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Generally speaking, scholars of Malory's Morte Darthur have given Guenevere bad press. Terms like 'shrew' and 'virago' have been often applied, while her agency has been largely ignored or minimized. Recently, however, scholars have begun to reconsider her characterization and even her agency. Analysis of her response to Meleagant's attempted raptus, however, has been minimal; likewise minimal has been discussion of her response to Lancelot both with respect to Meleagant and to Lancelot's late and apparently marital desire. Both men become wholly subject to Guenevere's subtle but masterful agency. [DTH, JR.]. [ABSTRACT FROM AUTHOR]

In this article, the author mentions that Arthurian scholarship has neglected to examine how depictions of Queen Guinevere as a nun in Great Britain in the mid-nineteenth and early twentieth centuries served to undercut negative archetypes associated with her. It mentions that Scholars, most notably Debra N. Mancoff, Stephanie L. Barczewski, and Clare Broome-Saunders, have widely examined the nuances and the importance of this depiction of the Arthurian queen.

Copyright of Journal of the International Arthurian Society is the property of De Gruyter 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.)

The article presents a literary criticism for "Le Morte d'Arthur" a reworking by Thomas Malory of existing tales about the legendary King Arthur, Guinevere, Lancelot, Merlin, and the Knights of the Round Table. It reports that Malory interpreted existing French and English stories about these figures and adds original material.

Manuscript sources for Edward MacDowell's Sonata Eroica (1895) divulge a radically different, notably more sinister program than the commentary that the composer imparted to Lawrence Gilman, his first biographer. Gilman's widely promulgated account, merely comprising four character sketches based on Tennyson's Arthurian epic, Idylls of the King, maintains that the score's movements respectively depict the coming of Arthur, Doré's engraving of a knight surrounded by elves, MacDowell's idea of Guinevere, and the passing of Arthur.Inscriptions in a continuity draft preserved at the Library of Congress, however, reveal that the first movement was initially conceived as an independent ballade (an intrinsically programmatic genre) and was originally inspired by Tennyson's portrayal of Vivien seducing Merlin. Another inscription discloses that MacDowell envisioned the third movement as Lancelot's adulterous serenade to Guinevere. Additional manuscript variants and close correlations between the score's vibrant musical topics and Tennyson's literary contexts demonstrate that the entire sonata, including the elfin scherzo and war-like finale, embodies a tale of seduction and its dire consequences.Although the Eroica's vivid, newly discovered program remains compatible with MacDowell's professed aesthetics, he suppressed the inscriptions. Speculative reasons for his doing so include formal considerations, critical opinions on programmaticism, and his attitudes toward sex. [ABSTRACT FROM PUBLISHER]

Tennyson's Arthurian poems reshaped conceptions of the Arthurian stories and characters. Particularly influential were his depictions of Arthur and of Galahad and his creation of a final meeting between Arthur and Guinevere. While not limited to drama, Tennyson's influence is seen in striking ways in Arthurian plays of the nineteenth and twentieth centuries. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to explore criminal conversations as set against the background of Medieval Western Europe. During the early Middle Ages, as most noble marriages were little more than business contracts, love had begun to be seen in a very different way: sometimes as a cult with all the trappings of religion, sometimes as a sinful occupation best expunged from the human system, and sometimes as a romantic experience which foreshadows the ideas of the 18th and 19th centuries. [ABSTRACT FROM AUTHOR]

This essay examines Malory's presentation of Guenevere's ascetic choices as abbess and considers how her behavior resonates with the choices of royal widows like Eleanor of Provence and her patronage of Amesbury. [ABSTRACT FROM AUTHOR]

Reading for Guenevere's desires within both historical and theoretical frameworks can reawaken the pleasures of Malory's Morte Darthur for feminist critics. [ABSTRACT FROM AUTHOR]

Personified as the ghost of Guenevere's dead mother, the past disrupts a present in the Awntyrs off Arthure to convey a warning about an ominous future to an unlikely subject: Guenevere herself. This interaction between mother and daughter functions as an important commentary on the inevitable limitations associated with any conception of history, temporal stability, or power. [ABSTRACT FROM AUTHOR]

Malory elevates Guenevere to abbess of Amesbury where she heals her soul through a penitential process clarified by Cassian's teachings on attitude and supplication and by the cloister context and devotional formulas of her speech on salvation. [ABSTRACT FROM AUTHOR]

A literary criticism of Alfred Tennyson's book "The True and the False: Four Idylls of the King" is presented. The author argues the characters embody Victorian cultural anxieties about domestic ideology, saying that Enid and Elaine are women who perform domesticity while Vivien and Guinevere reveal the dangers of domesticity and are capable of disrupting social order. A detailed analysis of women and domesticity in the poems is provided.

Copyright of Neophilologus 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.)

Presents literary criticism of the poem "Sir Gawain and the Green Knight." It focuses on an interpretation of one of the poem's scenes in which the Green Knight proposes an exchange of blows. The work of the critic Victoria Weiss on the topic is discussed and the characters Morgan and Guinevere are discussed for their involvement in the scene.

The Knights of the Round Table takes as its subject the gap between the ideal and its imitation, both as Arthurian legend and as film. The focus is on the marketing of the film as well as the marketing in the film. It is precisely a reproducible and consumable authenticity that Knights is selling—from souvenir booklets, posters, and specially-packaged candy to history, legend, and American anti-communist ideology. [ABSTRACT FROM AUTHOR]

Chapter 6 of the book "Arthuriana" is presented. It discusses the factors behind the success of British novelist T. H. White in creating the character of Guenever as a round literary creation in the book "The Once and Future King." It examines the narrative writing of White about women without regard to individuality.

Examines the merits of two potential readings of the ending to the tale "Morte Darthur," by Thomas Malory. Reputation of Lancelot in the tale; Failure of Lancelot to obtain the Grail; Fate of Queen Guenevere in the tale.

Takes a close look at Lancelot's disastrous speech in defense of his avoidance of Queen Guenevere. Accusation of faithlessness against Lancelot by Guenevere; Reason for the decision of Lancelot to turn away from Guenevere.

Features the spiritual journey of the legendary knight Lancelot in the book "Le Morte Darthur," by Thomas Malory. Encounter of Lancelot with the Grail; Spiritual awareness of Lancelot; Impact of Lancelot's relationship with Queen Guinevere on his spiritual life.

Explores the reputation of Lancelot in books written by Thomas Malory. Tendency of Malory to protect Lancelot from the accusation of wrongdoing; Version of Malory of the grail quest; Relationship of Lancelot with Queen Guinevere.

Examines the women characters' position in the book "Morte Darthur," by Thomas Malory. Active role of women characters in the book; Reaction of Malory to the equivocal, disorderly corpus of traditional Arthurian material he translated; Details of how Malory depicted Gwenyver in his book.

By examining the production and reception of Knightley's Guinevere in King Arthur, this essay demonstrates how the portrayal addresses a contemporary audience. [ABSTRACT FROM AUTHOR]

Criticizes the characteristics of Queen Guinevere as a politician in the book "Le Morte Darthur," by Sir Thomas Malory. Complication in assessing the queenship of Guinevere; Importance of recognizing affinities within the book and understanding the political characteristics of Guinevere; Visibility of the political threat of the love of Guinevere for Launcelot.

Focuses on the emergence of both the public and private personas of King Arthur in Arthurian romances. Correlation between love and the role of Arthur as monarch as reflected in his response to the decision of Merlin to permanently depart the court; Reaction of Arthur to the infidelity of his Queen Guenevere which accentuates his duality; Emotions of Arthur emphasized by the narrator in the "Lancelot."

Comments on the book "Le Chevaliere de la charrete," by Chretien de Troyes, which focuses on the life of knight Lancelot. Description of Lancelot; Details of Lancelot's adultery with Queen Guinevere; Controversies surrounding the book; Depiction of Lancelot in the book.

The article focuses on the chivalry crisis issue cited in the medieval book "Le Chevalier de la Charette," by Chrétien de Troyes written during the Middle Age period. It mentions that the said literary work depicted the characterization of Lancelot in the Arthurian romances and cites his distinctiveness from other knights in the tales. However, it elucidates Lancelot's negative action in the story, detailing his adulterous relationship with Queen Guenevere, wife of King Arthur, which caused the loss of his credibility as respected knight. Furthermore, the metonymy of the said story is also mentioned.

The article focuses on the two significant deviations made by author Thomas Malory to show the intersection of his book "Morte Darthur" with the legal and political dimensions of the crime of high treason in England in the fifteenth century. The departures made by Malory are the ambiguous representation of Lancelot and Queen Guinevere's adultery and his creation of a law that sentences Guinevere to death. The Parliament included the act of imagining the death of a king in the list of treasonous acts under a 1352 statute.

Focuses on critic Eugene Vinayer's argument regarding the restoration of two lines that are lacking in the text of the "Chevalier de la Charrate". Relationship of Lancelot to Guenevere in reference to the cart scene; Unintentional omission of lines in manuscripts; Relationship between literary interpretation and textual criticism in the reading of medieval texts.

The article examines "Guinevere," the last idyll of the poem "The Idylls of the King." The idyll depicts the parting scene between queen Guinevere and King Arthur and completes the story about her. It tackles the scene where the queen faces the court because of her affair with Launcelot. It cites that after Arthur has forgiven her and rode away, Guinevere repeatedly mentions the name of her beloved Launcelot.