Staging Medievalisms analyzes how twentieth- and twenty-first century performance constructs the Middle Ages. This work is in conversation with medievalism, the academic field concerned with the diverse ways post-medieval societies have re-imagined medieval narratives and tropes, often in service of their own values. As a result of centuries worth of re-definition, the term "medieval" is unstable, referring simultaneously to a fairytale prehistory and a dark age of oppression. I argue that performance, both in theatrical productions and in medieval-focused tourist spaces, allows an affective connection between the medieval past and the present, casting the Middle Ages as an inherently flexible backdrop for contemporary political and social concerns. In tourist spaces and plays about the Middle Ages, the performing body becomes the site where the medieval and the modern touch. I conduct close readings of six productions and three public spaces which stage the Middle Ages, examining which particular versions of the medieval they create, how they stage moments of historiographical contact, and how each uses the medieval to imagine their own historical contexts. Chapter one provides an overview of medievalism and its connection to performance studies, and subsequent chapters take up contemporary productions of medieval history, legend, and fantasy, respectively. Chapter two examines three recent stagings of Shakespeare's medieval history play Henry V, a work which stages two opposing versions of the medieval simultaneously. The Royal Shakespeare Company (1994), National Theatre (2003), and Austin, Texas (2009) productions offer commentary on modern warfare, using Henry's medieval battles as both evidence and setting. Chapter three analyses representations of the Holy Grail in Mort d'Arthur (2010), Spamalot (2005), and Proof (2001). Each re-imagines the Grail as a symbol of achievement and power, drawing different conclusions about contemporary society's need for the mystical. Chapter four takes up performances of the Middle Ages in the public sphere, examining how Disneyland, Medieval Times, and the Renaissance Faire offer visitors varying degrees of freedom to experience the medieval through their own bodies. Throughout, I argue that performance encourages affective connections to the medieval past as a reflection of contemporary desires. / text

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This thesis surveys the children's literary accounts of Anglo-Saxon history and literature that have been written since the mid-nineteenth century. Authors of different ages emphasize different aspects of Anglo-Saxon culture as societal need for and interpretation of the past change. In studying these changes, I show not only why children's authors would choose to depict the Saxons in their writing, but why medievalists would want to study the resulting literature. My second chapter looks at children's historical fiction and nonfiction, charting the trends which appear in the literature written between 1850 and the present day. I survey the changes made in authors' representations of Anglo-Saxon England as children's publication trends have changed. I show how these changes are closely related to the changes made in popular conceptions of the past. My third chapter discusses the way in which children's retellings of Beowulf have placed the poem into a less culturally-dependent, more universal setting as they have separated the tale from its linguistic and cultural heritage. Children's authors have gradually removed the poem's poetic and linguistic devices and other cultural elements from their retellings, instead favoring a more courtly medieval setting, or even a generic universal one. Children's literature is an important indicator of the societal values contemporary with its publication. Authors and publishers often write the literature to reflect their own ideologies and agendas more openly in children's literature than in other literature. As I show in this thesis, the attitudes toward Anglo-Saxon England which pervade children's literature of any age make it a particularly useful tool to those scholars interested in the study of popular reception of the Middle Ages.

In an interview with Hy Bender, Neil Gaiman states, "We have the right, and the obligation, to tell old stories in our own ways, because they are our stories." While fantasy stands apart from other types of fiction, it still provides a particular kind of commentary on the culture/time it is being created in, often by toying with older themes and conventions. Stories of the quest for kingship tend to fall by the wayside in favor of the "unlikely hero" tale. While the king's story is not always vastly different from that of the hero, there are some key points that need to be taken into consideration. Unlike many heroes, especially in the modern sense, kings (whether recognized at first or not) are born for the duty they must eventually fulfill. A hero may be unaware of the problem at first or later reluctant to engage it; more often than not in tales of kingship there is a deep awareness of the problem and the knowledge of their potential in solving it. There is always a sense of inherent purpose and destiny: they must undertake quests in order to legitimize themselves and their power — their right to rule. These stories bear a similar structure and shared themes that can be found in medieval sources as well as earlier myths. Tales of kingship in modern fiction, specifically in the work of Neil Gaiman (The Sandman) and George R. R. Martin (A Game of Thrones), are similar to the medieval models, as kingship and the requirements of kingship were popular themes in medieval texts, including Beowulf and King Horn. The role of the king in epic tales varies from hero to villain, at times even occupying both roles depending on the story. In the tales explored herein and in much of the medieval source material that inspired the fantasy tradition, the king also takes on the role of healer. The interwoven plots of George R. R. Martin's A Song of Fire and Ice series revolve around the struggle for the rightful rule over seven kingdoms, and while the protagonist in The Sandman is in many ways vastly different from Tolkien's Aragorn, the character still exists with a sense of purpose, responsibility, and duty; a regal bearing that does not necessarily occur in the majority of typical heroes. The influence of Tolkien's work both as a scholar and an author is apparent in Gaiman's use of mythology and Martin's style of world creation; both authors have admitted their creative debt to and continuing admiration of Tolkien's style of fantasy. It is impossible to discuss modern fantasy without acknowledging Tolkien as an influence to these two more recent authors. This paper will discuss The Lord of the Rings as a bridge between modern fantasy and medieval/mythological sources. In each of these modern fantasy tales of kingship, healing and reunion become major themes, tied into the right/duty of a ruler. The patterns established by medieval tales are used by modern authors to create fantasy kings, giving their narratives legitimacy that may have been difficult to establish without these patterns and links back to the medieval tradition. / Master of Arts

This study is geared at an open systmes critique of the macro theories of development. It is highlighted in this study that we are living through the realities of the open systems, and yet much of development thought is based on closed systems philosophies, principle and ideologies. The first chapter gives an orientation into the origins of both the closed systems and open systems paradigms respectively. Included in this orientation chapter, is the literature review of the various research contributions of the major trends in development thought. The second chapter expands on the evolution of the closed systems paradigm and its influences on development thought. This chapter further explains the attendant philosophies, principles and ideologies that underlie the closed systems paradigm. The third chapter captures the open systems paradigm and its influences on contemporary development discourse. Further to the discussion on the closed systems paradigm, the chapter elaborates on the philosophies, principles and processes that underlie this paradigm. The fourth chapter is on a discussion of trends in development thinking, traced from the traditional, through the medieval to the modern, right up to the contemporary. This entails tracing the theory to its ontological background right up to its implications for social reality in contemporary development thought and experience. The fifth chapter is on the open systems critique of the trends in development thinking, while the sixth chapter revisits the open systems paradigm and its implications for development thought. In the seventh chapter is the recapitulation of the findings in the study and recommendations for both development thought and practice. / Development Studies / D.Litt. et Phil. (Development Administration)

This study is geared at an open systems critique of the macro theories of development. It is highlighted in this study that we are living through the realities of the open systems, and yet much of development thought is based on closed systems philosophies, principle and ideologies. The first chapter gives an orientation into the origins of both the closed systems and open systems paradigms respectively. Included in this orientation chapter, is the literature review of the various research contributions of the major trends in development thought. The second chapter expands on the evolution of the closed systems paradigm and its influences on development thought. This chapter further explains the attendant philosophies, principles and ideologies that underlie the closed systems paradigm. The third chapter captures the open systems paradigm and its influences on contemporary development discourse. Further to the discussion on the closed systems paradigm, the chapter elaborates on the philosophies, principles and processes that underlie this paradigm. The fourth chapter is on a discussion of trends in development thinking, traced from the traditional, through the medieval to the modern, right up to the contemporary. This entails tracing the theory to its ontological background right up to its implications for social reality in contemporary development thought and experience. The fifth chapter is on the open systems critique of the trends in development thinking, while the sixth chapter revisits the open systems paradigm and its implications for development thought. In the seventh chapter is the recapitulation of the findings in the study and recommendations for both development thought and practice. / Public Administration and Management / D. Litt. et Phil. (Development Administration)

The years 1870 to 1920 saw an extraordinary efflorescence of English historical writing, dominated by historians who were committed members of the Church of England, many of them in holy orders. At a time when both history and religion were central to cultural life, when history was becoming a modern academic discipline, and when the relationship between Christianity and advanced knowledge was under unprecedented scrutiny, this was a phenomenon of considerable intellectual significance. To understand why this came about, it is necessary to understand the intellectual and institutional conditions in the Church of England at the time. The Oxford Movement and the rise of incarnational theology had drawn Anglicans in ever greater numbers towards the study of the past. At the same time, it was still widely held that the Church of England should be a ‘learned church’: it therefore encouraged scholarship, sacred and secular, amongst its laity and clergy. The result was to produce historians who approached the past with a new set of priorities. The history of the English nation and its constitution was rewritten to show that the church – and especially the medieval church – was the originator and guarantor of modern nationality and liberty. Attitudes to the Reformation shifted from the celebratory to the sceptical, or even the downright hostile. Economic historians even came to see the Reformation as a social revolution – as the origin of modern poverty or capitalism. New and distinctive ideas about progress and divine providence were developed and articulated. Most of all, an examination of Anglican historical scholarship shows the continued vitality of the Church of England and the limitations to the idea that intellectual life was secularised over the course of the nineteenth century. Instead, historiography continued to be shaped by Anglican thought and institutions at this critical stage in its development.

Literary medievalism has always been critically controversial; it has often been dismissed as reactionary or escapist. This survey of major medievalist writers from America, England, Ireland and Iceland aims to demonstrate instead that medievalism is one of the characteristic literatures of modernity. Whereas realist fiction focuses on typical, plausible or common experiences of modernity, medievalist literature is anything but reactionary, for it focuses on the intellectual circumstances of modernity. Events such as the Enlightenment, the Industrial Revolution, many political revolutions, the world wars, and the scientific discoveries of Isaac Newton (1643-1727) and above all those of Charles Darwin (1809-1882), each sent out cultural shockwaves that changed western beliefs about the nature of humanity and the world. Thus, intellectual anachronisms pervade medievalist literature, as some of the greatest writers of modern times offer new perspectives on old legends. The first chapter of this study focuses on the impact of Darwin’s ideas on Victorian epic poems, particularly accounts of natural evolution and supernatural creation. The second chapter describes how late Victorian medievalists, abandoning primitivism and claims to historicity, pushed beyond the form of the retelling by simulating medieval literary genres. The third chapter crosses into the twentieth century and examines the relationship between the skepticism of a new generation of medievalist writers and their exploration of radical new possibilities in artificial mythology. The fourth chapter examines the gender dynamics of medievalist works, discussing how medievalist writers reinterpreted stock character types through metafiction. The final chapter’s focus is on war, propaganda, and human nature; it documents the iconoclastic trend in postwar medievalism, as writers examine the role of literature in encouraging nationalism and organized violence. Tying together the major threads of medievalism from the previous chapters, this final chapter chases the greatest shockwave of the twentieth century through inverted medieval landscapes where the author may be the greatest villain of all. Rejecting the critical Balkanization of medievalism, this study instead offers a unified view of nineteenth- and twentieth-century responses to northern legend, one which shows medievalism closely tracking the shocks of modernity. / October 2016

Cotutelle de thèse France-Québec : Université Paul-Valéry Montpellier 3 et Université de Montréal. Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Cette thèse a pour but d’étudier les diverses représentations du Moyen Âge au Québec à travers un corpus d’expositions parcourant le XXe siècle et le début des années 2000. Nous nous intéressons au rôle joué par l’espace muséal québécois dans la diffusion de discours sur cette période européenne. Chaque exposition est replacée dans son contexte de création afin de mettre en évidence les raisons d’ordres religieux, culturels, politiques et linguistiques qui incitent les musées à privilégier telle ou telle représentation du Moyen Âge. / This thesis aims to study the various representations of the Middle Ages in Quebec through a corpus of temporary exhibitions held during the twentieth century and the early 2000s. We question the role played by the Quebec museums in the diffusion of discourses about this European period. In order to highlight the religious, cultural, political or linguistic reasons for museums to focus on a specific representation of the Middle Ages, each exhibition is replaced within its original context of creation.

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