Session 1615: Post-Medieval Perspectives on Emotions
Thursday 13 July 2006, 11.15-12.45
|Lynn Forest-Hill, Centre for Antiquity & the Middle Ages, University of Southampton
|Be a Christian! Be a Knight! Be a Gentleman!: The Emotional Transformation in 19th-Century English Medievalism
Index terms: Medievalism and Antiquarianism
|'If I Could Die for You, My Young Blood!': The Portrayal of the Heroine's Emotions in the Icelandic Versions of the Griselda Story
Index terms: Language and Literature - Comparative, Language and Literature - Scandinavian
|Perception of King Marko in the Folk Tradition: Emotions and Displays
Index terms: Folk Studies, Literacy and Orality, Local History, Social History
Abstract paper -a: Emotions theory has advanced significantly in the past 25 years, but has only rarely been applied to English medievalism. This paper will present a study of the way the work of Kenelm Digby, largely through his book entitled The Broad Stone of Honour, appealed to the emotions of the youth of 19th-century England in his attempt to develop a generation of Christian gentlemen whose model was the code of medieval chivalry. The study uses the work of Peter Stearns, Norbert Elias, Mark Carnes and C. Griffen, as well as various studies on the social construction of emotions to illuminate how the work of Digby was constructed to appeal to the adolescent emotions.
Abstract paper -b: The earliest Icelandic versions of the story of the patient Griselda seem to be from early 17th century, and during the following centuries, the story is rewritten several times. Variants to the tradition occur early on, especially regarding the main characters, Count Walther and Griselda. The main focus of my paper is the portrayal of the heroine's emotions in those versions. The traditional Griselda shows no signs of emotion, but the Icelandic Griseldas fall into three groups: 1) The Traditional. 2) The Sad Griselda – a victim, cries openly. III) The Independent Griselda – a political figure, critical of her husband's decisions.
Abstract paper -c: King Marco (1371-1395) reigned in Macedonia as a last ruler before the occupation by the Turkish Empire. After his death he entered in the Balkan folk tradition as a symbol of the people's disobedience against the Turkish rule, becoming a hero who protects the maltreated folks. It is interesting why he was percepted as a protector from the Turks, although he died as a Turkish vassal? Accordingly, we will analyse the perception of King Marco among the South Slavs throughout their different displays. Wheather the different experience of the historical events could influence the perceptions of his historical image and how the emotions determined the differents displays?