Titlebook: Medieval Afterlives in Popular Culture; Gail Ashton,Daniel T. Kline Book 2012 Palgrave Macmillan, a division of Nature America Inc. 2012 c

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The YouTube Prioress: Anti-Semitism and Twenty-First Century Participatory Culture,alues incongruent with many contemporary values. How should young readers be introduced to such characters as Griselda or Constance, who suffer greatly rather than disobey their husbands? And how do we explain Virginia, who is beheaded by her father to prevent her rape by an unscrupulous judge?

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The Medieval Entertainment Channel: The , Quartet,ting, her medieval sisters. Fiona and the Loathly Lady live in what Mikhail Bakhtin calls “great time”: in which cultural productions break through the boundaries of their historical moment, and, I would add, swirl around in a kaleidoscope of new, never to be repeated, patterns.

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,H. P. Lovecraft’s “Unnamable” Middle Ages, them” (. 4:143).. Lovecraft’s current pop-cultural reputation might please the author, then; Lovecraft is commonly seen as a scientific and materialist thinker, fascinated with the “deep time” of prehuman eras or the extraterrestrial influence of alien gods, with no linkage whatsoever to the Middle Ages.

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,Dario Fo’s , and the Left-Modernist Reclamation of Medieval Popular Culture,arately argued, its emergence in the nineteenth century is inextricably bound up with the philological, literary, and material recovery of medieval culture. David Hall argues that the perception of an “unofficial” medieval culture had preceded the nineteenth century, but the late eighteenth and nine

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Medievalism and Periodization in , and ,: Environment, Class, Miracle,ism and Orientalism, in “the medieval Orient.”. Laurie A. Finke and Martin B. Shichtman, on the other hand, resist the notion that such films constitute a genre in themselves, and consider two possible ways in which medievalist cinema may draw on different “generic frameworks”: one way is for films

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,Time Travel, Pulp Fictions, and Changing Attitudes Toward the Middle Ages: Why You Can’t Get Renaisr thought before 1980; on the other side (the daydreams), the greening of community and the Disneyfication of King Arthur. Images of violence and dirt far outnumbered images of honor and greenery, however, and clean, clear air was rarely called medieval; fictional treatment of the period always dwel

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Confession, Contrition, and the Rhetoric of Tears: Medievalism and Reality Television,of the rewards, or at least, expectations of reality show behavior, even for a judge, an ostensibly impartial observer. Unlike courtroom judges who provide objective interpretations of the law, reality show judges seem to function as surrogates for the audience, providing a model of affective weepin