King Arthur Myths

Há uma tradição historiográfica que associa a figura do Rei Arthur com o messianismo régio, expresso pela esperança de alguns grupos étnicos insulares que carregaram em comum um substrato de traços culturais celtas (córnicos, bretões e galeses) em seu retorno. Essa esperança, conhecida na historiografia como “espera bretã”1, foi apontada em algumas fontes dos séculos XII e XIII, nas quais os cronistas assinalavam que Arthur não estaria, de fato, morto para alguns grupos étnicos dentro do território da Grã-Bretanha.

Desde a década de 1990, a discussão sobre a tese da espera bretã se transformou. Virginie Greene questiona a pertinência de utilizar o termo “messianismo” para referir-se à realidade medieval e argumenta que ele não se aplica com o mesmo sentido que os historiadores utilizam para se referir à modernidade2.

Neste ensaio, tentamos retirar a análise do escopo de sua reprodução dentro do espaço cortês através da análise de crônicas selecionadas, partindo da perspectiva do movimento historiográfico conhecido como “A História Vista de Baixo”, para depreender quem é o povo que espera por Arthur e se essa espera é mais do que um discurso construído pelos cronistas.

A partir de um cruzamento entre crônicas e estudos arqueológicos, tentamos mapear tradições de culto, peregrinação e folclore associadas a Arthur, circulando pela Grã-Bretanha dominada pelos normandos. Executamos uma leitura das fontes observando referências laterais a Arthur e prestando atenção nas relações de poder que as crônicas ensejam.

**TW: mention of a story with a plot of a sexual violence

Chivalry is precariously exemplified in Sir Gawain and the Green Knight, “The Wife of Bath’s Tale”, and Le Morte d’Arthur. The idealistic way that the world had worked for so long was crumbling and Arthurian literature in Britain during the Middle Ages shows the digression of chivalry. The toxic masculinity of Camelot and its knights also contribute to the downfall of chivalry and the kingdom. Arthur’s grasp of an unrealistic methodology of how his court should act and treat him is the very thing that causes the ruination of the infamous Camelot.

Key words:
King Arthur, chivalry, feminist theory Middle Ages, Wife of Bath, Sir Gawain and the Green Knight, Le Morte d’Arthur

The article examines the representation of the legendary Welsh bards in the two-volume collection of W.F. Skin The Four Ancient Books of Wales (Taliesin, Myrddin, Aneirin and Llywarc Hen). The main traditions of Welsh literature, such as the prophetic tradition and the tradition of military poetry, are associated with their works. The heritage of the «early» Welsh poets breathed a new life into the works of eighteenth and nineteenth century writers and antiquaries who fought to preserve Welsh culture and defended their national identity.

As far as representations of King Arthur in comics are concerned, there is one shining, super-heroic example of the appropriation of Arthurian contexts, stories, and, of course, images: DC's Aquaman. While Arthur Curry, King of Atlantis, has been associated with the mythic, British King Arthur for many years, it is often called out in narrative arcs and images, and the 2021 80th anniversary issue of DC's Aquaman is no different.

O livro A Queda de Arthur é uma obra de J.R.R Tolkien que contém um poema em versos aliterativos escrito, aproximadamente, em 1930, mas organizado e publicado por Christopher Tolkien, filho do autor, em 2013. O poema narra as incursões de Arthur pelo território da Britânia e a luta pela defesa de seu reino. O objetivo deste artigo é analisar como se dá a construção do imaginário Arthuriano no poema em questão a partir da observação das características do rei e de como ele se relaciona com o contexto em que é representado, no qual problematizamos a classificação de Arthur como “bretão”. Para compreensão da obra, sempre em relação com a historiografia medievalística, utilizamos como metodologia a análise do discurso. Concluímos que o imaginário do rei Arthur do poema de Tolkien foi amplamente inspirado nas obras do ciclo arturiano que surgiram após o século XII, no qual Arthur é um cristão por excelência, imbuído de características e elementos expressos nos romances de cavalaria medie...

O livro A Queda de Arthur é uma obra de J.R.R Tolkien que contém um poema em versos aliterativos escrito, aproximadamente, em 1930, mas organizado e publicado por Christopher Tolkien, filho do autor, em 2013. O poema narra as incursões de Arthur pelo território da Britânia e a luta pela defesa de seu reino. O objetivo deste artigo é analisar como se dá a construção do imaginário Arthuriano no poema em questão a partir da observação das características do rei e de como ele se relaciona com o contexto em que é representado, no qual problematizamos a classificação de Arthur como “bretão”. Para compreensão da obra, sempre em relação com a historiografia medievalística, utilizamos como metodologia a análise do discurso. Concluímos que o imaginário do rei Arthur do poema de Tolkien foi amplamente inspirado nas obras do ciclo arturiano que surgiram após o século XII, no qual Arthur é um cristão por excelência, imbuído de características e elementos expressos nos romances de cavalaria medie...

RESUMO O livro A Queda de Arthur é uma obra de J.R.R Tolkien que contém um poema em versos aliterativos escrito, aproximadamente, em 1930, mas organizado e publicado por Christopher Tolkien, filho do autor, em 2013. O poema narra as incursões de Arthur pelo território da Britânia e a luta pela defesa de seu reino. O objetivo deste artigo é analisar como se dá a construção do imaginário Arthuriano no poema em questão a partir da observação das características do rei e de como ele se relaciona com o contexto em que é representado, no qual problematizamos a classificação de Arthur como "bretão". Para compreensão da obra, sempre em relação com a historiografia medievalística, utilizamos como metodologia a análise do discurso. Concluímos que o imaginário do rei Arthur do poema de Tolkien foi amplamente inspirado nas obras do ciclo arturiano que surgiram após o século XII, no qual Arthur é um cristão por excelência, imbuído de características e elementos expressos nos romances de cavalaria medievais e, portanto, muito provavelmente se distanciando dos contos orais propagados em línguas célticas no século VI. Essa última forma de representa-lo contribui, ainda que em partes, para uma espécie de apagamento da "celticidade arthuriana".

Lewis Theobald's emendation of ‘for his Nose was as sharpe as a Pen, and a Table of greene fields’ to ‘for his Nose was as sharpe as a Pen, ‘and a’ babled
of green Fields,’ is probably the most famous emendation in all of Shakespeare, but there is extant evidence it was unnecessary. There actually is an Arthurian "Round Table" that is readily described as 'a table of green fields.'

The article deals with the etymology of toponyms “Rome”, “Italy” and Etruscan toponyms. The author concludes that the modern toponymic model of Rome, its environs and the Etruscan region were formed in the Celtic-speaking environment. The meanings of toponyms reflect the geographical features of the area and the architectural features of fortified cities. The results of the study allow us to take a fresh look at the migration processes of the pre-Roman era on the Apennine Peninsula.

A deeper look into the legends of King Arthur reveals that many cultural elements are similar to the peoples who lived in the Eurasian steppes.

For this reason, some cultural characteristics of Hungarians and Turks who lived in the Eurasian steppes for a long time are similar to the elements in the legend of King Arthur.

Vröude : Artusbild, Fortuna- und Gralkonzeption in der "Crône" des Heinrich von dem Türlin als Verteidigung des höfischen Lebensideals / Arno Mentzel-Reuters.
  Frankfurt [u.a.] : Peter Lang, 1989. - 344 S.
(Europäische Hochschulschriften. Reihe 01. Deutsche Sprache und Literatur ; 1134)
ISBN 3-631-41845-0

Hochschulschrift: Zugl.: Berlin, Tech. Hochsch., Diss., 1988

The remains of metropolitan London from Bede's 7th and 8th centuries cannot be found because, in our textbook chronology, residential quarters in the city of Londinium, a perfect fit for Bede's description, are dated to the 1st-3rd century.
Stratigraphically, however, Londinium lies directly beneath the layers of the High Middle Ages, in which, from about 950 AD, residential buildings were built again within the walls of Londinium. No flats or latrines are built, until c. 950 AD, on top of Londinium's residential buildings and latrines, which are dated to the beginning of the 3rd century. If one looks at Londinium’s Roman urbanity stratigraphically instead of chronologically, the construction of Roman housing does not end in the 3rd but in the early 10th century. Accordingly, the buildings of Londinium's Imperial Antiquity began 700 years later
Londinium’s upscale residential buildings and latrines of the "3rd" century are separated from the impoverished huts of the High Middle Ages from circa 950 AD by layers of Dark Earth. Stratigraphically, these marks of disaster could only have emerged a few decades before 950 AD. The fact that Dark Earth is being created in the London area at exactly this time is completely undisputed in the archaeology of Lundenwic, which is only 1000 m to the west of Londinium. In Lundenwic, however, Dark Earth layers from the 3rd century, into which one dates the beginning of Londinium’s Dark Earth, are mysteriously missing. Both––directly adjacent––parts of today's London have layers of Dark Earth that––seen stratigraphically––must have emerged together shortly before 950. The stratigraphic parallelism of the Dark Earth layers of Lundenwic and Londinium makes both places chronologically simultaneous. The fact that, in the 8th and 9th centuries, Lundenwic continued to use the completely intact Roman roads to Londinium of the 1st and 2nd centuries, also speaks for the simultaneity of the two sites. The 700 years of textbook chronology between the first residential quarters of Londinium in the 1st century and the first residential quarters of Lundenwic in the 8th century are thus fictitious.
The stratigraphic simultaneity of Londinium and Lundenwic, whose residential buildings supposedly begin at an interval of 700 years, once again confirms that, between 1 and 930 AD, even the largest Roman cities have only 230 years of construction layers. Chronologically, this bloc of time may be attributed to Imperial Antiquity or to Late Antiquity or to the Early Middle Ages. Stratigraphically, it is always located directly below the High Middle Ages (beginning after the 930s disaster), so it belongs to the period between c. 700 and 930 AD.
The contemporaneity of Londinium and Lundenwic lays to rest the supposed madness of the inhabitants of Lundenwic. They were by no means opposed to the protection of Londinium's walls, which were still perfectly preserved in the 8th and 9th centuries, in order to settle in the wild. They lived, side by side with Romans, in the city because the London area was never empty but gives that impression only because modern researchers have swelled its history by fictitious centuries. Londinium's houses, thus, were inhabited, and its inhabitants would have prevented any theft by Saxons of building material. Saxon villages are never found super-imposed on Roman ruins nor are they built with Roman spolia because Saxons lived there in the same time as Romans. Thus, they were not much different from, e.g., Franks who were Germanic and, yet, lived simultaneously with Romans in a Romanized culture.
Authors like Bede, do not write, in the 8th c., the Latin typical for the 1st century because some miracle had interrupted the evolution of language.  They write it because the 1st century of textbook chronology is the 8th century of stratigraphy.
In the early 10th century, Lundenwic was wiped out and Londinium was smashed down to a fraction of its population because both were hit by a catastrophe that annihilated Roman civilization everywhere.  Although this cataclysm is sometimes described as a “Crisis of the Third Century,” or as a “Crisis of the Sixth Century”, and sometimes as a Tenth Century Collapse, all "three" catastrophes are stratigraphically parallel and are found directly below the High Middle Ages. Nowhere exists a stratigraphy that shows two or even three super-imposed annihilations of entire cities in the first millennium AD.

Natural disasters such as Earth Quakes, Tsunami and Wildfires make every individual think about a future world free from calamities and fear. To make our environment free from all these disasters, every individual must possess some awareness about nature as it is being continuously deteriorated due to human activities. This paper analyses how every act of humans destroys the innocence of nature and makes it arrogant through the movie Aquaman directed by James Wan in 2018 from an Eco critical point of view. This movie is an example to show how mistreatment of natural sources results in exploitation of humans. The main focus of this story is to show how the marine environment gets destructed due to human activities such as dismissal of human wastes in sea and emergence of technical advancements which creates a topsy-turvy situation, resulting in the destruction of nature. It happens due to the irresponsibility of humans in caring and safeguarding the natural resources which always act as the base for humans' every step towards progress. This paper highlights how Arthur,an amalgamation of human and mermaid safeguards both the underwater kingdom and the surface world from war and destruction. The researcher, through this article tries to create awareness among the youngsters that one should not be an aquaman to safeguard nature; there is an aquaman in every human who is capable of rejuvenating the deteriorated environment.

King Arthur, as a historical and literary figure represents a
symbol of monarchy and chivalry in the long collective cultural memory of the British people. Diachronically speaking, various layers from the representations  from Celtic mythology, chivalric romances and literary pieces dedicated to Arthur’s magnificence had piled up on his historical persona (which contains scarce information). However, the shadow cast by his historical background can be illuminated with the help of the (pseudo-)historical manuscripts mentioning King  Arthur, as well as his role in the British collective memory. The aim of this article
is to showcase the truth behind his historical prototype in terms of the various legends and literary pieces where he appears as a protagonist. At the same time, our  aim is to provide the trajectory of his transformation from a real man, who had once existed, to a mythological king that appears in various legends and poems and novels. The literary works that we will focus on for the literature section of  this paper include Le Morte D’Arthur by Sir Thomas Malory, The Faerie Queene by Edmund Spenser, Idylls of the King by Alfred Lord Tennyson and The Once and Future King by T.H. White.

DC’s comic series Demon Knights (2011) is unlike many other series in the New 52. Aside from its status as a limited series, consisting of only 23 issues, it also takes place in DC’s past rather than its contemporary setting. Demon Knights instead takes place after the fall of Arthur’s Camelot with characters that are contemporary to that time period. The team of the “Demon Knights” consists of the demon Etrigan and his human host Jason Blood, Madam Xanadu—who is in reality Nimue—Sir Ystin the Shining Knight, Vandal Savage, Al Jabar, Exoristos, and The Horsewoman. Together, this unlikely team bands together to fight the forces of The Questing Queen and Mordru and, later, travels to “new Camelot” to find out who murdered Merlin—and they meet and undead King Arthur in the process. This limited series comic engages with the classic DC “team-up” motif and with a popular theme in contemporary Arthuriana, the post-Arthur continuation of the Matter of Britain. By using DC’s formula, Demon Knights is able to engage with one of the main questions of Arthuriana: what happens when Arthur is gone, and what happens if he is not? While this is partially why the series did not extend, it allows readers to see what DC thinks of this ever-important question.

Investiga-se o caráter alegórico do romance contemporâneo No país dasúltimas coisas, através de suas ligações intertextuais com a paródia “Aestrada de ferro celestial”, e a alegoria intitulada O peregrino. A partir de talleitura, analisam-se também as relações entre a alegoria e o surgimento doromance.

has had a long and storied history in popular culture. Indeed, it is hard to argue that Arthurian texts in the Middle Ages were themselves not popular culture: They were widely read, vastly adapted and appropriated, built upon, and even 'rebooted' throughout the centuries. From his first appearances in Historia Brittonum and the Welsh Triads, Arthur's story was constantly evolving, and he himself became a kind of medieval "action hero," particularly by the time Geoffrey of Monmouth wrote of him in Historia Regnum Britanniae. Geoffrey gives his readers an Arthur who defeats hundreds of Saxons single-handedly, defeats renegade kings and knights at home and abroad, and conquers most of Western Europe 1-a tradition continued by Wace, Layamon and even Malory. Arthur's inherent "action hero" qualities in these early chronicles have no doubt contributed to the fact that many roleplaying games (RPGs) have sought to expand on these adventures, and have created adventure worlds where the players can take on personas that have a narrative basis in Arthurian legend, even as those legends are used to foreground a different kind of narrative for players. Roleplaying games like Warhammer Fantasy Roleplay have appropriated Arthurian narratives, character types, and contexts to insert into their already existing gameworlds. While Arthur is as pervasive now as he ever was, these roleplaying games do not often receive much

Arthur may have been real, or the stories based upon a real person, embellished up through the years, taking on characteristics and features coming from. .. . where? It appears from the collective consciousness tapped into by authors drawing-consciously? unconsciously? – on an archetypal lode deep within the human psyche.

A Nova Era, movimento globalizado que ocorre em centros urbanos, permitiu diversas releituras de religiões instituicionais, bem como a reinvenção do paganismo. Num mundo conectado em tempo real, tudo é palco de vivências e ressignificações, possibilitando o acesso e a prática de qualquer uma delas. Esse trabalho teve como objetivo verificar como um segmento da Nova Era -os druidas contemporâneos -filiados à BDO/Druidnetwork vivenciavam o seu cotidiano e espacializavam, nas cidades brasileiras, uma religiosidade pautada no imaginário e nas divindades dos antigos celtas. A pesquisa mostrou que a procura por essa religiosidade estava ligada essencialmente as necessidades espirituais que harmonizasse o ser humano com a natureza e mantivesse distância das religiões tradicionais. Para essa reconexão, os druidas contemporâneos sacralizavam a paisagem geográfica, adapatavam-se ao ethos local e rompiam as fronteiras físicas dos territórios adequando-as às suas necessidades imediatas. Por meio dessa articulação espacial manifestavam sua preocupação com o nosso planeta. Todos os atos, incluindo a mudança de hábito era em prol de uma Terra melhor. Em espaços físicos, mentais ou virtuais trocavam a dúvida pela certeza na mudança de consciência da humanidade.

A  Nova  Era,  movimento  globalizado  que  ocorre  em  centros  urbanos,  permitiu diversas releituras de religiões instituicionais, bem como a reinvenção do paganismo. Num mundo  conectado  em  tempo  real,  tudo  é  palco  de  vivências  e  ressignificações, possibilitando o acesso e a prática de qualquer uma delas. Esse trabalho teve como objetivo verificar  como  um  segmento  da  Nova  Era-os  druidas  contemporâneos -filiados  à BDO/Druidnetwork vivenciavam o seu cotidiano e espacializavam, nas cidades brasileiras, uma  religiosidade  pautada  no  imaginário  enas  divindades  dos  antigos  celtas.  A  pesquisa mostrou que a procura por essa religiosidade estava ligada essencialmente as necessidades espirituais  que  harmonizasse  o  ser  humano  com  a  natureza  e  mantivesse  distância  das religiões  tradicionais.  Para  essa  reconexão,  os  druidas  contemporâneos  sacralizavam  a paisagem  geográfica,  adapatavam-se  ao ethoslocal  e  rompiam  as  fronteiras  físicas  dos territórios  adequando-as  às  suas  necessidades  imediatas.  Por  meio  dessa  articulação espacial  manifestavam  sua  preocupação  com  o  nosso  planeta.Todos  os  atos,  incluindo  a mudança  de  hábito  era  em  prol  de  uma  Terra  melhor.  Em  espaços  físicos,  mentais  ou virtuais trocavam a dúvida pela certeza na mudança de consciência da humanidade.

Le forti contaminazioni tra Celti e Sciti, avvenute in passato, attestate anche dalle ultime ricerche e scoperte archeologiche nell’ Est Europeo, indicano la possibilità di una significativa influenza culturale-simbolica tra Celti e Sciti, che può essere stata in un secondo tempo trasferita in Britannia in seguito alla invasione celtica dal VIII sec. A.C., in più ondate migratorie. Al tal fine si è proceduto ad una revisione e ad una sintesi dei più autorevoli articoli sul tema, giungendo ad avvalorare ipotesi della presenza nell’Est europeo dei Celti. Da questo la possibile influenza sugli aspetti mitologici della leggenda arturiana rispetto alla simbologia dei Nomadi delle Steppe (Sciti), veicolata in territorio britannico dalla popolazione celtica.

The strong contaminations between Celts and Scythians, which occurred in the past, also attested by the latest archaeological researches and discoveries in Eastern Europe, indicate the possibility of a significant cultural-symbolic influence between Celts and Scythians, which may have been later transferred to Britannia following the Celtic invasion from the eighth century. BC, in multiple migratory waves. To this end, a review and synthesis of the most authoritative articles on the subject was carried out, confirming the hypothesis of the presence of Celts in Eastern Europe. From this the possible influence on the mythological aspects of the Arthurian legend with respect to the symbolism of the Nomads of the Steppes (Scythians), conveyed in British territory by the Celtic population.

This chapter explores the way that King Arthur is adapted in very different ways for two limited run comics, Camelot 3000 and Dracula vs. King Arthur. Camelot 3000 (DC Comics, 1983) chronicles Arthur’s destined return and the consequences of such in the year 3000. Mike W. Barr and Brian Bolland introduce aliens, reincarnation, a transgender knight, and other modern themes. In contrast, Adam and Christian Beranek’s Dracula vs. King Arthur is set in the Camelot known to those familiar with the tale. While Camelot 3000 introduces modern issues to the legends, Dracula vs. King Arthur (Silent Devil Comics, 2007) is a classic good versus evil story, pitting the Devil’s chosen, Dracula, against God’s champion, King Arthur. Though Arthur’s challenges are different in each of the comics, they are no less trying as they place Arthur and the Round Table in situations that test the classically held notions of Arthurian legend.

Scholars are familiar with the medieval romances concerning "King Arthur and the Knights of the Round Table". These tales are usually set in England and Wales, with perhaps a few located in Scotland or France. However one of the tales takes place in Ireland, with some of the action occurring in Breifne, a medieval name for an area roughly co-extensive with the Diocese of Kilmore, centered on the counties of Cavan and Leitrim. Breifne in this story seems to refer to that part located in County Cavan.

The Fall of Arthur is an alliterative poem inaugurated by J.R.R. Tolkien in the 1930s, but never concluded, where human pride moves the ranks of history. Moved by chivalric glory, by amorous tension or by the lust for power, King Arthur, the faithful Lancelot, the shining Gawain, the usurper Mordred and the fairy Guinevere ride the "tides of times" but collide with an ineluctable fate that will inevitably lead to the fall of the kingdom and their ambitions. In five cantos the Professor clashes and meets with the Matter of Britain, emptying the courtly and Christian contents, to direct the ships of the narration to a different landing, "to waft us westward".

Neste trabalho, nos propomos a analisar o Mabinogion, onze contos galeses medievais extraídos de dois manuscritos dos séculos XIV e XV (Livro Vermelho de Hergest e Livro Branco de Rhydderch), sem autoria conhecida, inseridos no contexto de intensos contatos culturais de Gales com populações estrangeiras (romanos, anglo-saxônicos, normandos) que estiveram presentes na Grã-Bretanha, especialmente entre os séculos IV e XV, e, em algum momento, subjugaram os habitantes da Ilha da Bretanha. Pretendemos entender o Mabinogion como uma mitologia criada e recriada a partir das situações históricas da Grã-Bretanha e de outras produções literárias, capaz de ser entendida por uma audiência galesa letrada que buscava um passado heroico e um futuro glorioso.

After extensive research, an ancient gold ring (not on view to the public) of the Gens Artoria was found in the British Museum.  probably found near Chesters (Cilurnum) on Hadrian's Wall by Rev. J.Hodgson, or at any case in Britain, it is evidence of the presence of an important member of the Gens Artoria, in ancient Britannia .  This is the family of Lucius Artorius Castus, a Roman officer who may have inspired the figure of King Arthur.

AFYONKARAHİSAR 2020 1 KRAL ARTHUR EFSANESİ'NDEKİ TÜRKLÜK ETKİLERİ GİRİŞ Kral Arthur ve maceraları günümüzdeki İngiltere topraklarında geçmektedir. İngiltere'nin kısaca tarihinden bahsedecek olursak; kıtaya yerleşim yaklaşık 500 bin yıl önce başlamıştır. O zamanlar İngiltere Avrupa'nın geri kalanından kopuk bir ada değildir. Avrupa kıtasını ve İngiltere'yi birleştiren buz katmanları vardır. MÖ 6. bin yılda buzulların erimesiyle İngiltere ada haline gelmiştir. Buna rağmen İngiltere Avrupa'dan çok da uzak değildir; İngiltere ile Avrupa arasındaki en dar yer 35 Km'dir. Yani, hemen hemen İstanbul Boğazı uzunluğundadır. Bu yüzden insanlar botlarla ve sallarla Britanya Adası ve Kıta Avrupa'sı arasında hareketlilik halinde bulunmuşlardır. Buradaki asıl dönüşüm M.Ö. 500 yıllarında Keltlerin gelişiyle başlamıştır. Keltlerin demirden silah ve savaş aletlerini iyi derecede kullanması adaya yerleşmelerinde ve kültürlerini yaymalarında etkili olmuştur. Şu an Galler, İskoçya ve İrlanda'da bulunan ve kendi dilleri olan halkların çoğunluğu bu Keltlerden gelmektedir. Briton olarak isimlendirilen halkında ada yerlilerin ve Keltlerin karışımı olduğu düşünülmektedir. 1 Britanya'nın kaderi, Romalıların M.S. 43-83 yılları arasında Britanya adasını ele geçirmesiyle değişmiştir. Romalıların Britanya adasına ilk kapsamlı fetih hareketi Jul Sezar döneminde olmuştur. MÖ 54'te, Sezar, Thames Nehri'ni geçerek bölgedeki kabile reisi Cassvellaunus'un Wheathampstead'de bulunan başkentini ele geçirmiştir. Buna rağmen Sezar'ın işgali sonuç vermemiştir. Çünkü Roma İmparatorluğu'nda o dönem bir iç savaş baş göstermiştir. 2 Jul Sezar'dan kalan Britanya'da genişleme siyasetini İmparator Cladius devam ettirmiştir. M.S. 43'te Midlands'i işgal etmiştir. Ancak MS 60'ta bugünkü Doğu Anglia'da yaşayan Iceni kabilesinin Kraliçesi Boudicca'nın(Ekler-1) başlattığı büyük bir ayaklanma nedeniyle Romalılar ciddi sıkıntılar yaşamışlardır. İsyancılar, Roma'nın Britanya'daki yerleşim yerleri olan Colchester, Aziz Albans ve Londra'yı yerle bir edip, halkı kılıçtan geçirmişlerdir. Daha sonra Boudicca, Midlands'deki bir kentin yönetici olan Roma Valisi Gaus Suetonus Paulnus tarafından yenilgiye uğratılmıştır. Böylece Güney 1 Jeremy Black, İngiltere Tarihi, Çev: Aytaç Yıldız, Doğu Batı Yayınları, İstanbul, 2020, ss.21-51. 2 Jeremy Black, Kısa İngiltere Tarihi, Çev: Ekin Duru, Say Yayınları, İstanbul, 2017, s.35. Britanya'daki durumu yatıştıran Romalılar, bu defa Kuzey Britanya'da bulunan Picht olarak adlandırılan halkların Güney Britanya'yı sürekli yağmalaması sorunuyla karşı karşıya kalmışlardır. Roma bu saldırıları önlemek için İmparator Hadrian zamanında M.S. 122'de Hadrian Duvarı'nı inşa ettirmiştir. Yıllarca Romalıların Britanya'yı işgal çabaları sürekli olarak devam etmiştir. Nihayetinde bu çabaları sonucunda Güney İskoçya'yı da ele geçirmişlerdir. 3 M.S. 3. ve 4. Yıllarda Roma'da çıkan isyanlar ve barbar istilalarına uğramaları Roma'nın Britanya üzerindeki etkisinin zayıflamasına neden olmuştur. Bu dönemlerde Britanya, Kuzeybatı Almanya'dan gelen Saksonların istilasına uğramıştır. Daha sonra adaya Angıl kabileleri de gelmeye başlamıştır. Britanya'da M.S. 5. yy'da Roma'nın hâkimiyeti bitmiştir. Kral Arthur'un ise yapılan araştırmalara göre ortaya çıkışı bu yüzyıla rastlamaktadır. Eleştirel ve yorumlayıcı sosyal bilim yöntemleriyle ele alacağımız bu konumuzda, Kral Arthur'un hayat hikâyesi ve maceralarından başlayarak asıl çalışmamıza konu olacak bir Türk boyu olan Yazığların efsaneye olan katkılarını inceleyeceğiz. Elde ettiğimiz bütün sonuçların kendi kültür tarihimiz içerisindeki benzerliklerini objektif bir şekilde değerlendirip, bilimsellik çizgisinden çıkmayarak görüşlerimizi aktaracağız. Avrupa tarihine, milletlerine ve kültürüne dolaylı ve doğrudan yollarla etki etmiş Türk milletinin bu etkileşim serüvenini bulup bilim dünyasına sunmak boynumuzun borcudur. Amacımız kesinlikle farklı milletlerin destanlarını kendimize mal ederek kültürel bir ırkçılık yapmak değildir. Büyük Önderimiz Mustafa Kemal Atatürk'ün '' Büyük devletler kuran ecdadımız, büyük ve şümullü medeniyetlere de sahip olmuştur. Bunu aramak, tetkik etmek, Türklüğe ve cihana bildirmek bizler için bir borçtur'' 4 sözünü kendimize şiar edinerek doğrudan ve dolaylı olarak etki ettiğimiz her milletinin tarihini ve kültürünü inceleyerek gelecek nesillere tarihin her döneminde bulunduğumuzu bilimsel bir dille açıklamaktır.

RESUMO Britannia é uma série anglo-estadunidense do gênero fantasia histórica distribuída em formato streaming para televisão e internet pelas empresas Amazon e Sky. O artigo apresenta os resultados de uma pesquisa que se insere no conjunto do debate envolvendo a relação entre História e Cinema/Televisão/Séries de TV. O objetivo principal é analisar o referido produto audiovisual de modo a compreender como sua narrativa representa a Britannia Romana, concentrando-se, sobretudo, no papel desempenhado pelos druidas, tentando identificar quais os possíveis aspectos políticos, éticos e identitários que estariam por trás das escolhas que motivaram as representações de tais personagens. 4 PALAVRAS-CHAVE História antiga; séries de TV; Britannia; druidas. 4 O artigo em questão foi possível graças ao projeto de pesquisa 486/2018-"História Antiga e os usos do passado nas narrativas cinematográficas: uma análise da série anglo-estadunidense Britannia", subsidiado pela Propex/FURB e PIBIC-EM/CNPQ, de onde se originou. Posteriormente, ele foi aprimorado, sobretudo, no que diz respeito à linguagem cinematográfica, área de atuação de uma das coautoras.

This short draft paper is an extract from a forthcoming book, to get feedback on the analysis and translation of this difficult stanza. An attempt has been made to find a solution to the Welsh word ymnewais and a dating and a translation for the poem is given.

The Anglo-Saxon world possesses an almost mythical ability to create and believe its own chimeras. From the rosy utopia of the American Dream represented in the “melting pot,” to the peculiar historiography of Britain as the “Good and Civilized Empire,” the Anglophone world often demonstrates its world hegemony by engaging in cultural imperialism. The phenomenon that the controversial American scholar Marian Combs calls “Making the Whole World England,” started centuries before the British and the American Empires jumped to center of the world stage, for one of the first literary utopian myths crossing national borders is the legend of the “medieval” King Arthur, that so enthralled the rest of Europe that by the year 1100 Italian citizens were naming their offspring “Arturo.” In spite of the dearth of historical evidence regarding the authenticity of the myth, the fabled King has “created” an imaginary world in which he becomes the king of his people and of the whole world. This essay analyses Arthur as a British national hero, tracing his path from early Welsh tales to the re-branding of the legend in the late nineteenth century, while it also contrasts this myth of glory, military might, utopian triumph and world domination with Spain’s national hero, Don Quijote de La Mancha, a dystopian myth that can be traced back to Arthur’s influence.

Thomas Malory’s ‘The Knight of the Cart’ episode is a crucial narrative in the unravelling of Lancelot’s morality. The truth about his infidelity is revealed in an episode that initiates the final roll-out of disaster when Lancelot’s reputation remains intact but, his morality is tarnished. The episode showcases the fraught relationship between moral obligations and desire when Lancelot’s alter-ego, Meliagaunt, accuses Guenevere of having an affair. Lancelot’s tainted moral is revealed when he defends Guenevere’s honour, a pattern often seen in the text, and kills Sir Meliagaunt. Nevertheless, Lancelot, who is morally undone, remains a formidable knight in protecting Arthur’s honour and prioritising the stability of the kingdom. Lancelot is locked into a system of patronage. He remains worshipful in his loyalty to the church, the king and his kin. However, as a complicated character, Lancelot has complicated loyalties with Arthur’s honour remaining a priority in both sets of loyalties. Lancelot survives ‘The Knight of the Cart’ episode with an undefiled reputation but, with a catastrophically besmirched and corrupted morality. He is forced to sacrifice his own morality in his love for Guenevere and violated the chivalric code in protecting the king and queen’s honour.

, and other such prominent Arthurian scholars. And yet, unlike Romero's other work, Knightriders has received very little critical attention-in fact, most Arthurian scholars, it seems, have never seen the film, and those that have are not always sure what to do with it. By exploring its relationship to other criticism and its place in a long line of Arthurian adaptations and appropriations, we can begin to see how Knightriders focuses on the creation and presentation of an Arthurian ideal that transcends a single king and becomes, as the film's own tagline states, "a state of mind." The study of Arthurian legends has provided one clear conclusion: there is no single, standardized story of Arthur. However, there are key, repeated elements of the Arthurian mythos that appear in most retellings and adaptations, and these key elements are what have allowed the story of Arthur to survive in its myriad guises throughout the ages, proving that Arthur's ideals, moral and physical character, and the fantastic narrative appeal to many different audiences.