Joseph Armitage Robinson, Glastonbury and Historical Remembrance

This article discusses the relationship of history, theology and mythmaking with reference to the myths of Glastonbury. These related to the legends associated with Joseph of Arimathea’ purported visit to England, the burial place of King Arthur, as well as the quest for the Holy Grail. It draws on the work of Joseph Armitage Robinson (1858–1933), one of the most important Biblical and patristic scholars of his generation who, after becoming Dean of Westminster and later Dean of Wells Cathedral in Somerset, and close to Glastonbury, became a distinguished medievalist. After assessing the development of the Glastonbury legends and the use of early British history made in the earlier Anglican tradition, particularly in the work of Archbishop Matthew Parker (1504–1575), it goes on to discuss their revival in the nineteenth and early twentieth centuries especially under the local parish priest Lionel Smithett Lewis (1867–1953). It concludes by showing that while there might be no historical substance in the myths, that there is nevertheless an important history to devotion and piety which is as equally open to theological and historical investigation as the events of history.

Violence, Memory, and History: Geoffrey of Monmouth and Kazuo Ishiguro’s The Buried Giant

Kazuo Ishiguro has suggested that his work of medieval fantasy, The Buried Giant (2015), draws on a “quasi-historical” King Arthur, in contrast to the Arthur of legend. This article reads Ishiguro’s novel against the medieval work that codified the notion of an historical King Arthur, Geoffrey of Monmouth’s History of the Kings of Britain (c. 1139). Geoffrey’s History offered a largely fictive account of the British past that became the most successful historiographical phenomenon of the English Middle Ages. The Buried Giant offers an interrogation of memory that calls such “useful” constructions of history into question. The novel deploys material deriving from Geoffrey’s work while laying bear its methodology; the two texts speak to each other in ways sometimes complementary, sometimes deconstructive. That Ishiguro’s critique can be applied to Geoffrey’s History points to recurrent strategies of history-making, past and present, whereby violence serves as a mechanism for the creation of historical form.

Arthur pendragon Camelot evolution in merlin: A virtual fan art in the computation age

This paper inspects Arthur Pendragon Camelot evolution in Merlin, the research review on the Citadel of Camelot, Camelot Administration, Knights of Camelot, Early History of Camelot, The Intensification of The Once and Future King, Map of Camelot, and the Sovereignty of Arthur. Camelot Castle is the castle where the royal family live, and where the court is held. The citadel houses a garrison of at least 12,000 men and had never fallen in a siege before Morgause's invasion by her immortal army. It is currently the home of Guinevere Pendragon, the Queen of Camelot after her husband King Arthur Pendragon. In virtual fan art, Arthur Pendragon is shown to be a very wealthy kingdom as it offers a prize of a thousand gold coins for participation in its tournaments. Camelot is widely known for its laws banning all forms of magic and enchantments on penalty of death, usually by burning or beheading. However, the meter theater illustrates of Merlin who is Arthur's servant, secret protector, and best friend, and Gaius's ward and apprentice. Serves as an unofficial member of Arthur's Round Table and is a direct enemy of Mordred and Morgana. Waiting for Arthur to rise again. He is destined to protect Arthur so he can unite Albion under one high King.

IMPACT OF CHRISTIANITY ON DEVELOPMENT OF KING ARTHUR LEGENDS IN THE KNIGHT LITHERATURE OF MIDDLE AGES

The article deals with the actual problem of cultural contact for modern historical knowledge on the example of the origin and development of the legends about King Arthur and the Knights of the Round Table. The main purpose of the research is to reflect the understanding of historically important images and symbols of European society through the subjective ideas, thoughts and intentions of a person of the Middle Ages. The main method of research is the socio-cultural approach, focused on the relations of people of the time, characterized by cultural diversity. Christianity in the Arthurian legends of the Middle Ages was one of the elements that had a significant impact on their formation and further development. This was influenced by the early and peaceful Christianization of the British Isles, as well as the cultural and religious contact of the Celtic settlers with the population of Armorica. This article examines two branches of the development of Arthurianism, the Christian origins of the legend of the Holy Grail, as well as the influence of Christian morality and homiletics on the plot-forming motifs of the medieval chivalric novel. In the course of the study, it is traced what influence on the development of the Arthurian cycle, in addition to the ancient Celto-Welsh tradition, was exerted by the early Christianization of the British Isles and how the combination of these factors turned Arthurian into a significant cultural tradition of European civilization.

From Camelot to Spamalot

This book explores musicalizations of Arthurian legend as filtered through specific tellings by Mark Twain, T. H. White, and Monty Python. For centuries, Arthurian legend with its tales of Camelot, romance, and chivalry has captured imaginations throughout Europe and the Americas. In the twentieth and twenty-first centuries, musical versions of King Arthur and his Knights of the Round Table have abounded in the United States, shaping the legend for American audiences through song. The ever-shifting, age-old tale of King Arthur and his world is one which thrives on adaptation for its survival. New generations tell the story in their own ways, updating or enhancing the relevance for a fresh audience. Taking a case-study approach, this work foregrounds the role of music in selected Arthurian adaptations, examining six stage and film musicals. It considers how musical versions in twentieth- and twenty-first-century popular culture interpret the legend of King Arthur, contending that music guides the audience to understand this well-known tale and its characters in new and unexpected ways. All of the productions considered include an overtly modern perspective on the legend, intruding and even commenting on the tale of King Arthur. Shifting from an idealistic utopia to a silly place, the myriad notions of Camelot offer a look at the importance of myth in American popular culture.

Prelude

Mark Twain’s 1889 novel A Connecticut Yankee in King Arthur’s Court offers a fascinating beginning to the study of musical adaptations of Arthurian legend. Similar and yet vastly different to the other sources considered in this book, Mark Twain harnesses the story of King Arthur and his Knights of the Round Table for a nineteenth-century American reader. Unlike ...

The Quest for the “Charity Dish”: Interpretation in the Hebrew Arthurian Translation Melekh Artus (1279, Northern Italy)

This article analyzes Melekh Artus (King Arthur), a unique Hebrew translation of sections from the old French prose Merlin and mort Artu in the Lancelot-Grail cycle. Written in a single fragment from 1279 in northern Italy, this translation proves close Jewish engagement with old French texts. Through satirical biblical references and subtle critique of his material, the author reframes the Arthurian narrative to promote universal morals. Rather than Judaize the Arthurian canon and its Christian characters, he validates them as viable models for his Jewish audience.

The Image of the 'Saviour' in Waiting for Godot and Islam: A Thematic Comparative Study

The idea of the 'saviour' has been an interesting subject matter for many specialists for a very long time. Its interset can be attributed to many reasons, probably the most important one is religion. Allusions to the saviour seem to be present in almost all religions, heavenly or earthly. It has been noted that even the pagan tribes believe in the existence of a saviour as a part of their cultures and traditions. Another reason stems back to man's weakness as a living creature and his constant need for a natural, or supernatural, power to save him from misery, oppression, injustice, ...etc. The saviour could be a superbeing or human being. For instance, Beowulf is looked at as a saviour, and King Arthur was, for a long time, thought to be a saviour that one day he will come and save his people, and many legends have been written in this respect. The aim of this study is to highlight the 'saviour' as a concept in Samuel Becket's play Waiting for Godot and explore its interpretations as tackled by two 'schools': The Theatre of the Absurd and Existentialism, then compare it to the concept of the saviour from Islam's point of view. The study falls into four chapters. Chapter one is devoted to outline the 'saviour' as a term, the belief in the presence of the saviour in general, and how the idea of the saviour is looked at by different writers and philosophers. Chapter two highlights the principles of the Theatre of the Absurd that are concerned with the 'saviour' and how those principles are reflected in the play. It also shows how 'waiting' becomes adherent to the word 'saviour'. Thereafter, the existentialism philosophy is examined since the principles of the Theatre of the Absurd are closely related to the it. Chapter three is spared for showing the concept of the saviour in Islam in general, and in the Shia sect in specific. In order to accomplish this aim, some Quranic verses and Hadiths (reports of Prophet Mohamed's teachings collected after His death) are presented as examples to show the belief in the existence of the Saviour (Mahdi) in Islam. Finally, the study ends with chapter four which, in the light of the research findings, compares the image of the saviour in Waiting for Godot and Islam.