Medievalism, Politics and Mass Media: Appropriating the Middle Ages in the Twenty-First Century by Andrew B. R. Elliott

Parergon ◽  
2021 ◽  
Vol 38 (2) ◽  
pp. 275-275
Author(s):  
Helen Young
2020 ◽  
pp. 201-208
Author(s):  
Conor McCarthy

The Conclusion restates the book’s four key arguments. Firstly, legal exclusion in various related forms is a tactic of power. Secondly, legal exclusion is an enduring phenomenon, alive and well in disturbing new combinations in the twentieth and twenty-first century West. Thirdly, exclusion from law is a shared concern for the literature of outlawry and the literature of espionage, and hence a key theme in a range of writings about the state and its actions from the Middle Ages to the present day. Finally, the role of literature here is often to offer critique: in offering such critique it shares with law a demand for justice.


2021 ◽  
Vol 38 (1) ◽  
pp. 1-34
Author(s):  
Mikael Muehlbauer

Abstract Until 2010 (when it was broken by a tourist), a curious Kufic-inscribed sandstone block greeted those who entered the narthex of the eleventh-century church of Wuqro Cherqos in East Tigray, Ethiopia. My paper identifies the origin of this misunderstood fragment and presents it in the longue durée, from its architectural placement as part of an inscribed arch in the great mosque of a Fatimid trading colony to its medieval spoliation and use as a chancel arch in the church of Wuqro Cherqos, after northern Ethiopia emerged as a centralized power under the Zagwe dynasty. As the chancel in Wuqro Cherqos, the stone took on new meaning as a luxurious liturgical threshold, complementing the Egyptian and Indian silks that hung alongside it. After the arch came apart in the late 1990s, I show how modern Ethiopian scholars promoted the remaining Arabic-inscribed fragment as an ancient Ethiopian inscription. The life story of this stone fragment reveals a larger picture of Islam’s changing reception in Ethiopia from the Middle Ages to the twenty-first century.


Author(s):  
Michael S. Richardson

Prior to Richard Wagner’s dominance of the German operatic scene in the second half of the nineteenth century, a healthy competition to establish a distinctively Germanic tradition of grand opera occupied the minds and activities of several prominent composers. In seeking to establish their own operatic tradition, a number of German composers looked to the Middle Ages for their source material. Schumann’s Genoveva represents an important contribution to the quest for German grand opera as well as the height of the German romantic medievalist aesthetic in opera. Martin Kušej’s 2008 production of Genoveva offers a fascinating twenty-first century reinterpretation of this aesthetic.


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