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The twelfth century expectations about the return of King Arthur connect to a more comprehensive and ancient belief in physical immortality being possible beyond the ordinary human geography. But contrary to other immortalised figures in medieval belief, who either remained in the geographical periphery or came back only at the end of time, Arthur returning at any moment to continue his ideal rule countered the basic Christian understanding that immortality had no place in the ordinary world before the apocalypse. The emotional longing for the widely popular Arthur's apparently infinite perfect reign could also put the hope for Christ's second coming more in the shadow. The Arthurian expectations simultaneously represented a most subtle heresy as none of those holding these unorthodox beliefs considered themselves in opposition to the Church. This, along with a most adamant defence of their expectations, made the Arthur believers hard to handle without turning them into full-fledged heretics, while denouncing Arthur himself was difficult without afflicting the pious ideals he represented as a legendary Christian champion. The 1191 fabrication of Arthur's tomb could thus have been the perfect answer to a subtle heresy, as it effectively eliminated the possibility of his return without overtly criticizing anyone's beliefs. [ABSTRACT FROM AUTHOR]

This is a review of a book chronicling the presidencies of eight vice presidents of the United States who ascended to the presidency as a result of the respective incumbent presidents dying in office, and an additional vice president who became president when the incumbent resigned from office.

This research paper sets out to discuss the identity formation and self-presentation of the main character, Arthur, in the Joker film (2019), while focusing on psychological and sociopolitical elements comprising the mental capacity of Arthur (henceforth, the Joker), his social upbringing and childhood trauma, and the corrupt superstructure (i.e., ruling class). The research explores the aforementioned mechanisms that actively participate in the social identity formation of the Joker, starting from his socially unjustified mental illness that affected base structures (i.e., large masses) awareness to ruling class hegemony to glorifying the joker's personality as a public hero despite the horrendous crimes he committed. In effect, they patronize him as a symbol of resistance and against capitalist discourses and ruling class corruption while disregarding his horrible actions. This research examines the transformation of the Joker's identity from a comedian to a murderer, showing the norms or matrix of society that helped in the transformation of Joker's identity ideologically and psychologically. The researcher uses a content analysis of certain scenes depicting the Joker as a hero or a criminal in society. [ABSTRACT FROM AUTHOR]

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Philip Kerr's last novel Metropolis (2019) returns his detective, Bernie Gunther, to 1928 as both prequel and epilogue to his series of 14 novels. This essay locates the key to Gunther's identity and actions in his relation to arch--Nazi Arthur Nebe. [ABSTRACT FROM AUTHOR]

The History and Legends of the Holy Grail is a paradoxical book meaning that, although on its cover appears Joseph Campbell's name, it was collected by Evans Lansing Smith from the vast spiritual heritage of the mythographer. Not coincidentally, the work appeared only in 2015, long after the researcher's passing. Evans Lansing Smith specifies the included materials in the volume and mentions the sources he used in the selected texts. The stated purpose of the editor was to preserve "the integrity of the original lectures," but also "the coherence of the stories associated with the stories of many knights who went in search of the Holy Grail." Thanking those who guided him to the most relevant audio recordings of Joseph Campbell's lectures, Evans Lansing Smith confesses that he worked on this book for ten years, since 2005. The work contains three extensive sections, divided into many significant chapters, as many distinct stages of the investigation. They are entitled as it follows: The Premises and Context of the Grail Stories, Knights in the Grail Quest and Themes and Motifs. To these are added two annexes. The first reproduces Joseph Campbell's master's thesis, now published for the first time (A Study of the Dolorous Stroke), while the second reconstructs the extraordinary bibliographic resources existing in the researcher's library. [ABSTRACT FROM AUTHOR]

Arthur Conan Doyle's The Sign of the Four (1890) often is read in the context of British imperialism and bourgeois rationality, which stresses the problematic nature of Sherlock Holmes's activity as a detective. Separated from its imperialist context, the novel shows a Holmes who unsettles (rather than restores) social order. [ABSTRACT FROM AUTHOR]

This paper examines a report describing conflict between Saxons and Britons in the Irish life of Finnian of Clonard. It connects this report to the battle at Llongborth, remembered in an early medieval Welsh poem, and to the siege of mons Badonicus, reported by a variety of early medieval insular historians. Both battles have been linked to the legendary King Arthur. In connecting these battles to an entry in Anglo-Saxon Chronicle and to the immediate context of Gildas' De excidio Britanniae, this article offers a date for mons Badonicus in the early 480s and conjectures that the 'Age of Arthur', if historical, postdates the publication of De excidio. [ABSTRACT FROM AUTHOR]

The following article focuses on suicide as a method to retrieve one‘s honour. Arthur Schnitzler‘s novella Spiel im Morgengrauen serves as the foundation for this analysis. Firstly, the concept of honour as a cultural phenomenon – as far as it is represented within the diegesis – will be discussed. Then, within the framework of Georg Simmel‘s theory of honour, we will analyze how the text proceeds to develop and criticize the culture of honour at the turn of the 20th century. The constellation of characters in Schnitzler‘s text functions as a starting point to discover the difference between character and text. [ABSTRACT FROM AUTHOR]

This article features the contributions of Fichte and Schopenhauer to a philosophical account of action against the background of Kant's earlier and influential treatment of the topic. The article first presents Kant's pertinent contributions in the areas of general epistemology and metaphysics ("transcendental philosophy"), general practical philosophy ("moral philosophy"), the philosophy of law ("doctrine of right") and ethic ("doctrine of virtues"). Then the focus is on Fichte's further original work on the issue of action in those same areas. Finally, the article turns to Schopenhauer's radical revision of the Kantian and Fichtean affirmative accounts of acting and willing through the correlated introduction of the irrational will, the self-negated will and ethical inaction. [ABSTRACT FROM AUTHOR]

This article discusses Arthur Conan Doyle's explanation of Sherlock Holmes's methods, contrasting them with his presentation of the detective in action. It explores contradictions in the Holmes stories, suggesting Conan Doyle's investment in a hyperrational sleuth is at odds with his intuitive understanding of detective methodology. [ABSTRACT FROM AUTHOR]

Culhwch ac Olwen is a Middle Welsh prose tale dated to c. 1150 that combines, within the traditional motif of the “Giant’s Daughter”, a series of Arthurian themes and episodes from the legendary and literary traditions known in Wales about Arthur. On the one hand, Arthur is depicted in a heroic tone, that is, with a set of attributes that tend to characterise him in early Welsh poems, in which he appears as the leader of a band of warriors who fight supernatural creatures. On the other hand, Arthur is “chief of the princes of this island”, he possesses a renowned court, and jealously guards customs and values. His court also provides the narrative frame for adventures and the set for their retelling, as well as housing a stable cast of warriors.Therefore, this paper seeks to analyse the figure of Arthur, his court and his warriors as a stage of transition in the Arthurian legend. It will be argued that an aspect that foreshadows the king of courtly literature is added here to the multifaceted character of Arthur. For this reason, this tale combines the heroic traits that characterises the primitive Arthur with others that could be called proto-courtly.

L’article s’appuie sur des pratiques de classes menées dans le cadre des anciens programmes de collège afin de proposer des pistes de travail pour aborder les nouvelles instructions. Il convient à l’enseignant de sensibiliser les élèves à la variété et à l’étrangeté de la littérature médiévale en prenant comme support des textes authentiques qui susciteront la curiosité des jeunes. L’article prend l’exemple d’une séquence sur le personnage du roi Arthur, figure emblématique de la matière de Bretagne. Ce projet, qui articule cinéma, textes médiévaux et travail sur le manuscrit, permet de montrer aux élèves, de manière simple, comment se constitue une tradition littéraire et comment s’écrit la littérature médiévale. Ce type d’activité qui rencontre un grand succès auprès des collégiens, est facilement transférable dans le cadre des cours et des EPI des nouveaux programmes, notamment via des travaux transdisciplinaires.

L’Istoria de las Bienandanzas e Fortunas de Lope García de Salazar, exemple d’histoire universelle composée dans les années 1471-1476 par un grand noble biscaïen, inclut dans son Livre XI un résumé arthurien très intéressant, puisqu’il constitue un témoignage supplémentaire, quoiqu’indirect, de la diffusion médiévale de la littérature arthurienne dans la Péninsule ibérique. Cet article examine le traitement réservé dans la chronique au « rêve de Merlin », un épisode particulièrement important pour la connaissance des textes arthuriens péninsulaires, car il n’est aujourd’hui connu que par son inclusion dans les Baladros castillans.

Dans cet article, nous étudions la figure de la sorcière dans Moi, Tituba sorcière… de Maryse Condé afin de voir comment elle dialogue avec les discours postcoloniaux et féministes de l’époque. Nous analysons d’abord l’intertextualité construit dans le roman avec la pièce d’Arthur Miller Les sorcières de Salem en regardant comment Condé transforme les événements qui ont eu lieu à Salem en 1692 et comment elle réhabilite le personnage de Tituba. Nous nous penchons ensuite sur la figure de la sorcière et des marginaux dans le texte en vue de comprendre sa construction protéiforme et ses points de contact avec les discours ambiants.

o one is denying that Hegel had a strong influence on Marx, especially influenced by the Master-Servitude of Phenomenology of Spirit. For people like Arthur, however, it is not more than a Myth. Sartre and Hyppolite who influenced by Kojeve are the creators of this famous theory, but, they have claimed this without any evidences. Based on Marcuse’s citation of Marx's Economic and Philosophical Manuscripts of 1844, Arthur begins to criticize the theory. His argument is that Marx never refers to this section of Phenomenology of Spirit. Here, I argue that Marx used the keywords of this section in his other writings such as; Gauderies and Capital. Furthermore, it can be said that the meaning of very influence is not clear enough.

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The author argues that relations of scale are central to the late-nineteenth-century detective fiction of Arthur Conan Doyle, in which the movement between large and small, far and near, and the distant and the intimate is condensed by making Sherlock Holmes's own vision the locus of that movement. [ABSTRACT FROM AUTHOR]

Four stories from The Return of Sherlock Holmes in the Strand Magazine and Collier's Weekly featured hand-drawn maps and other visual material supposedly created by Arthur Conan Doyle's characters. These peculiar diegetic phenomena serve an ambivalent, even contradictory, function, both drawing in and repulsing the reader. [ABSTRACT FROM AUTHOR]

L’apparition du procédé du Technicolor en 1934 accentue la vision fantasmée du moyen-âge donnée par le septième art, lequel crée un univers revêtu des atours et des couleurs éclatantes de ces temps anciens. Comme l’homme médiéval, le spectateur du XXe siècle est en quête de sensations chromatiques fortes, de cette allégresse ressentie à la vue de la saisissante juxtaposition de teintes vives, produisant un effet lumineux qui suscite le ravissement. A l’ère du Technicolor, les productions hollywoodiennes à sujet médiéval semblent tendre vers cette fulgurance des tons de l’époque en question. L’article se limite à l’examen de trois exemples significatifs, hauts en couleurs, de la production cinématographique américaine. Dans chacun d’eux, l’action se situe au moyen-âge. Il s’agit de The Adventures of Robin Hood (1938), Ivanhoe (1952) et The Knights of the Round Table (1953). L’aspect technique du complexe procédé du Technicolor, qui a sensiblement évolué entre 1938 et 1953, mériterait à lui seul une étude détaillée. Là n’est pas notre propos.Ce qui nous intéresse est une mise en regard, qui nous paraît pertinente, entre la sensibilité aiguë des médiévaux à la couleur et la sublimation de cette période de l’Histoire à travers le filtre magique du Technicolor. L’éclat saturé des teintes que permet d’obtenir cette technique cinématographique pourrait répondre au désir d’imiter l’aspiration médiévale à la beauté formelle, à la radiance et à la dimension symbolique de l’image. S’ils ont souvent été considérés comme le reflet kitsch d’un moyen-âge clinquant, les films en Technicolor brillent par leur déploiement de tonalités flamboyantes. Malgré leur irréalité de pacotille, The Adventures of Robin Hood, Ivanhoe et The Knights of the Round Table parviennent à vibrer des couleurs médiévales, dont nous tentons de questionner ici la diversité des perceptions et des références à celles-ci, ainsi que l’incessante mutation des différents usages dont elles ont fait l’objet et des diverses connotations qu’elles ont pu revêtir.

The idea of internal selection, originally proposed by Lancelot Whyte, not only helps us to understand the causal status of developmental constraints, but can also show us how these organismic or internal factors, whose relevancy Evolutionary Developmental Biology highlights today, can be considered from a variational or selectional perspective that is compatible with, but not reducible to Natural Selection Theory. Thus, since it is considered as a concept that is autonomous and different from natural selection, the concept of internal selection can enable us to understand how the phenomenon that Wallace Arthur calls developmental bias constitutes an effective and positive cause of cumulative and irreversible evolutionary changes.

BnF fr. 95 is a late 13th century manuscript containing Arthurian romances and other fictional and didactic texts. The Estoire del saint Graal and Merlin section is the most highly illuminated, with a rich marginal iconography, an unusual feature in the illustration of lay works and in these texts’ manuscript tradition. This article shows how in Merlin and its Vulgate Sequel marginal scenes overlap with widespread subjects in courtly and chivalric vernacular romances, in contrast with Latin and religious works. The reuse of similar patterns in principal and marginal miniatures, examined in the episode of the Battle of Danablaise, where King Arthur fights the Saxon King Rion, highlights the need for a comprehensive reading of text and images, taking into account the mise en page and the different levels of illustration in the manuscript.

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Copyright of Neohelicon is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

King Arthur (2004) and Nomad (2005) both choose a medievalist setting aiming for audiences. Both films tell stories of young war lords during periods of political transition which question old allegiances and loyalties redefining national and cultural belongings. Arthur brings the Saxon invasion to a brief halt in the period of Roman retreat and Mansur (alias Ablai Khan) leads Kazakhstan into freedom in the eighteenth century. Both heroes are grappling with alienation from their origins caused by colonial hegemony. Coping with the instabilities of their hybrid identities they choose opposing ways of building new identities. Arthur Fuqua's king takes on the challenge of merging various cultural heritages founding a civilization that symbolizes the transnational aspirations of contemporary Europe. Sergei Bodrov's Mansur annihilates Kazakh colonial past when he unknowingly kills his brother in arms. Erali's sacrifice ends the endless disputes of the Kazakhs that originate in their hybrid identity thwarting national restoration. Thus both films serve ambiguous ideological purposes by defining a hostile other. The Saxon invaders represent racist Nazis who were defeated in order to create modern Europe. The defeat of the Jungar invaders helps constructing an essentialist historical order in which the creation of Kazachstan appears to be the restoration of a pre-modern nation. Both films show the ideological power of mediaevalism offering multi-layered methods of addressing a diverse global audience. [ABSTRACT FROM AUTHOR]

La Queste du Pseudo-Boron, représentée par les Demandas ibériques, présente un développement à première vue paradoxal de la partie finale du cycle arthurien : d’un côté, la mort du roi Arthur et de ses chevaliers est redoublée par la destruction de tous les monuments qui gardaient la mémoire de ce monde révolu ; de l’autre côté, un nouvel ordre est annoncé sous l’autorité de Charlemagne, le roi-chevalier. Développant une tradition que le Merlin et l’Historia Regum Britanniae connaissaient déjà (celle de la tour qui s’écroule pour signaler les péchés de son constructeur), c’est l’image de la tour-monument que le Pseudo-Boron choisit, d’abord dans la Suite du Merlin et après dans la Queste, pour signifier le pouvoir trop fragile, les fautes d’Arthur et sa disparition définitive.