Here are the full details on the Does the Matter of Britain (Still) Matter? (Roundtable) session later this week at NeMLA:
Northeast Modern Language Association 51st Annual
Convention, 5-8 March 2020
Marriott Copley Place, Boston, Massachusetts
Saturday, Mar 7, Track 17, 03:15-04:30
Location: HARVARD (Media Equipped)
17.19 Does the Matter of Britain (Still) Matter? (Roundtable)
Sponsored by the Alliance for the Promotion of Research on
the Matter of Britain
Organized by Michael A. Torregrossa, Independent Scholar
Chair: Christopher Berard, Providence College
Cultural Studies and Media Studies & British
"The Figure of King Arthur in the 21st Century"
Christopher Berard, Providence College
Samuel Johnson, in his
Lives of the Poets (1779–81) bemoans
“the common fate of mythological stories”. Johnson writes:
We have been too early acquainted with the poetical heroes, to expect any
pleasure from their revival; to show them as they have already been shown, is
to disgust by repetition; to give them new qualities, or new adventures, is to
offend by violating received notions.
Johnson’s remarks regarding the limited adaptability of mythological figures
were once applicable to the figure of King Arthur and the Matter of Britain,
but not anymore. There has not been a prominent feature film or television
adaptation of the “canonical” legend of Arthur (i.e. based off of Geoffrey of
Monmouth's
Historia regum Britanniae (1137) or Sir Thomas
Malory's
Morte d'Arthur (1470) since Jerry Zucker's
First
Knight (1995). The “canonical” Arthur is fading out of popular
consciousness. A new Arthurian film faithful to the narratives of
Geoffrey of Monmouth or Sir Thomas Malory would not “disgust by
repetition”. Why have we not seen one? My presentation will point to
some political, social, ethnic, ethical and religious dimensions of the
“canonical” figure that are out of step with today's mainstream popular
culture. I will tentatively suggest that King Arthur, if recollected at
all, has come to be understood as emblematic of the patriarchy, classism,
and Western imperialism.
Dr. Christopher Michael Berard
completed his Ph.D. in Medieval Studies at the University of Toronto's Centre
for Medieval Studies. He researches the use of literature as a model for
imitation and emulation by historical figures, past and present. More
specifically, Dr. Berard analyzes how post-Conquest kings of England have emulated
and otherwise used the legendary King Arthur of Britain for political gain, and
how this activity has in turn impacted depictions of Arthur in literature. He
is the author of a monograph on this topic, Arthurianism
in Early Plantagenet England: From Henry II to Edward I, and it is the
latest volume in the Arthurian Studies book series published by Boydell Press.
"Is There a Place for the Matter of Britain in
Contemporary Arthurian Narrative?" Rachael Warmington, Seton Hall
University
Arthurian Legend has persisted and appealed to many cultures
because the mythic patterns, motifs and supernatural elements within the
narrative are relatable and, more importantly, malleable. Consequently, this
has made it possible for each culture and generation to add, remove and alter
aspects of the canon to produce oral and written literature as well as film and
television adaptations and appropriations that reinforce or reject dominant
ideologies, support or critique governing power systems and comment on social anxieties
or conflicts that are relevant to each time period and region. Often the Matter
of Britain is not focused on in contemporary adaptations and appropriations of
Arthurian Legend.. To explore why the Matter of Britain is often obscured or
absent in adaptations and appropriations of Arthurian Legend, I consider the
importance of adaptation in terms of a diachronic reading, examining the
lineage of Arthurian variants both regionally and chronologically because there
are several regional and generational deviations that influence contemporary
adaptations and appropriations of the Arthurian Legend. These regional and
generational patterns dictate the additions to and exclusions in the numerous
variants of Arthurian legend in contemporary literature, film and television.
Rachael Warmington is a full-time instructor at Seton Hall
University. She earned her B.A. in English from Montclair State University,
M.A. in English from Seton Hall University, her MFA at CUNY City College and
she is a doctoral candidate at Indiana University of Pennsylvania. Rachael is
also the editor-in-chief of the open access academic journal, Wachung Review. She is currently writing her dissertation
which focuses on themes of Arthurian Legend in medieval texts and in
contemporary literature, film and television adaptations and appropriations and
how these themes create the space that challenges oppression in its various
forms, but have also been used to perpetuate racism, sexism and religious
intolerance.
[WITHDRAWN] "Death
Redeems Us Not from Tongues: Thomas Hughes and the 16th-century Crisis of
Arthurian History" Liam Thomas Daley, University of Maryland College Park
"From Round Table Tournaments to Renaissance Festivals:
Arthuriana and the Hyperreal" Theresa FitzPatrick, Concordia University
Saint Paul
Beginning in the thirteenth century, less than fifty years
after the first mention of a “round table” in Wace’s Brut, Round
Table Tournaments became popular pastimes for wealthy European aristocrats.
Here, according to Norris J. Lacy and Geoffrey Ashe, “Arthurian
devotees dressed in the appropriate costume to join in feasts, jousts, and
dancing in imitation of the King and his knights. In some cases, the
participants assumed the names and arms of Arthur’s knights, and more elaborate
Round Tables might even include a real castle built for the occasion.” The
Winchester Round Table was believed to be commissioned for just such a
tournament, possibly during the reign of Edward III, himself an Arthurian
enthusiast. In 1522, in a powerful example of sign and simulation, Henry VIII
had it repainted with a Tudor rose in its center and his own likeness where
Arthur’s should be. Even actual kings had to, in one way or another, measure up
to the idea of Arthur, and the implication of assuming his place on the table
was clear to anyone who saw it. The story, the image leads the un-real to
define the real.
We often base our beliefs not on history, but on story: the
Arthurian ideal becomes an otherworldly mirror for us to hold up our lives to
and take stock—and it has always been so. Leaders are corrupt and greedy, but
Arthur was a fair and honest king under whose rule the land and people
flourished. War, poverty, and intolerance run rampant, but Arthur gave every
knight an equal voice in decision-making and every citizen a champion to fight
for them. Evil was easy to detect, and the valiant and brave were rewarded with
favor. The fact that this was never the case—that Arthur’s realm is just as
fictional as Narnia or Middle Earth—doesn’t stop us from using it as a template
for societal success. Or, just as meaningfully, as an inspiration for
cosplay.
Dr. Theresa FitzPatrick is an Assistant Professor of English
at Concordia University, St. Paul where she has taught for the last ten years.
Her research interests include Arthurian literature and legend, medieval
otherworlds, postmodern theory, and the Baudrillardian hyperreal. More broadly,
however, she spends most of her time structuring lessons that will broaden the
appeal of literature studies, connecting its importance to students of all
backgrounds, not just the academically elite.
"'And What Everybody Else Needs, Too': Seeking the
Grail in The Unwritten" Emily
Race, Sewanee: The University of the South
In her exhaustive introduction to The Grail: A Casebook,
Arthurian scholar Dhira B. Mahoney describes the Holy Grail as “a standard
symbol in the English language for an object of search far-off, mysterious, out
of reach” (1). This symbolic property has eclipsed both the object itself as
well as the specific narratives that built the mythos. As an archetype, the
Holy Grail implicitly includes the ideas of seeking, worthiness, and
near-impossible tasks. In the comic book The Unwritten, written by
Mike Carey and drawn by Peter Gross from 2009-2015, the plot’s endgame heavily
references the Grail stories precisely because of the symbolic narrative
inseparable from it. Protagonist Tom clambers directly into Arthurian
literature to find what he needs, since the Grail Quest narrative provides him
a story pattern he can use: a quest for a powerful object, difficult to obtain,
that will fulfill the questers’ needs if all prerequisites are met.
Through The Unwritten, Carey and Gross show the continued
relevance and fascination with Arthurian motifs, as Tom becomes both Fisher
King and Perceval, both Lancelot and Galahad. This paper will explore why the
Grail becomes the crucial symbol in this rich text, based on its significance
in cultural imagination.
Since receiving her BA in Secondary Language Arts Education
in 2007 from Anderson University, Emily Race has taught high school English
classes in Indiana. In efforts to keep her scholarly skills sharp, she has
presented papers as an independent scholar at conferences such as Catwoman to
Katniss: Villainesses and Heroines of Fantasy and Science Fiction and Midwest
Popular Culture Association / American Culture Association Conference. In 2016,
Emily started an MA program in American and British Literature at University of
the South (known colloquially as Sewanee). Having finished her courses over
subsequent summers, she is now preparing to write her thesis on a Reader
Response analysis of Mike Carey and Peter Gross’s The Unwritten, examining the agency of the reader and story logic
in a world where narrative has very real power, and characters have very
little.
Arthurian Literature XXXV
