From Medievalism to Early-Modernism

<p><em>From Medievalism to Early-Modernism: Adapting the English Past </em>is a collection of essays that both analyses the historical and cultural medieval and early modern past, and engages with the medievalism and early-modernism—a new term introduced in this collection—present in contemporary popular culture. By focusing on often overlooked uses of the past in contemporary culture—such as the allusions to John Webster’s <i>The Duchess of Malfi </i>(1623) in J.K. Rowling’s <i>Harry Potter </i>books, and the impact of intertextual references and internet fandom on the BBC’s <i>The Hollow Crown: The Wars of the Roses</i>—the contributors illustrate how cinematic, televisual, artistic, and literary depictions of the historical and cultural past not only re-purpose the past in varying ways, but also build on a history of adaptations that audiences have come to know and expect. <i>From Medievalism to Early-Modernism: Adapting the English Past </i>analyses the way that the medieval and early modern periods are used in modern adaptations, and how these adaptations both reflect contemporary concerns, and engage with a history of intertextuality and intervisuality.</p><p></p> <p>Acknowledgements</p><p></p><p>List of Figures</p><p></p><p>Notes on Contributors</p><p></p><p>1. Introduction: Medievalism and Early-Modernism in Adaptations of the English Past</p><p></p><p>Marina Gerzic and Aidan Norrie</p><p></p><p>Section I: Cultural Medievalism and Early-Modernism</p><p></p><p>2. Wonder Woman and the <i>Nine Ladies Worthy</i>: The Male Gaze and what it takes to be a ‘Worthy Woman’</p><p></p><p>Simone Celine Marshall</p><p></p><p>3. The King, the Sword, and the Stone: The Recent Afterlives of King Arthur</p><p></p><p>Sarah Gordon</p><p></p><p>4. Brand Chaucer: The Poet and the Nation</p><p></p><p>Martin Laidlaw</p><p></p><p>5. Moving between Life and Death: Horror films and the Medieval Walking Corpse</p><p></p><p>Polina Ignatova</p><p></p><p>6. From <i>Cabaret</i> to <i>Gladiator</i>: Refiguring Masculinity in Julie Taymor’s <i>Titus</i></p><p></p><p>Marina Gerzic</p><p></p><p>7. "There’s My Exchange": The Hogarth Shakespeare</p><p></p><p>Sheila T. Cavanagh</p><p></p><p>8. Bloody Brothers and Suffering Sisters: <i>The Duchess of Malfi</i> and Harry Potter</p><p></p><p>Lisa Hopkins</p><p></p><p>Section II: Historical Medievalism and Early-Modernism</p><p></p><p>9. Playing in a Virtual Medieval World: Video Game Adaptations of England through Role-play </p><p></p><p>Ben Redder</p><p></p><p>10. "I can piss on Calais from Dover": Adaptation and Medievalism in Graphic Novel Depictions of the Hundred Years’ War (1337–1453)</p><p></p><p>Iain A. MacInnes</p><p></p><p>11. Beyond "tits and dragons": Medievalism, Medieval History, and Perceptions in <i>Game of Thrones</i></p><p></p><p>Hilary Jane Locke</p><p></p><p>12. Re-fashioning Richard III: Intertextuality, Fandom, and the (Mobile) Body in <i>The Hollow Crown: The Wars of the Roses</i></p><p></p><p>Marina Gerzic</p><p></p><p>13. The Many Afterlives of Elizabeth Barton</p><p></p><p>Annie Blachly</p><p></p><p>14. The Queen, the Bishop, the Virgin, and the Cross: Catholicism versus Protestantism in <i>Elizabeth</i> </p><p></p><p>Aidan Norrie</p><p></p><p>15. "Unseen but very evident": Ghosts, Hauntings, and the Civil War Past</p><p></p><p>Michael Durrant</p><p></p><p>Index</p>