Arthuriana最新文献

{"title":"Bestsellers and Masterpieces: The Changing Medieval Canon ed. by Heather Blurton and Dwight F. Reynolds (review)","authors":"Katherine Oswald","doi":"10.1353/art.2023.a915337","DOIUrl":"https://doi.org/10.1353/art.2023.a915337","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Bestsellers and Masterpieces: The Changing Medieval Canon</em> ed. by Heather Blurton and Dwight F. Reynolds <!-- /html_title --></li> <li> Katherine Oswald </li> </ul> <small>heather blurton</small> and <small>dwight f. reynolds</small>, eds., <em>Bestsellers and Masterpieces: The Changing Medieval Canon</em>. Manchester Medieval Literature and Culture. Manchester: Manchester University Press, 2022. Pp. 288. <small>isbn</small>: 978–1–5261–4748–6. $130. <p>This collection of nine essays plus introduction has at its core a 'paradox in the modern study of medieval European and Arabic literature' (p. 1). On the one hand, many of the works that are most widely studied and taught survive today in a single copy, which suggests that they were not widely transmitted during the Middle Ages. On the other hand, many texts that survive in numerous manuscripts and have been translated to multiple languages are largely absent from undergraduate syllabi, anthologies of medieval literature, and academic scholarship.</p> <p>Heather Blurton and Dwight F. Reynolds' detailed introduction lays the foundation for the studies that will follow. They provide several examples of works that fit into either side of the paradox and offer possible explanations for why such works have either been hailed as masterpieces or relegated to the margins of scholarship. They recognize modern literary preferences and acknowledge that texts that enjoyed wide dissemination and translation present challenges to those seeking an authoritative version. Similarly, those 'wandering texts' (p. 7) are difficult to attribute to a particular national literature, which is still the overarching framework that most often determines which texts are taught in literature courses.</p> <p>After a thorough presentation of the issue at hand, the editors divide the collection into two sections. The first, 'Hanging by a Thread: Unique Manuscripts and Their Place in the \"Modern\" Medieval Canon,' addresses texts that exist in single manuscripts yet have a significant presence in modern scholarship and classrooms. Paul M. Cobb gives a detailed history of the life of Usáma ibn Munqidh's <em>Book of Contemplation</em> from 1880 on, noting that Usáma was an author whose persona modern scholars could reinterpret according to their own cultural contexts. Daniel C. Remein and Erica Weaver address <em>Beowulf</em>'s journey in the nineteenth and twentieth centuries, noting the more well-known history of 'Oxford dons seeking to legitimate English as a serious scholarly discipline' (p. 55), but centering their attention on the lesser-known critical history of <em>Beowulf</em>. Specifically, they bring to light the important role that scholars from elite women's colleges and historically Black colleges and universities in the United States have had in <em>Beowulf</em>'s","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"68 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138630315","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mrs. Davis by Tara Hernandez and Damon Lindelof (review)","authors":"Susan Aronstein, Laurie Finke","doi":"10.1353/art.2023.a915339","DOIUrl":"https://doi.org/10.1353/art.2023.a915339","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Mrs. Davis</em> by Tara Hernandez and Damon Lindelof <!-- /html_title --></li> <li> Susan Aronstein and Laurie Finke </li> </ul> <small>tara hernandez and damon lindelof</small>, creators, <em>Mrs. Davis</em>, an eight-part Warner Brothers television mini-series, 20 April–18 May 2023, steaming on Peacock. <p>Tara Hernandez and Damon Lindelof's 2023 series <em>Mrs. Davis</em> reimagines the Grail, 'that most clichéd and overused McGuffin,' in an adventure as loony as anything the Pythons might have concocted. In this generic mashup, users worldwide have <strong>[End Page 68]</strong> become addicted to Mrs. Davis, an algorithm that promises them peace, prosperity, and purpose. But not all are convinced of the algorithm's benevolence; the series follows the exploits of Sister Simone (Betty Gilpin), an indomitable skort-wearing nun intent on destroying Mrs. Davis and all her works. Aided by a former boyfriend (Wiley, played by Jake McDorman) and his 'band of brothers,' a group of muscular Kens, Simone takes on the task of extirpating the sinister software, which has promised her that, if she finds and destroys the Holy Grail, the algorithm will self-destruct. The series updates the Holy Grail for the age of ChatGPT.</p> <p>Sister Simone's quest, played out over eight episodes, delivers a zany mashup of film clichés, both generic and formulaic, wrapped in parodies of cinematic medievalism, westerns, horror films, sci-fi, and commercials, as well as heist, espionage, Nazi, and magician movies. Its many film references include <em>Indiana Jones and the Last Crusade, Star Wars, Fight Club, The DaVinci Code</em>, and <em>The Sound of Music</em>. The series offers up a dizzying and entertaining array of tropes and characters, including a failed stage magician, bronco busting, a Middle-Ages-themed endurance competition (think 'Hands on a Hardbody'), a fake Pope, British Knights sneakers, a Lady of the Lake, a hermit guide named Schrödinger (Ben Chaplin) and his cat, a high-tech heist, an exploding head, a Hercules laser, a Lazarus Shroud (the former a real device, the latter made up), a mysterious pyramid, and a belligerent whale of Biblical proportions. And it all works. It's funny, it's intriguing, and it arrives at a satisfying conclusion in which Sister Simone and Wiley ride off into the sunset on a white horse, with Simone clearly in charge, Wiley the sidekick, and no heteronormative ending in sight (she's a nun).</p> <p>And it's particularly satisfying for a medievalist. Indeed, what holds this absurd cinematic romp together is its surprisingly complex medievalism and the suggestion that, in the end, medieval romance provides its own narrative algorithm, a formula for generating the series' multiple generic twists. <em>Mrs. Davis</em> opens with a piece of medievalism dramatizing the 1307 massacre of","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"40 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138629482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dramatic Spectacle in LaƷamon: The Brut's Direct Speeches, Aestheticized Violence, and Gendered Historical Reenactments","authors":"Johanna Alden","doi":"10.1353/art.2023.a914637","DOIUrl":"https://doi.org/10.1353/art.2023.a914637","url":null,"abstract":"<p><p>Abstract:</p><p>This article explores the phenomena of dramatized direct speech and public performative spectacle within LaƷamon's <i>Brut</i>. In examining the text's largely historically unexplored dramatic dimensions, the piece also engages with the way that speech and performance are politicized and gendered in the <i>Brut</i>.</p></p>","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"90 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138629674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Chevalerie et royauté dans le roman d'Erec de Hartmann von Aue by Patrick Del Luca (review)","authors":"","doi":"10.1353/art.2023.a910875","DOIUrl":"https://doi.org/10.1353/art.2023.a910875","url":null,"abstract":"Reviewed by: Chevalerie et royauté dans le roman d'Erec de Hartmann von Aue by Patrick Del Luca Ann Mccullough patrick del luca, Chevalerie et royauté dans le roman d'Erec de Hartmann von Aue. Paris: Honoré Champion, 2021. Pp. 474. ISBN: 978–2–745–35413–6. €70. It is hardly a straightforward task to describe and explain how Hartmann von Aue reconceives Chrétien de Troyes' Erec et Enide. In his thorough and attentively referenced work, Patrick Del Luca outlines the deconstruction of Chrétien's belle conjointure in favor of a novel coherence of form and theme that the German adapter builds in its place. Del Luca begins with a consideration of the notion of conjointure and an overview of the ways in which Hartmann upends elements of Chrétien's text regarding form, tone, and purpose. Although the author speaks to the concept of conjointure as a system of rapports, repetitions, and connections within Chrétien's text that ensure its coherence and build meaning, readers relatively new to medieval literary study will likely require more guidance on this concept before attempting to fully appreciate Hartmann's transformation and strategic simplification of this aspect of Chrétien's work. Several helpful references concerning conjointure are included in the footnotes. Del Luca specifically outlines elements of the text that demonstrate Hartmann's desire to replace the nuances of Chrétien's conjointure in favor of a more ideologically centered model meant to establish and preserve a Christianized and aristocratic chivalric culture. The scene known as the 'joie de la cour' provides perhaps one of the best examples as the term joie undergoes a slide in meaning. In lieu of Chrétien's sometimes erotic, sometimes ironic use of the word, the joie of Hartmann's narrative takes on a more unambiguous ontological function. Here, joie springs from the knight's integration into harmonious courtly society. Without this joie, as Del Luca explains, no social cohesion—and, therefore, no courtly and aristocratic culture—would be possible. In addition to his ideological goal of forwarding a 'new' chivalry, influenced by Bernard de Clairvaux, that emphasizes empathy and humility, Hartmann has didactic aims, using Erec's exploits to underscore the perils of the destructive, isolating, and irrational type of anger (ira) that leads to gratuitous violence. Hartmann's Erec eventually adopts the humility and compassion inherent to the miles christianus, serving as an exemplar devoid of the psychological complexity and individuality of Chrétien's hero. Del Luca examines Hartmann's more narrow focus on Erec as knight and eventual king, as opposed to Chrétien's attention on the amorous couple. With a more direct focus on Erec as knight and less on other characters and his interactions with them, Hartmann lays the groundwork for a text that takes on the form and function of a miroir des princes. In his reflections on tyranny in the second half of his work, Del Luca discusses the litera","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"White Merlin: A Modern Misconception about the Legendary Merlin","authors":"Tzu-Yu Liu","doi":"10.1353/art.2023.a910869","DOIUrl":"https://doi.org/10.1353/art.2023.a910869","url":null,"abstract":"Abstract: Different from the predominantly white Merlins on both big and small screens today, Merlins in medieval legends are never described as having white skin. In fact, in various texts Merlin is specifically depicted as a dark-skinned character capable of making legendary accomplishments. The few Merlins of color onscreen have informed our understanding of Merlin as a legendary character in various ways, and more diverse representations of Merlin onscreen could help to dispel the misconception that the legendary Merlin is by default white. (TL)","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Why Can't Mermaids Be Ethnically Diverse?: Legends and Legend-Making in Arthurian Studies","authors":"Richard Sévère","doi":"10.1353/art.2023.a910868","DOIUrl":"https://doi.org/10.1353/art.2023.a910868","url":null,"abstract":"Why Can't Mermaids Be Ethnically Diverse?:Legends and Legend-Making in Arthurian Studies Richard Sévère (bio) In Fall 2022, the internet lost its mind at the debut of the trailer for Disney's The Little Mermaid—a remake of the legendary 1989 childhood classic about a mermaid who falls in love with a human man. While some were ecstatic that the talented Black actress, singer, and songwriter, Halle Bailey, would play the lead role of Ariel, others were infuriated, giving rise to such Twitter hashtags as: #NotMyMermaid and #MakeMermaidsWhiteAgain. These attacks confirm the limitless boundaries of hate—unsurprisingly, even fictional fish-people can be fodder for racism and bigotry. Sadly, phantastic underwater civilizations are not the only places or things where cultural inclusion draws the ire of fans. The Star Wars franchise also dealt with a barrage of fanatics who were angered by the character Reva Sevander, played by Black actress Moses Ingram, in Disney+'s Obi-Wan Kenobi. Unmistakably, these reactions are indeed part of a larger pattern Moya Bailey terms misogynoir—the disparaging treatment of Black women, or in Bailey's own words '[t]he anti-Black racist misogyny that Black women experience, particularly in US visual and digital culture.'1 Certainly, these instances of intolerance towards Black female actresses playing traditionally white characters are not new. In 2016, and again in 2018, there was controversy at the casting of South African actress Noma Dumzweni as Hermione in the Broadway adaptation of Harry Potter and the Cursed Child. Erika Milvy in a Los Angeles Times article points out that '[s]ome Potterheads' heads practically exploded when they first learned that black actress Noma Dumezweni had been cast as Hermione in the original London production of 'Cursed Child' in 2016.'2 While Milvy goes on to mention that, since then, eight more Black actresses have played the role of Hermione, the examples above confirm that not much has changed with regard to how audiences continue to negatively react to Black women playing legendary characters.3 That purported fans have such averse and intolerant reactions towards fictional forms of entertainment is unnerving and outright worrisome. What does it say about us as a society that we can somehow imagine new worlds, beyond our earthly realms, limitless borders that allow for rich and complex [End Page 3] ideas and identities to take shape, worlds so different, heterogenous, and multifaceted, worlds meant to teach, entertain, sooth, challenge, affirm, confirm and excite—and yet within these bold imaginings, we cannot fathom people of color existing beyond the prescriptive parameters that reality has all but guaranteed? Melissa J. Monson's assertion of the fantasy genre that '[t]he intertwining of recognizable cultural histories, epistemologies, and geographies encourage readers (and gamers alike) to suspend disbelief and accept the more fantastical elements of such stories'4 appears to have its","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards Narrative Plenitude: Asian Representation in Young Adult Arthurian Fantasy","authors":"Pamela M. Yee","doi":"10.1353/art.2023.a910871","DOIUrl":"https://doi.org/10.1353/art.2023.a910871","url":null,"abstract":"Abstract: This article examines how two authors of Asian descent tackle the problem of 'narrative scarcity' for marginalized writers in their Young Adult Arthurian texts: Williams' 'The Quay Stone' posits the relationship between colonizer/colonized as akin to domestic abuse, while Chupeco's A Hundred Names for Magic series integrates Eastern and Western myths. (PY)","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean by Megan Moore (review)","authors":"","doi":"10.1353/art.2023.a910876","DOIUrl":"https://doi.org/10.1353/art.2023.a910876","url":null,"abstract":"Reviewed by: The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean by Megan Moore Charles-Louis Morand-Métivier megan moore, The Erotics of Grief: Emotions and the Construction of Privilege in the Medieval Mediterranean. Ithaca: Cornell University Press, 2021. Pp. 189. ISBN: 978–1–50175–839–3. $49.99. Ever since Barbara Rosenwein released her magnum opus, Emotional Communities in the Early Middle Ages (Cornell, 2007), scholars have started using this approach to propose new methods to analyze medieval texts, notably by demonstrating how they emote and beget an emotional response from their readers. Megan Moore's book could be considered one of the most influential studies of emotions in the Middle Ages that was recently published. The core of her research focuses on what she identifies as the erotics of grief, and what they can help us understand about 'the interplay between gender, emotions, and power' (p. 3). When studying emotions, it is important to know what dimension of the idea the scholar refers to; here, Moore explains that she takes 'emotions to be culturally contextualized performances of feelings' (p. 7). This definition flows throughout her analysis of emotions in the context of gender, performance, and culture, and most notably how the elites were taught how to feel and experience grief and desire through texts; moreover, the erotization of this grief is crucial in the creation of tightening of the community of the elites. What makes Moore's analysis so appealing is the versatility of sources and approaches that she uses in her book; her research examines both canonical medieval pieces as well as less-known works. Her first chapter focuses on Philomena by Chrétien de Troyes, and how communal emotions and individual drives are intricately linked; through the analysis of women's bodily narratives, it is much more than the grief and suffering of women that is displayed; these become readable for others as emotional messages. Chapter Two also focuses on two of Chrétien de Troyes' romances, Erec et Énide and his rendition of Yvain. She specifically focuses on grief among widows. In these works, grieving women are made particularly desirable because of and through the narration of the deeds of their late lovers; as she explains, 'grief is eroticized within romance because it serves the ends of feudalism' (p. 89). Chapter Three examines one of the most famous French 'chanson de geste,' the Song of Roland. Although it is possibly one of the most studied medieval texts, and one on which much was already written, Moore examines this text, alongside Aliscans, Le Roman de Rou, and La Mort [End Page 109] le roi Artu. This chapter, even though it also examines grief and community, is more specifically focusing on masculinity, and most notably how the notion of grief plays in the creation and strengthening of the relations between leaders (such as Arthur and Charlemagne) and their knights, and how these rel","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"International Medievalism and Popular Culture ed. by Louise D'arcens and Andrew Lynch (review)","authors":"","doi":"10.1353/art.2023.a910874","DOIUrl":"https://doi.org/10.1353/art.2023.a910874","url":null,"abstract":"Reviewed by: International Medievalism and Popular Culture ed. by Louise D'arcens and Andrew Lynch Kevin J. Harty louise d'arcens and andrew lynch, eds. International Medievalism and Popular Culture. Amherst, NY: Cambria Press, 2022. Pp. xxx, 251 (with 18 b&w illustrations). isbn: 978–1–63857–110–0. $59.95. The paperback reissue of International Medievalism and Popular Culture—first published in hardback in 2014—is significant for three reasons. First, it reminds us that medievalism is now finally a recognized area of rigorous academic inquiry. We have come a long way from when, in the 1960s, 1970s, and 1980s, Leslie J. Workman and Kathleen Verduin had to make the scholarly case that medievalism was something more than the stepchild (or bastard!) of the more serious and important field of medieval studies. Second, the reissue of this collection of essays reminds readers of the important work being done on medievalism by our colleagues in Australia, who contribute all but two of the essays in this volume. And third, these essays by diverse hands remind us of the many ways in which the cultures of the Middle Ages have found expression in the modern and post-modern worlds in Australia and beyond. In their introduction, the editors lay out the argument advanced collectively by the essays in this volume: 'The \"popular Middle Ages\" has travelled a long way from its nationalistic origins, entering a realm in which the labels national, postcolonial, transnational, international, and global all require as much revisitation and renegotiation as that most slippery of all terms, the medieval' (p. xxvi). Clare Monagle follows the introduction with a discussion of how Hedley Bull's The Anarchial Society (1977) and its paradigm for the New Medievalism continue to offer a problematic approach both to theories about international relations and to the ways in which medievalism has been and continues to be used (and misused) in public discourse. Helen Dell next offers an analysis of how and why the Harry Potter franchise infuriated members of the Christian Right and thwarted their attempts to insulate their children from the wider world. Louise D'Arcens moves on to a comparative discussion of how three Ridley Scott films—Kingdom of Heaven (2005), Body of Lies (2008), and the 2010 Robin Hood—are imperfect exercises in defining international and domestic medievalism. In Scott's case, D'Arcens argues, the road to Hell. … John M. Ganim approaches the relationship between the Middle Ages and the Arab Spring though an examination of what he labels 'the built environment of the Islamic world' (p. 59). Using architectural projects funded by the Aga Khan Trust for Culture, Ganim argues that these projects reuse parts of the fabric of medieval Islam, often found in Western discussions of orientalism, for new and not-yet-fully defined purposes. Helen Hickey and Stephanie Trigg document the medievalism appropriated in the nineteenth century by the Australian United Tinsmiths t","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Who is Asking?: Afro-Arthurian Legend-making in N.K. Jemisin's Far Sector","authors":"D'arcee Charington Neal","doi":"10.1353/art.2023.a910872","DOIUrl":"https://doi.org/10.1353/art.2023.a910872","url":null,"abstract":"Abstract: Whether an Arthurian knight, a Green Lantern, or a Legendborn, one cannot have a legacy without first becoming a legend. In N.K. Jemisin's graphic novel Far Sector (2020) Sojourner 'Jo' Muellein's story as both community activist and guardian echoes, reinvents, and reimagines Arthurian romances through the lens of Afrofuturism; further, this fantastical remix challenges white supremacist modes of oppressive comic tradition by foregrounding racial and gendered identities. Making a legend is not about whom society has agreed to be the answer. Instead, such ideals lie with whoever asks the question. (DCN)","PeriodicalId":43123,"journal":{"name":"Arthuriana","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135737417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}