Abstracts Listed by Author: A-F G-J K-O P-Z, From

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Arthurian Interpretations15.2-16.1, 1.1-4.2;

Quondam etFuturus: A Journal of Arthurian Interpretations1.1-3.4

Arthuriana4.1-present

Gamble, Giles Y. 'Power Play: Elizabeth I andThe Misfortunes of Arthur.'QetF1.2 (Summer1991): 59-69.

Abstract:In its rhetoric,The Misfortunes of Arthuroffers the queen a choice which the authors hope will be no choice at all. On the one hand she is shown an Arthur whose inability to choose between his son and kingdom until too late caused the destruction of both. On the other, she is shown an Arthur who conquered Rome, whose death was never witnessed, and who is expected to return as the savior of his nation. The question posed to Elizabeth is which Arthur will she be. If there was no official reaction toThe Misfortunes of Arthur, it was probably due to Elizabeth 's political savvy, or the power of the Inns of Court, or, most probably, both. (GYG)

Gaylord, Alan T. Rev. ofFrom Pearl to Gawain. Forme and Fynisment. By Robert J. Blanch and Julian N. Wasserman.Arthuriana7.1 (Spring 1997): 143-46.

------. Rev. ofTheMabinogi. A Book of Essays.Ed. C.W. Sullivan III.Arthuriana9.2 (Summer 1999): 67-70.

------. Rev. of Robin Hood.A Cinematic History of the English Outlaw and His Scottish Counterparts.By Scott Allen Nollen.Arthuriana10.3 (Fall 2000): 116-19.

------."Back from the Queste: Malory’s Launcelot Enrages Gwenyvere."Arthuriana16.2 (Summer 2006): 78-83.

Abstract: This essay takes a close look at Launcelot’s disastrous speech in defense of his avoidance of Gwenyvere for fear of scandal. (AG)

George, Edward V. Rev. ofElizabeth Jane Weston: Collected Writings. Ed. Donald Cheney and Brenda M. Hosington, with the assistance of D.K.Money.Arthuriana16.2 (Summer 2006): 100-101.

George, Michael W. "Arthuriana as Living Tradition."Arthuriana15.4 (Winter 2005): 14-18.

Abstract: Incorporating popular culture and creative options for assignments makes undergraduate students aware of Arthuriana as a living tradition. (MWG)

Georgiana, Linda. Rev. ofCourtly Desire and Medieval Homophobia: The Legitimation of Sexual Pleasure inCleannessand Its Contexts. By Elizabeth B. Keiser.Arthuriana9.1 (Spring 1999): 150-51.

Gibson, Lee. Rev. ofThe Return of King Arthur: The Legend through Victorian Eyes. By Debra N. Mancoff.Arthuriana7.1 (Spring 1997): 154-55.

Gibson, Angela. 'Malory's Reformulation of Shame.'Arthuriana11.4 (Winter 2001): 64-76.

Abstract: In theMorteDarthur, Malory suggests that revealing private acts, even those that may themselves be dishonorable according to a shame culture, can be more destructive than the acts themselves. Such private acts are therefore not undervalued but esteemed and protected. (AG)

Gilmore, Gloria Thomas. 'Le Roman de Silence:Allegory in Ruin or Womb of Irony?'Arthuriana7.2 (Summer 1997): 111-23.

Abstract: Merlin and Silence wage a final metaphoric / metonymic battle in the evolution of allegory: Merlin 's laughter exiles him to perpetual self-generation, as women are restored to the reign ofSilence. (GTG)

Glowka, Arthur Wayne. 'Malory 's Sense of Humor.'AInt1.1 (Fall 1986): 39-46.

Abstract:A useful approach for students of Malory is to examine what Malory himself seems to indicate as funny and then to characterize those instances. This kind of examination gives a portrait of Malory the humorist, showing what Malory may have considered as acceptable humor. His knights and ladies laugh at slapstick, unknightly comments, the recognition of puns and witticisms. He has established a joker in Dinadan, who becomes a vehicle for realistic comment on the dangers and discomforts of knighthood. He has the morally reprehensible mocked by laughter, but he also humanizes the portraits of Arthur and Launcelot by including them in his jokes. Malory even has a taste for irony, showing humor as ultimately a function of perspective. Through humor Malory brings us closer to the characters of his fictional world, so that when it collapses its tragedy strikes us in a personal way. (MLD)

Good, Jonathan. Rev. ofSt George’s Chapel Windsor in the Fourteenth Century.ed. Nigel Saul.Arthuriana16.1 (Spring 2006): 80-83.

Goodrich, Peter H.Rev. ofThe Grail: A Casebook. Arthurian Characters and ThemesVol. 5.By Dhira B. Mahoney.Arthuriana11.1 (Spring 2001): 121-23.

------.'The Erotic Merlin. 'Arthuriana10.1 (Spring 2000): 94-115.

Abstract: The figure of Merlin manifests exotic characteristics in the conventions of his madness, conception, and birth, and his actions as seer, tryst-maker, and lover. He is both a catylst and victim of eros. (PG)

------. Rev. ofInside Merlin 's Cave: A Cornish Arthurian Reader 1000-2000by Amy Hale, Alan M. Kent, and Tim Saunders, eds.Arthuriana12.3 (Fall 2002): 132-133.

------. Rev. ofThe Return of King Arthur: Finishing the Quest for Wholeness.By Diana Durham.Arthuriana14.4 (Winter 2004): 82-83.

------.'Saracens and Islamic Alterity in Malory'sLe MorteDarthur. 'Arthuriana16.4 (Winter 2006): 10-28.

Abstract: Malory’s treatment of Saracens depends upon his crusading-era literary sources and his personal awareness of Ottoman Turk incursions into Europe. Except for Palomides, his Saracens develop typical orientalist functions. (PHG)

------. Rev. ofGawain: A Casebook. By Raymond H. Thompson and Keith Busby, eds.Arthuriana16.4 (Winter 2006): 110-113.

------. Rev. ofMedieval Literature and Culture. By Andrew Galloway,Arthuriana17.4 (Fall 2007): 121.

------. Rev. of Merlin: Knowledge and Power through the Ages. By Stephen Knight.Arthuriana20.3 (Fall 2010):127-28.

Gowans, Linda.Rev. ofThe Story of King Arthur in Cornwall: A Tourist 's Guide To The Facts
About King Arthurby L.J. Dickinson,King Arthur in Cornwall Factfileby W. Howship Dickinson,King Arthur in Cornwallby Henry Jenner,Tristan & Iseult: A Cornish Romanceby Henry Jenner and Thurstan Peter,King Arthur 's Country: A Guide To The Arthurian Sites of Cornwallby F.J. Snell, andArthur 's Lost Land: The Legend Sites of North Cornwallby J. Cuming Walters.Arthuriana12.2 (Summer 2002): 152-154.

------. Rev. ofBewnansKe/The Life of St Kea: A critical edition with translation.Graham Thomas and Nicholas Williams, ed. and trans.,Arthuriana17.3 (Fall 2007): 116-120.

Goyne, Jo. 'Parataxis and Causality in the Tale of Sir Launcelotdu Lake.'QetF2.4 (Winter 1992): 36-48.

Abstract: In 'A Noble Tale of Sir Launcelot du Lake, ' a small gem of the paratactic style, its author, Sir Thomas Malory, skillfully employs parataxis to provide his readers not only with a useful lesson in how to read his characteristic style, but also with valuable information necessary to our understanding of the work as a whole. A close examination of the beginning paragraphs of book 6 is particularly instructive in how Malory 's distinctive style opens the remainder of the tale to us. (JG)

------. 'Arthurian Wonder Women: The Tred of Olwen. 'Arthuriana9.2 (Summer 1999): 5-10.

Abstract: Though introduced as a curse placed upon her suitor, Olwen, the most beautiful giant 's daughter in Welsh folklore, brings to this tale wisdom and an aura of enchantment worthy of the most exemplary Arthurian heroines. (JG)

Gravlee, Cynthia A. Rev. ofArthurian Romances. Chrétien de Troyes. Ed. and trans. William W. Kibler.Erec and Enide.Trans. Carleton W. Carroll.QetF1.2 (Summer 1991): 87-88.

Greenburg, Brad. Rev. ofFor Her Good Estate: The Life of Elizabeth de Burgh. Ed. Frances A. Underhill.Arthuriana13.3 (Fall 2003): 127-128.

------. Rev. ofThe Wakefield Master 's Dramatic Art: A Drama of Spiritual Understanding.Liam O. Purdon.Arthuriana14.2 (Summer 2004): 104-106.

Greene, Wendy Tibbets. 'Malory 's Merlin: An Ambiguous Magician? 'AInt1.2 (Spring 1987): 56-63.

Abstract:Merlin offers prophecy and reproach. At times he intervenes in the action, and at other times he fails to appear when he is needed. Sometimes he elicits fear or amazement; he certainly elicits too little affection and admiration. In strength and wisdom, Merlin regresses as the 'hoole book ' progresses. Physically, Merlin degenerates from rapid-moving, effective enchanter to helpless, imprisoned old man. At worst, Merlin is an evil designer deliberately miscreatingArthur 's world; at best, he is an ambiguous character who simply fails to achieve his goals. In book 1, Merlin creates a world which he cannot, in books 2 through 4, control. Like each of Malory 's characters, he is, after all, only human. Perhaps, ultimately, the reader must see him as Merlin, the bumbling magician. (WTG)

Greene, Virginie. 'How the Demoiselle d’EscalotBecame a Picture 'Arthuriana12.3 (Fall 2002): 31-48.

Abstract: TheMort Artu 'sstory of the Demoiselle d 'Escalot displays through its narrative and descriptive peculiarities the difficulty of representing a woman in romance. (VG)

------. 'The Bed and the Boat: Illustrations of the Demoiselle d 'Escalot 's Story in Illuminated Manuscripts ofLa Mort Artu. 'Arthuriana12.4 (Winter 2002): 50-73.

Abstract: This article studies visual sequences representing the story of the Demoiselle d 'Escalot in ten thirteenth- to fifteenth-century illustrated manuscripts. Although many of these images can be related to two common types of scenes (the conversation scene and the bed scene), the introduction of a 'boat scene ' seems to have forced illustrators to become inventive.(VG)

Grimbert, Joan Tasker. Rev. ofTristan & Isolde.dir. Kevin Reynolds, screenplay by Dean Geogaris.Arthuriana16.1 (Spring 2006): 84-86.

------. 'The Fifteenth-Century ProseCligés:Better Than Just Cutting to the Chase.'Arthuriana18.3 (Fall 2008): 62-72.

Abstract: An analysis of the exchanges between Cligés and Fenice in this prose romance shows with what skill the redactor wove the elements he found most compelling in his model into a narrative--utterly devoid of irony--about two earnest individuals whose faithful hearts guide and justyf their actions at every turn.

Grimm, Kevin T. 'Knightly Love and the Narrative Structure of Malory 's Tale Seven. 'AInt3.2 (Spring 1989): 76-95.

Abstract: Discussing the theme of love inLe MorteDarthurleads directly to the subject of the fall of the Round Table. This is not because Malory portrays love as a destructive force within the chivalric ideal, but because love is a natural part of knighthood. And one of Malory 's most fundamental and persistent themes is the battle between the good of knighthood and the evil of treachery. It is this large epic struggle that gives his version of Arthurian history, and his alone, its universal appeal, and lasting power.Le MorteDarthurtells the story of those who embody humankind 's highest aspirations and their struggle to stave off the chaos threatened by those who do not. In Malory 's world, the love of a worshipful man and a worshipful woman is part of the lofty way of life implied in reverence for the High Order of Knighthood. (KTG)

------. 'The Reception of Malory 'sMorteDarthurMedieval and Modern. 'QetF2.3 (Fall 1992): 1-14.

Abstract: ThroughoutLe MorteDarthur, Malory creates a Launcelot and a textual framework for judging Launcelot which are at odds with the two basic matrices of values his readers were likely to bring to his text: one patriotic and one moral. In the chamber scene between Launcelot and Guenevere he creates a very particular and deliberate kind of ambiguity, which is essential to his reinterpretation of Arthurian history. The result is that one of the most significant thematic foci of Malory 's work essentially lay beyond the horizon of expectations of his initial audience. It is hardly surprising that the reception of his text has been marked by ambivalence and division; readers over the course of 500 years have both praised its nobility and been shocked by its morality. (KTG)

------.'Editing Malory: What 's at (the) Stake? 'Arthuriana5.2 (Summer 1995): 5-14.

Abstract:Vinaver 's and Spisak 's editorial interventions deeply affect the ways readers understand Malory 's text. (MNS)

------.'The Love and Envy ofSir Palomides.'Arthuriana11.2 (Summer 2001): 65-74.

Abstract:Malory constructs Sir Palomides as a microcosm of the forces of loveand envy, whose conflict drives the narrative of theTale of Sir Tristram. (KTG)

------.Rev. ofThe Pagan Kingby Edison Marshall.Arthuriana11.4 (Winter 2001).

------.'Sir Thomas Malory’s Narrative of Faith. 'Arthuriana16.2 (Summer 2006): 16-20.

Abstract:Malory’s narrative is an expression of a deeply held personal faith and as such bears significant resemblance to biblical narrative. (KTG)

Grindley, Carl James. Rev. ofTheory and the Premodern Text.By Paul Strohm.Arthuriana12.3 (Fall 2002): 161-162.

Grooms, Chris. Rev. ofRecords of Early Drama: Wales.ed. David N. Klausner.Arthuriana16.1 (Spring 2006): 75-77.

Gross, Gregory W. 'Secret Rules: Sex, Confession, and Truth inSir Gawain and the Green Knight. 'Arthuriana4.2 (Summer 1994): 146-74.

Abstract: TheGawain-poet chooses an erotic plot to complicate Gawain 's relation to his community and to the meaning of 'traw[[pi]]e. ' Gawain 's seduction by the lady subjects him to the power of confessional technique, and to a disciplinary mode of individualization that shift his sense of 'traw[[pi]]e ' from its traditional meaning (promise; covenant) to a new one, which first emerges in the fourteenth century and endures in the modern sense of 'truth, ' as the objective state of that which is real. (GWG)

Grundy, Stephan. Rev. ofThe Mordred Manuscript.By Norris J. Lacy.Arthuriana5.1 (Autumn 1995): 107-108.

Gustafson, Kevin. Rev. ofChaucer to Spencer: An Anthology of Writings in English. By Derek Pearsall.Arthuriana10.1 (Spring 2000): 145-46.

------. Rev. ofThe Idea of the Vernacular: An Anthology of Medieval English Literary Theory, 1250-1520. By Jocelyn Wogan-Browne, et al.Arthuriana11.3 (Fall 2001): 148-149.

------. Rev. ofThe Lost Tradition: Essays on Middle English Alliterative Poetryby John Scattergood.Arthuriana11.4 (Winter 2001).

Guy-Bray, Stephen. Rev. ofReading Popular Romance in Early Modern England.By Lori Humphrey Newcomb.Arthuriana12.3 (Fall 2002): 144-146.

Gwara, Scott.'A Possible Arthurian Epitome in a Tenth-Century Manuscript from Cornwall.' 17.2Arthuriana(Summer 2007): 3-9.

Abstract: ‘De rarisfabulis,’ an early tenth-century text from Wales or Cornwall, preserves colloquies used by monastic oblates to practice conversational Latin. It yields a potential Arthurian context and may represent the first known account of Arthur's continental war against Rome, as detailed in Historiaregum and hinted at in the ‘Life of St Goeznovius.’ (SG)

Hafner, Susane. Rev. ofUlrich von Zatzikhoven 'sLanzelet. Narrative Style and Entertainment.By Nicola McLelland.Arthuriana11.3 (Fall 2001): 137.

Hahn, Stacey L.'The Motif of the Errant Knight and the Royal Maiden in the ProseLancelot. 'AInt3.1 (Fall 1988): 1-15.

Abstract: In the ProseLancelot, five major knights are loved by maidens of high birth. The purpose of the alliance is always an implied marriage which the knight must necessarily refuse. The motif reflects the widespread social concern of marrying high ranking maidens to knights of equal rank in order to ensure noble progeny and protection of the maiden 's inheritance. Moreover, textual evidence links the motif to the myths of Morgain and Melusine. Variations of the motif establish a hierarchy which distinguishes the knights according to valor and lineage. (MLD)

Hamel, Mary. 'Adventure as Structure in the AlliterativeMorteArthure.'AInt3.1 (Fall 1988): 37-48.

Abstract: While using as his primary source the 'chronicle ' plot originated by Geoffrey of Monmouth, the poet of the alliterativeMorteArthureadapted and shaped that plot by two means: not only the addition of 'romance ' elements to both existing and added episodes, but also the adaption of the central structure of romance, the quest for adventure, to transform the chronicle 's plot of imperial conquest and fall into something more powerfully tragic. His model might have been the poem 's great contemporarySir Gawain and the Green Knight. (MLD)

Hanks, D. Thomas,Jr. 'Malory 's Way With His Source for "The Giant of Saint Michael 's Mount": Style and Characterization. 'AInt4.2 (Spring 1990): 24-34.

Abstract:Malory 's chief source for 'The Noble Tale of King Arthur and the Emperor Lucius ' is the alliterativeMorteArthure. In the story of 'The Giant of Saint Michael 's Mount, ' Malory has changed the alliterativeMorte's style and its characterization of Arthur. Given Malory 's purposes, the changes are improvements. Examination of these changes shows a Malory already aware of the stylistic issues of compression, sharpened focus, and wit. In the style and in the Arthur of Malory 's giant-story, may be found the beginnings of the style and of the Arthur which have held the imagination of readers for centuries. (DTH, Jr.)

------. 'Malory, Dialogue, and Style.'QetF3.3 (Fall 1993): 24-34.

Abstract: EugèneVinaver opened his great three-volume 1947 edition of what he called Sir Thomas Malory 'sWorkswith the judgment that Malory 's style was merely a matter of borrowing or translating words from his sources, then rearranging them. The study of Malory 's style has made some progress since that point. Malory 's style of narration has appealed to modern readers in a way that prevents their properly appreciating the style of his dialogue. In fact, the fast-paced style of his narrative has led to a misreading of his dialogue. (DTH, Jr.)

------. 'Malory 'sBook of Sir Tristram: FocusingLe MorteDarthur. 'QetF3.1 (Spring 1993): 14-31.

Abstract: The Tristram-book dwells upon the adulterous affair of Tristram and Isode in ways that Malory excludes from the romance of Lancelot and Guinevere, but in ways that color a reader 's view of the later relationship. What Malory did was to present the Tristram-Isode affair as a great love, to be sure, but as a great love distinctly tarnished at the edges. He removed virtually all the tarnish from the Lancelot-Guinevere affair—tarnish he found in his sources—but in showing us the parallel love as stained, he comments subtly about the nature of the Lancelot-Guinevere relationship. (DTH, Jr.)

------. Rev. ofKing Arthur in Legend and HistoryEd. Richard White.Arthuriana8.3 (Fall 1998): 116-117.

------. 'The Rhetoric of the Folk Fairy Tale in Sir Thomas Malory 'sTale of Sir Gareth. 'Arthuriana13.3 (Fall 2003): 52-67.

Abstract: This essay demonstrates the extent to which the Tale of Sir Gareth adheres to the rhetorical pattern of the folk fairy tale and argues further that this pattern shapes Malory 's revision of the Arthurian legend.. (DTH, Jr.)

------. 'Epilogue: Malory 'sMorteDarthurand 'the Place of the Voice '. 'Arthuriana13.4 (Winter 2003): 119-133.

Abstract: Reading Malory 'sMorte aloud adds elements to the oral-aural text which do not exist in the text when read silently to oneself. (DTH)

Hanna, Ralph. Rev. ofEngaging Words: The Culture of Reading in the Later Middle Agesby Laurel Amtower.Arthuriana11.4 (Winter 2001).

Harding, George E. Rev. ofThe Pilgrimage Motif in the Works of the Medieval German Author Hartmann von Aue. By Mary Vandegrift Mills.Arthuriana7.2 (Summer 1997): 140-142.

Harrington, David V. 'The Conflicting Passions of Malory 's Sir Gawain and Sir Lancelot. 'AInt1.2 (Spring 1987): 64-69.

Abstract: In the concluding sections of theMorteDarthur, Sir Thomas Malory presents images of major characters-especially Sir Lancelot, Sir Gawain, and King Arthur-in seemingly contradictory behavior. They have special relationships with each other which complicate recognition and appreciation of the idealism each represents. Malory 's characters are torn between chivalric standards and personal obligations. They modify the standards in ways that finally destroy the Round Table fellowship. Malory 's major figures fulfill themselves while adhering to what must have been recognized as the best forms of noble idealism in fifteenth-century chivalry. (DVH)