisited in Peter Barnes’ Red noses – Joanna Maciulewicz: Translations
and imitations of medieval texts in Neoclassicism: Chaucer as a «rough diamond» that «must first be polished ere he shines»
– Małgorzata Milczarek: The witch in English literature: negotiation of power and gender politics – Hans Sauer: Teaching the
English Middle Ages of film - possibilities, problems, perspectives – Agnieszka Setecka: Alfred Tennyson’s «Vivien» and «Guinevere»:
sensation stories in medieval setting – Liliana Sikorska: The alchemy of love: Representing desire in a medievalist (con)text.
Lindsay Clarke’s The Chymical Wedding – Anna Warmuz: Medieval bestiaries and modern beasts - the making of beast fables
in contemporary literature – Andrzej Wicher: Some Boethian and ecclesiological themes in C.S. Lewis’s Screwtape Letters
– Władysław Witalisz: Blind Hary’s The Wallace and Mel Gibson’s Braveheart: what do medieval romance and Hollywood
film have in common?