This paper examines four retellings of the Arthurian legend of Guinevere and Lancelot from a bio-evolutionary perspective. The historical and social conditions which provide contexts for the retellings are described, and those conditions are related to underlying male and female reproductive strategies. Since the authors of the selected texts, Chrétien de Troyes, Thomas Malory, Alfred Lord Tennyson, and William Morris, are all male, the assumption is made that these versions of the legend reflect male reproductive preoccupations and (...) encode male attitudes toward femaleness in general and toward female adultery in particular. (shrink)

One of the many reasons for the sustainability of the Arthurian legend in popular culture would seem to involve its educational aspects: most particularly, the educational narrative that describes the relationship between Merlin and Arthur. However much the other elements of the legend suffer alterations through their many retellings, generally the story of Arthur's instruction under Merlin remains unchanged. The reason for this involves the sort of master Merlin is. From his earliest manifestations to present-day representations, Merlin (...) remains a pedagogical hybrid. In one respect, his instruction of Arthur and his motivations for this instruction call to mind the classical conventions of the mentor: conventions... (shrink)

Two pillars of medieval English literature, Chaucer and Malory, stand accused by posterity as criminals, yet scholars remain perplexed about the nature of their crimes over five centuries later. Some convict them of the heinous offense of sexually assaulting a woman against her will, while others believe them guilty of no more than seduction or consensual sex. The allegation against Malory has even been reframed to portray him as a knight in shining armor rescuing a damsel in distress; thus instead (...) of seizing a woman in order to rape her, this author of Arthurian legends “stole” Joan Smith away from her abusive husband when Joan departed with Malory consensually. Keen to illuminate the personal lives of the authors whose Canterbury Tales, Morte Darthur, and other works opened up the world of the Middle Ages for posterity, contemporary researchers have seized upon medieval English legal sources to clarify these authors' own stories. The crime in which Chaucer and Malory have been implicated, of seizing a woman, confounds those historians and literary scholars seeking to explore these authors' late-medieval milieu because the word most frequently employed to record the misdeed is one of the most ambiguous legal terms in medieval England, and indeed Europe. When an individual seized a woman or stood accused of her seizure , the term's multivalent connotations mean that the offense might conform to either or both of our modern legal categories of rape and abduction. (shrink)

Political and social commentators regularly bemoan the decline of morality in the modern world. They claim that the norms and values that held society together in the past are rapidly eroding, to be replaced by permissiveness and empty hedonism. But as Edward Rubin demonstrates in this powerful account of moral transformations, these prophets of doom are missing the point. Morality is not diminishing; instead, a new morality, centered on an ethos of human self-fulfillment, is arising to replace the old one. (...) As Rubin explains, changes in morality have gone hand in hand with changes in the prevailing mode of governance throughout the course of Western history. During the Early Middle Ages, a moral system based on honor gradually developed. In a dangerous world where state power was declining, people relied on bonds of personal loyalty that were secured by generosity to their followers and violence against their enemies. That moral order, exemplified in the early feudal system and in sagas like The Song of Roland, The Song of the Cid, and the Arthurian legends has faded, but its remnants exist today in criminal organizations like the Mafia and in the rap music of the urban ghettos. When state power began to revive in the High Middle Ages through the efforts of the European monarchies, and Christianity became more institutionally effective and more spiritually intense, a new morality emerged. Described by Rubin as the morality of higher purposes, it demanded that people devote their personal efforts to achieving salvation and their social efforts to serving the emerging nation-states. It insisted on social hierarchy, confined women to subordinate roles, restricted sex to procreation, centered child-rearing on moral inculcation, and countenanced slavery and the marriage of pre-teenage girls to older men. Our modern era, which began in the late 18th century, has seen the gradual erosion of this morality of higher purposes and the rise of a new morality of self-fulfillment, one that encourages individuals to pursue the most meaningful and rewarding life-path. Far from being permissive or a moral abdication, it demands that people respect each other's choices, that sex be mutually enjoyable, that public positions be allocated according to merit, and that society provide all its members with their minimum needs so that they have the opportunity to fulfill themselves. Where people once served the state, the state now functions to serve the people. The clash between this ascending morality and the declining morality of higher purposes is the primary driver of contemporary political and cultural conflict. A sweeping, big-idea book in the vein of Francis Fukuyama's The End of History, Charles Taylor's The Secular Age, and Richard Sennett's The Fall of Public Man, Edward Rubin's new volume promises to reshape our understanding of morality, its relationship to government, and its role in shaping the emerging world of High Modernity. (shrink)

This paper examines the significance of Anscombe’s decision to substitute the example of Excalibur for that of Nothung in section 39 of the PhilosophicalInvestigations. It argues that the substitution significantly alters the mythological background to Wittgenstein’s discussion of naming and its philosophical subliming, in which the Theatetus conception of identity, composition, and decomposition is contrasted with that of Wagner’s Ring; for Arthurian legend conceives of these matters differently again. The broader purpose of the paper is to demonstrate that (...) these mythological worlds are not dispensable ornaments to Wittgenstein’s philosophical explorations, but rather internal to his way of guiding and reorienting our reflections on proper names, personal identity, and selfhood. (shrink)

Political and social commentators regularly bemoan the decline of morality in the modern world. They claim that the norms and values that held society together in the past are rapidly eroding, to be replaced by permissiveness and empty hedonism. But as Edward Rubin demonstrates in this powerful account of moral transformations, these prophets of doom are missing the point. Morality is not diminishing; instead, a new morality, centered on an ethos of human self-fulfillment, is arising to replace the old one. (...) As Rubin explains, changes in morality have gone hand in hand with changes in the prevailing mode of governance throughout the course of Western history. During the Early Middle Ages, a moral system based on honor gradually developed. In a dangerous world where state power was declining, people relied on bonds of personal loyalty that were secured by generosity to their followers and violence against their enemies. That moral order, exemplified in the early feudal system and in sagas like The Song of Roland, The Song of the Cid, and the Arthurian legends has faded, but its remnants exist today in criminal organizations like the Mafia and in the rap music of the urban ghettos. When state power began to revive in the High Middle Ages through the efforts of the European monarchies, and Christianity became more institutionally effective and more spiritually intense, a new morality emerged. Described by Rubin as the morality of higher purposes, it demanded that people devote their personal efforts to achieving salvation and their social efforts to serving the emerging nation-states. It insisted on social hierarchy, confined women to subordinate roles, restricted sex to procreation, centered child-rearing on moral inculcation, and countenanced slavery and the marriage of pre-teenage girls to older men. Our modern era, which began in the late 18th century, has seen the gradual erosion of this morality of higher purposes and the rise of a new morality of self-fulfillment, one that encourages individuals to pursue the most meaningful and rewarding life-path. Far from being permissive or a moral abdication, it demands that people respect each other's choices, that sex be mutually enjoyable, that public positions be allocated according to merit, and that society provide all its members with their minimum needs so that they have the opportunity to fulfill themselves. Where people once served the state, the state now functions to serve the people. The clash between this ascending morality and the declining morality of higher purposes is the primary driver of contemporary political and cultural conflict. A sweeping, big-idea book in the vein of Francis Fukuyama's The End of History, Charles Taylor's The Secular Age, and Richard Sennett's The Fall of Public Man, Edward Rubin's new volume promises to reshape our understanding of morality, its relationship to government, and its role in shaping the emerging world of High Modernity. (shrink)

The anthropological and religious interest for the raven is present in Buddhism, in biblical stories, in North and Greek mythologies, in Arthurian legend and in Spanish epic. The occultism attributed to the raven the mission of guidance of dead human souls after death. This article tracks how the raven transfers its occult connotations to the poetic symbol analyzing the poem«The Raven» by EdgarAlan Poe in its cultural and aesthetic context. Charles Baudelaire and the French symbolists dignified the intertextual (...) evolution of Poe’s symbol and transferred it to LatinAmerican and Spanish modernists. These poets used the raven not only as a symbol but mainly as a recurrent motif or poetic topos. Even though the occultist influence appears ‘scattered’ in the process of the creative experience of this symbol, it does not take away its existence. The occultist influence of the raven explains the ultimatemeaning of some verses and clarifies the exceptions and contradictions that appear in many poems. (shrink)

From Pier Paolo Pasolini’s Decameron and Canterbury Tales to Monty Python’s televisual riffs on Arthurian legend in the 1970s and role-playing games like Pendragon or Hidden Kingdom, a fascination...

Analysis of two medieval documents on the Celtic rite of the threefold death in Hispania, where hitherto it had been not yet noted. The legend of Santa Marina de Aguas Santas, in Orense, Galicia, is associated with a galaico-lusitanian switch-sauna for initiatic rituals of pre-Roman origin, while the story of the son of the King Alcaraz in the Castillian Libro de Buen Amor (14th century) is a new example of Hispanic Celtic literature, derived from the Arthurian cycle of (...) Merlin, originated in Wales and Brittany, but with some Persian influence. (shrink)

In Legends of the Samurai, Sato confronts both the history and the legend of the samurai, untangling the two to present an authentic picture of these legendary warriors. Through his masterful translations of original samurai tales, laws, dicta, reports, and arguments accompanied by insightful commentary, Hiroaki Sato chronicles the changing ethos of the Japanese warrior from the samurai's historical origins to his rise to political power. For this purpose, Sato has chosen to translate, wherever possible, writings closest in time (...) to the actual event. His translations are a testament to his mastery of the language for they flow with lively ease that one might not expect from accounts, many of which are ancient. Legends of the Samurai covers legends from mythological times to the early eighteenth century. Through this book Sato describes men accomplished in martial arts, warrior-commanders in battle, and samurai's own views of themselves. It ends with a famous modern retelling of a mass disembowelment in the mid-seventeenth century. (shrink)

"Chapters address philosophical aspects of the video game The Legend of Zelda and video game culture in general"--Provided by publisher.

Drawing on archival evidence, this article explores the salience of ‘patriotic’ themes and motifs in the emergence of the Napoleonic legend in France after 1815. Symbolizing France’s defeated and humiliated status, the captive of Saint-Helena became an emblem of French patriotism, a rallying point for all the men and women who refused to accept their nation’s containment by the 1815 treaties. And, contrary to the traditional view that Bonapartist nationalism was merely a celebration of violence, military glory and conquest, (...) it will also become apparent that the image of the Emperor was used in French popular political culture to promote a coherent cluster of ideas and values of ‘nationhood’, which in many respects connected back to the defensive patriotism of the Revolutionary era. Ultimately, through their celebration of the memory of Napoleon, his supporters and allies demonstrated the convergence of republican and Bonapartist values around core notions of the Revolutionary tradition, most notably a resolute defence of French national sovereignty. (shrink)

A comprehensive inquiry into how the legend of the descent from Troy has shaped the western notion of civilization.

La ville de Thann, en Alsace, célèbre chaque 30 juin une fête au cours de laquelle on brûle trois sapins, en l'honneur de saint Thiébaut , évêque de Gubbio, mort en 1160 et à qui une légende attribue la fondation miraculeuse de la ville. La présente note suggère que cette légende est sans doute bâtie sur un schéma trifonctionnel d'origine indo-européenne. In the city of Thann , three firs are burnt every 30th of June, in honour of Saint Thiébaut , (...) bishop of Gubbio , who is regarded, according to a medieval legend, as the miraculous founder of the town. The present note suggests that this legend is probably built on an Indo-European tri-functional pattern. (shrink)

From the early 1930s to the early 1960s many scholars, whether liberalminded or socialist ideologues, Marxist or scientific positivists, classical scholars or political theorists and historians, have shown a widespread consensus in discrediting and assailing the man and political philosopher Plato. Such an extensive assault led the ‘Platonic Legend’ to an unprecedented crisis. Philosophically, it was a reaction to the undisguised Platonolatry coming from Oxford and the school of the British Idealists. Ideologically, the appropriation of Plato by Nazi apologists (...) fostered further this vehement indictment. But a lot of other causes worked to the same effect. The general anguish and humanistic anxiety on the eve ofWorldWar II and the postwar traumas led scholars to reconsider the meaning of history and historicism, the psychology of the masses and the ethical responsibility of the citizen, the role of propaganda and state education. Such complementary elements converged in sustained anti-Platonic polemics, which in turn provoked a vigorous defence. Here an attempt is made to offer a preliminary survey of this complex debate and to provide a general intellectual framework in terms of which that controversy can be further explored. (shrink)

There is a traditional conception of knowledge but it is not the Justified True Belief analysis Gettier attacked. On the traditional view, knowledge consists in having a belief that bears a discernible mark of truth. A mark of truth is a truth-entailing property: a property that only true beliefs can have. It is discernible if one can always tell that a belief has it, that is, a sufficiently attentive subject believes that a belief has it if and only if it (...) has it. Requiring a mark of truth makes the view infallibilist. Requiring it to be discernible makes the view internalist. I call the view Classical Infallibilism. (shrink)

Le vicomte Théodore Hersart de La Villemarqué a longtemps été accusé d’avoir inventé de toutes pièces les chansons arthuriennes qui apparaissent dans son recueil de chants populaires de la Bretagne, le Barzaz-Breiz. Cet article tente de mettre en évidence les restaurations effectuées par le collecteur sur ces chants arthuriens et de montrer le rôle joué par certains pourvoyeurs de « chansons nouvelles ». Viscount Théodore Hersart de La Villemarqué was accused of fabricating the Arthurian songs collected in his Barzaz-Breiz, (...) the first famous collection of popular songs from Brittany published in the 19th century. This paper aims to demonstrate how the editor actually rewrote the texts and to shed some light on La Villemarqué’s relationships with the persons who gave him access to these “new songs”. (shrink)

Of the four complete Āgama collections, the Ekottarika Āgama (EĀ) has generated the most controversy about whether it can be attributed to any early Buddhist school and, if so, which school it could belong to. This paper examines the various hypotheses about the sectarian affiliation(s) of the EĀ. It shows that a considerable part of this corpus is likely to be of Mahāsāṃghika derivation, and that the EĀ contains numerous salient features of Mahāsāṃghika doctrine, particularly the transcendence of Buddhas and (...) Bodhisattvas. This study also argues that the seeming affinity between several legends in the EĀ and those in the Mūlasarvāstivāda Vinaya is likely to have resulted from Mahāsāṃghika influence on the Mūlasarvāstivādins. The Mahāsāṃghika hypothesis for the school affiliation of the EĀ is substantially strengthened in this inquiry while the others are shown to be probably untenable. (shrink)

Créée par Éric Rochant, Le Bureau des légendes (Canal +, 2015-2020) explore le monde du renseignement en décrivant le travail du service des agents clandestins de la DGSE. Face aux incertitudes et aux complexités géopolitiques du monde contemporain, elle fait le choix d’une immersion au cœur du « renseignement humain ». Cet article envisage l’hypothèse selon laquelle une telle fiction permet de restaurer la confiance des spectateurs vis-à-vis de la capacité d’une démocratie à lutter contre ce qui la menace. En (...) plongeant son spectateur dans les coulisses du renseignement, en le familiarisant avec des personnages complexes, la série questionne la légitimité de la confiance qu’il est possible d’accorder à un service de renseignement. La faillibilité des agents, mise en scène de façon détaillée, réfléchie par la série elle-même, rassure parce qu’elle permet de comprendre et de partager une forme de vie spécifique qui est celle de l’action secrète. L’espionnage, le contre-espionnage et le contre-terrorisme apparaissent alors comme des pratiques reposant en dernier ressort, non pas sur une maîtrise absolue, mais sur la décision de faire confiance ou au contraire de se méfier. Mobilisant les recherches de la sociologie contemporaine à propos de la confiance (Giddens, 1994 et Luhmann 2006), il s’agit de décrire Le Bureau des légendes comme une fiction projetant sur nos écrans, la possibilité d’une restauration de la confiance ou pour le dire à la manière de Stanley Cavell, une issue possible au scepticisme. (shrink)

The legend of Phatta, as narrated by Longus in Daphnis and Chloe (1.27), intertwines aesthetic, psychological, religious, and narratological aspects. It is linked with Aphrodite and love, with Kore-Persephone-Pherephatta and death, and with Orpheus and music. But this intricate narrative, which plays upon narrators and audience, fiction and art, is also a subtle and complex synthesis of Theocritean bucolic enshrined in the original prose form of an aetiological legend.

Philip Kitcher's The Advancement of Science sets out, programmatically, a new naturalistic view of science as a process of building consensus practices. Detailed historical case studies—centrally, the Darwinian revolutio—are intended to support this view. I argue that Kitcher's expositions in fact support a more conservative view, that I dub ‘Legend Naturalism’. Using four historical examples which increasingly challenge Kitcher's discussions, I show that neither Legend Naturalism, nor the less conservative programmatic view, gives an adequate account of scientific progress. (...) I argue for a naturalism that is more informed by psychology and a normative account that is both more social and less realist than the views articulated in The Advancement of Science. (shrink)

The majority of The Legend of the Middle Ages: Philosophical Explorations of Medieval Christianity, Judaism, and Islam has been published previously in different forms, but this edition has been completely revised by the author, the well-known French medievalist and intellectual historian Rémi Brague. It was first published in French under the title Au moyen du Moyen Âge in 2006. The book consists of sixteen essays ranging from Brague’s early years at the Université Panthéon-Sorbonne (Paris I) in the 1990s up (...) until 2005. As a collection of articles, therefore, The Legend of the Middle Ages is not designed to be a monograph; one should not expect a single argument from the book, although it does explore key intersections of medieval religion and philosophy that I will touch upon later. (shrink)

Au sortir de cet entretien avec Gauz, Laëtitia Ajanohun nous propose une légende inspirée de ces légendes orales pleinement réécrites qui essaiment dans tout le roman de Gauz, Camarade Papa, qui minent le discours colonial et donnent voix aux oubliés de l’Histoire.

If the question about the causes of the crises has generated a good deal of literature in Spain, the key issue in recent times has been how to create that tangible and intangible wealth that only companies can give. One of the proposals that specialists agree upon is to revitalise the business entrepreneurial spirit, presenting the entrepreneurs’ way of life as an attractive option, due to the good they produce and the social recognition they enjoy. Accepting the suggestions of the (...) so-called “narrative turn”, the article analyses the virtualities of business narratives in order to enhance the role of entrepreneurs. To this end, the article aims to cover three stages: narratives are necessary because they are brain-based, it is advisable to find out why entrepreneurs are not usually considered in Spain as the main characters of good narratives, good narratives, the ones that convince, are the ones that have the capacity to show the meaning of the entrepreneurial activity and the truth of what we have been doing. (shrink)

The paper attempts to devise a typology of a hitherto unrecognized type of English medieval literature, the Middle English Arthurian verse romance, by proposing a heuristic model comprising the following four major categories: internal and external form; authorship and presentation; content and meaning; and authorial intent and reception.

In the late 19th and early 20th centuries, more than 4 million Italians migrated to the United States of America (U.S.), which they regarded as a utopia. The film _The Legend of 1900_, which was inspired by Alessandro Baricco’s monologue _Nocecento_ and directed by Giuseppe Tornatore, tells the story about the genius pianist 1900, an orphan, who is fostered by Danny, a black coalman in the boiler room of an ocean liner, and whose parents are presumably Italian immigrants. Due (...) to immigration law, 1900, a man with neither identity, visa, nor legal papers, cannot legally set foot on American soil. As a genius pianist, his existence is nothing more than that of musician—an entertainer to passengers on the gigantic trans-Atlantic liner Virginian, the only place he is permitted to live. According to Michel Foucault’s notion of heterotopia, a ship is “a piece of floating space, a placeless place”—a vessel transporting people to the land of their dreams. However, 1900, who has no legal status, will never arrive in utopia aboard Virginian. He can only construct a heterotopia—a mirror of utopia—so that it to him is a utopia. In the eyes of the law, 1900 is a legally non-existent person on Virginian, a placeless place. However, it is this lawless heterotopia and isolation that create a genius. In this paper, I illustrate how Virginian, as a place outside the law of land, metaphorically gives birth to a pianist, 1900, and why 1900 at the end chooses not to leave the ship, while also discussing the meaning behind the film and the relationship between law and space. (shrink)