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Studies in Medievalism XXXIV
Tribal Medievalisms
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Edited by:
Karl Fugelso
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With contributions by:
Alexandra Sterling-Hellenbrand
Language:
English
Published/Copyright:
2025
About this book
The themes of tribalism and medievalism unite this wide-ranging collection of essays.
Essays address queer medievalisms in and around Gwen Lally's historical pageants and Radclyffe Hall's The Well of Loneliness; Robert Glück's 1994 novel Margery Kempe; and forms of gender tribalism in and around Josephine Butler's Catharine of Siena: A Biography. Gender is further explored alongside the central theme, with surveys of tribal gendering of masculinity in C. S. Lewis's Prince Caspian and its film; tribalism in medievalist bandits beyond Robin Hood and his "merry" band; and tribal gendering of femininity in the films Brave and Sleeping Beauty. There are also contributions on colonialist tribalism in the staging of Camelot in Richard E. Grant's film Wah-Wah; nationalistic tribalism in German pride, refracted through American frontier attitudes towards Native Americans; tribal perspectives of Native Americans in Guy Gavriel Kay's Fionavar Tapestry; the death of Optimus Prime in Transformers: The Movie as an act that stirs fans' tribal passions; and Carolingian legends as both reflecting and superseding tribal affiliations in twentieth-century America.
Essays address queer medievalisms in and around Gwen Lally's historical pageants and Radclyffe Hall's The Well of Loneliness; Robert Glück's 1994 novel Margery Kempe; and forms of gender tribalism in and around Josephine Butler's Catharine of Siena: A Biography. Gender is further explored alongside the central theme, with surveys of tribal gendering of masculinity in C. S. Lewis's Prince Caspian and its film; tribalism in medievalist bandits beyond Robin Hood and his "merry" band; and tribal gendering of femininity in the films Brave and Sleeping Beauty. There are also contributions on colonialist tribalism in the staging of Camelot in Richard E. Grant's film Wah-Wah; nationalistic tribalism in German pride, refracted through American frontier attitudes towards Native Americans; tribal perspectives of Native Americans in Guy Gavriel Kay's Fionavar Tapestry; the death of Optimus Prime in Transformers: The Movie as an act that stirs fans' tribal passions; and Carolingian legends as both reflecting and superseding tribal affiliations in twentieth-century America.
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Frontmatter
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Acknowledgments
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Contents
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List of Illustrations
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Preface
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“Hair Cut Short like a Mediæval Page”: Queer Medievalisms in Gwen Lally’s Historical Pageants and Radclyffe Hall’s The Well of Loneliness (1928)
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“I thought I would be a Chaucerian”: Robert Glück, the Medievalism of New Narrative, and Margery Kempe
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“I Will Send to Them Women”: Josephine Butler’s Catharine of Siena: A Biography (1878), Female Food Abstinence, and Victorian Feminist Medievalism
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“Noble Maiden Fair”: Music and the Construction of Gender in Disney/Pixar’s Brave and Disney’s Sleeping Beauty
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Becoming a Man in Narnia: Adaptation, Medievalism, and Masculinity in Prince Caspian
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“Where Men Lived After the Manner of Beasts”: Bandits in Medieval Worlds
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The Musical Camelot and Colonial Medieval Tribalism in Richard E. Grant’s 2005 Film Wah-Wah
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Narratives of Belonging: Arminius and Autochthony between the Minnesota Prairie and German Forests
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King Arthur and Imagined Indians: The Entanglement of Medievalist and Indigenous Elements in Guy Gavriel Kay’s Fionavar Tapestry
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Arthurian Legend and the Death of Optimus Prime in Transformers: The Movie (1986)
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Laughing at a Carolingian Legacy: Medievalism and Charlemagne Legends in Twentieth-Century America
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Contributors
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Publishing information
Pages and Images/Illustrations in book
eBook published on:
March 11, 2025
eBook ISBN:
9781805435600
Pages and Images/Illustrations in book
eBook ISBN:
9781805435600
Keywords for this book
Medievalism; Tribalism; Queer Medievalisms; Gender Tribalism; Historical Pageants; Colonialist Tribalism; Nationalistic Tribalism; Native Americans; Carolingian Legends; Masculinity; Femininity; Medievalist Bandits
Audience(s) for this book
For an expert adult audience, including professional development and academic research
