| Paper 124-b | Melniboné, Seanchan, Dhara, Valryia: Empires et médiévalisme dans la fantasy contemporaine
(Language: Français)
Florian Besson, Département d'histoire, Université Paris IV - Sorbonne
Index terms: Language and Literature - Comparative, Medievalism and Antiquarianism, Political Thought |
|---|
| Abstract | Paper -a:
In The Vanishing Paradigm of the Fall of Rome, Glen W. Bowersock argued that we in contemporary western culture 'have been obsessed with the fall: it has been valued as an archetype for every perceived decline and, hence, as a symbol of our own fears'. This paper examines George Miller’s influential 1982 film Mad Max 2: The Road Warrior as a profound example of this type of medievalist fantasy, where the post-apocalyptic world is reconfigured as return to (neo)medieval paradigms. Why do we envision ourselves bombed back, not to the stone age, but the Middle Ages?
Paper -b:
Fantasy, especially in English, is widely inspired by the Middle Ages - Middle Ages who are dreamt, re-read, recreated. From weapons to technology including social organisation and political formations, fantasy is one of the grounds where medievalism blooms. Through great cycles of fantasy (Elric of M. Moorcock, The Wheel of Time of R. Jordan, The Sword of Truth of T. Goodkind, A Song of Ice and Fire of G. R. R. Martin, etc.), I will explore how the concept of empire is rethought, reinvented, and reinvested. What are the criterions retained? What are the models of these fantastic empires? Why does the simple word of empire continue to fascinate?
Paper -c:
The ending of the chivalry in medieval thought and imagination was poignant. After all these centuries, mankind can only guess. However, from time to time, we get the chance to look back through authors that have a special insight on history and literature. J. R. R. Tolkien has, once again, surprised readers with the recently published text: The Fall of Arthur. In this poem, we see King Arthur's empire's downfall predicted since the first line and the reader is enthralled and captured by the dramatic end that can only be guessed as the poem itself is abruptly interrupted and left unfinished.
|
|---|
