Bøger af Andrew B.R. Elliott

Essays on the post-modern reception and interpretation of the Middle Ages,To attract followers many professional politicians, as well as other political actors, ground their biases in (supposedly) medieval beliefs, align themselves with medieval heroes, or condemn their enemies as medieval barbarians. The essays in the first part of this volume directly examine some of the many forms such medievalism can take, including the invocation of "e;blood libels"e; in American politics; Vladimir Putin's self-comparisons to "e;Saint Equal-of-the-Apostles Prince Vladimir"e;; alt-right references to medieval Christian battles with Moslems; nativist Brexit allusions to the Middle Ages; and, in the 2019 film The Kid Who Would be King, director Joe Cornish's call for Arthurian leadership through Brexit. These essays thus inform, even as they are tested by, the subsequent papers, which touch on politics in the course of discussing the director Guy Ritchie's erasure of Wales in the 2017 film King Arthur: Legend of the Sword; medievalist alt-right attempts to turn one disenfranchised group against another; Jean-Paul Laurens's 1880 condemnation of Napoleon III via a portrait of Honorius; Henry Wadsworth Longfellow's extraordinarily wide range of medievalisms; the archaeology of Julian of Norwich's anchorite cell; the influence of Julian on pity in J.K. Rowling's Harry Potter book series; the origins of introductory maps for medievalist narratives; self-reflexive medievalism in a television episode of Doctor Who; and sonic medievalism in fantasy video games. Contributors: Laura Cochrane, James Cook, Esther Cuenca, Andrew B.R. Elliott, Ali Frauman, JohnWyatt Greenlee, Sean Griffin, Christopher Jensen, M.J. Toswell, Laura Varnam, Usha Vishnuvajjala, Anna Fore Waymack, Daniel Wollenberg, Victoria Yuskaitis

An exploration of how the Middle Ages are manipulated ideologically in today's communication.

Proposing a fresh theoretical approach to the study of cinematic portrayals of the Middle Ages, this book uses both semiotics and historiography to demonstrate how contemporary filmmakers have attempted to recreate the past in a way that, while largely imagined, is also logical, meaningful, and as truthful as possible. Carrying out this critical approach, the author analyzes a wide range of films depicting the Middle Ages, arguing that most of these films either reflect the past through a series of visual signs (a concept he has called "iconic recreation") or by comparing the past to a modern equivalent (called "paradigmatic representation").