Download e-book for kindle: Medieval Afterlives in Popular Culture by Gail Ashton

By Gail Ashton

ISBN-10: 1137105178

ISBN-13: 9781137105172

ISBN-10: 1349340855

ISBN-13: 9781349340859

With contributions from 29 top overseas students, this is often the 1st single-volume consultant to the appropriation of medieval texts in modern culture.

Medieval Afterlives in modern Culture covers a complete diversity of media, together with literature, movie, television, comics booklet diversifications, digital media, performances, and advertisement item and tourism. Its full of life chapters diversity from Spamalot to the RSC, Beowulf to Merlin, machine video games to net memes, opera to younger grownup fiction and modern poetry, and masses more.

Also integrated is a better half site geared toward common readers, teachers, and scholars attracted to the burgeoning box of Medieval afterlives, whole with:

- extra reading/weblinks
- 'My favorite' publications to modern medieval appropriations
- photos and interviews
- advisor to library documents and manuscript collections
- consultant to background collection

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In economic terms, the plot might be read as mildly socialist, praising the redistribution of national wealth to the poorer classes; realistically, Prince John could never have amassed the huge amount of gold he loses to Robin merely by over-taxing poor dogs, rabbits, and mice. 18 But in other ways, the depiction of taxes is more conservative: they are raised on behalf of an “arrogant, greedy, ruthless” centralized government (as Friar Tuck describes Prince John), and they cause economic and social depression by stif ling personal initiative and morale: “Taxes, taxes, taxes.

Htm#k-12. 9. E. D. , The Knowledge Deficit: Closing the Shocking Education Gap for American Children (Boston: Houghton Miff lin, 2006), 79. 10. 2 (1996): 513–45. 11. John H. Bushman and Kay Parks Haas, Using Young Adult Literature in the English Classroom (Upper Saddle River, NJ: Pearson Education, 2006), 172–75. 12. librarius. htm. 13. Bushman and Haas, Using Young Adult Literature in the English Classroom, 170. 14. Patrick Lowenthal, “Digital Storytelling in Education: An Emerging Institutional Technology,” in Story Circle: Digital Storytelling Around the World (Chichester, West Sussex: Wiley-Blackwell, 2009), 252–59.

First, although live actors are sometimes used, these are supplemented by intertitles or voice-over narration, especially when portraying the offensive elements (2008D, 2008E, 209G, 2009B, 2010C, 2010F, and 2011C). Second, the videos contain a disclaimer, either at the opening, or at the closing, or on the YouTube site (2006A and 2009E). These disclaimers can be rather modest (“Btw, I do not agree with this story, I am not antiSemitic” [2009D]), tentative (“The story just told clearly attacks the Jews.

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Medieval Afterlives in Popular Culture by Gail Ashton

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