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                  <text>Medievalism on the Page</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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              <text>&lt;a href="http://nla.gov.au/nla.news-article23754864" target="_self"&gt;http://nla.gov.au/nla.news-article23754864&lt;/a&gt;</text>
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                <text>â€œRobin Hoodâ€ (pantomime)</text>
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                <text>Bijou Theatre, Hobart, The Mercury, newspaper, outlaw, pantomime, performance, Robin Hood, Tas, Tasmania, theatre.</text>
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                <text>This 1924 article in the Hobart based newspaper The Mercury advertises two performances of the pantomine 'Robin Hood' at the Bijou Theatre. The performances were held 'by special request' following an earlier successful season. The pantomine is presumably based on the exploits of the legendary medieval English outlaw Robin Hood.</text>
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                <text>Anon.</text>
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                <text>The Mercury</text>
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                <text>August 6, 1924</text>
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                <text>The Mercury</text>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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              <text>&lt;p&gt;&lt;a href="http://nla.gov.au/nla.news-article3743134"&gt;http://nla.gov.au/nla.news-article3743134&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&amp;nbsp;&lt;/p&gt;</text>
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                <text>One-Man Tank: â€œMedieval Knightâ€</text>
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                <text>&lt;p&gt;This article in the Melbourne newspaper The Argus in 1926 describes the invention of a one-man tank. The report is based on photographs published in the London newspaper the Daily Telegraph. It describes the tank as reintroducing &amp;lsquo;the medieval knight in armour&amp;rsquo;. The medieval imagery is continued with the description of the building of the tanks as &amp;lsquo;a veritable beating of plough shares into swords&amp;rsquo;.&lt;/p&gt;&#13;
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                <text>The Argus</text>
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                <text>April 1, 1926</text>
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                <text>The Argus</text>
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                <text>&amp;lsquo;Because of her Father&amp;rsquo;s Blood&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 25 June 1908</text>
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                <text>â€˜As It Is in the Days of Now,â€™ â€˜The Old Squire,â€™ ancestry, bravery, courage, Dame Ruth, forebears, Henry Lawson (1867-1922), knight, loyalty, outlaws, poem, Sir William series, war. </text>
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                <text>Henry Lawson produced several interrelated medieval poems c. 1908 which &lt;em&gt;The Bulletin&lt;/em&gt; published. &amp;lsquo;Because of her Father&amp;rsquo;s Blood&amp;rsquo; is the third poem of the Sir William series. While the knight is away crusading his aunt, Dame Ruth, is left to keep things in good order at home. This is a poignantly nostalgic poem of courage arising from dire and severe need, wherein an elderly lady and a handful of domestic servants keep a large and rapacious band of outlaws at bay &amp;lsquo;against all the odds.&amp;rsquo; There is something to be said, it seems, for resolute and purposeful determination under duress. That is the core message here, where ordinary men and women - domestics, scullions and grooms, none of them martial or overly brave - combine together under the considerable will and fierce determination of Dame Ruth, and heroic deeds are enacted as a result. Looking to her illustrious forebears provides the catalyst for Dame Ruth&amp;rsquo;s heroism and bravery: &amp;ldquo;For a fearsome mistress she was to serve, / Because of her father&amp;rsquo;s blood.&amp;rdquo; And, extending and applying this &amp;lsquo;medievalist&amp;rsquo; performative metaphor to the national cause, loyalty and bravery are strongly emblematic of Australia&amp;rsquo;s attitude towards and defence of the British Empire in its foreign wars.</text>
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                <text>Henry Lawson</text>
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                <text>25 June 1908, p.43</text>
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                <text>Public Domain</text>
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                <text>&amp;lsquo;Rivals&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 14 July 1900</text>
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                <text>absent lovers, Boer War, chivalry, courtly love, Creeve Roe, favour, gift, heroism, Isabel, knight, maiden, marriage, romance, Sir Comfort, Sir Valour, soldier, valour, veldt, Victor Daley (1858-1905). </text>
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                <text>&amp;lsquo;Rivals&amp;rsquo; is an interesting attempt by medievalist writer Victor Daley to transform what must have been a fairly commonplace incident at that time into something more than it seems. The poem describes a young man, Sir Valour, taking leave of his sweetheart (&amp;ldquo;My Lady Fair&amp;rdquo;), and going off to fight in the Boer War. The leave-taking is transformed into a medieval tale, a deliberately romantic historicization of the present (Louise D&amp;rsquo;Arcens, &lt;em&gt;Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910,&lt;/em&gt; Turnhout, Brepols, 2011, p.110), whereby the couple pledge true love and the lady presents him with a token of her favour, before he sets out for foreign lands. In her knight&amp;rsquo;s protracted absence, Sir Comfort, an older and much wealthier man, slyly wins the favours of &amp;ldquo;Sweet Isabel,&amp;rdquo; and marries her. This turnaround is presumably hastened by the giving of a number of beautiful and very costly items: &amp;ldquo;Some simple rubies, strings of pearls / And diamonds for [her] hair.&amp;rdquo; Here Creeve Roe contrasts the stark unpleasant realities of the war with quasi-medieval &amp;lsquo;courtly&amp;rsquo; values. The final scene, when the young man dies &amp;ldquo;in lands remote,&amp;rdquo; with Isabel&amp;rsquo;s name upon his lips, is one of shattered dreams and misplaced expectations.</text>
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                <text>&amp;lsquo;Holyrood&amp;rsquo;, &lt;em&gt;The Bulletin,&lt;/em&gt; 12 November 1903</text>
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                <text>Battle of Flodden (9 September 1513), Bonnie Prince Charlie, bush ballads, Corridor of Kings, Edinburgh, David Riccio, David Rizzio, Flodden Field, Holyrood Abbey, Holyrood Palace, Jacobite Uprising, James IV (1473-1513), Lord Darnley, lute, Mary Queen of Scots, monarchy, nostalgia, royal residence, Scotland, the Forty Five, Will H. Ogilvie (1869-1963). </text>
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                <text>As a young man, William H. (&amp;lsquo;Will&amp;rsquo;) Ogilvie spent 12 years in outback Australia, &amp;lsquo;horse-breaking, droving, mustering and camping out on the vast plains&amp;rsquo; before returning home to Scotland in 1901 (See Clement Semmler, 'Ogilvie, William Henry (Will) (1869&amp;ndash;1963)', &lt;em&gt;Australian Dictionary of Biography&lt;/em&gt;, http://adb.anu.edu.au/biography/ogilvie-william-henry-will-7890). He was a prolific writer and much of his poetry and verse appeared in &lt;em&gt;The Bulletin&lt;/em&gt;. This poem is set in Holyrood palace, the principal residence of Scottish royals from the fifteenth century. The poet&amp;rsquo;s reference to &amp;lsquo;ancient tower and archway&amp;rsquo; hints at the older provenance of the site, where Holyrood Abbey had stood since 1128. In the poem, the reader is taken on a journey &amp;ldquo;down the storied halls&amp;rdquo; while the lives of persons and events of note are recounted. The Scots massacred by the English at Flodden Field are remembered, including James IV - the last of the medieval kings in the &amp;lsquo;Corridor of Kings&amp;rsquo; - who ruled Scotland from 1488 until his death at the Battle of Flodden in 1513. The verses also reference Mary Queen of Scots, who resided at Holyrood from 1561-1567; her Secretary David Rizzio (also Riccio), who was violently stabbed to death by Lord Darnley in 1566; and &amp;lsquo;Bonnie&amp;rsquo; Prince Charlie (&amp;ldquo;a rebel prince&amp;rdquo;) and the 1745 Jacobite Uprising. Ogilvie&amp;rsquo;s nostalgic poem appeared in &lt;em&gt;The Bulletin&lt;/em&gt; in November 1903, after first being printed in &lt;em&gt;The Scotsman&lt;/em&gt;.</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>&amp;lsquo;Chivalry&amp;rsquo;,&lt;em&gt; The Bulletin,&lt;/em&gt; 15 September 1904</text>
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                <text>chivalry, Creeve Roe, death of chivalry, debate, Petrarch, romance, â€˜Romanceâ€™, sonnet, tradition, Victor Daley (1858-1905). </text>
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                <text>At the time Victor Daley composed this poem, a debate had erupted over whether chivalry and romance, at least within the Australian context, were dead. That was certainly the argument put forward in an earlier poem, &amp;lsquo;Romance&amp;rsquo; by L. D., which was published in &lt;em&gt;The Bulletin&lt;/em&gt; in 1885. In December 1902 Victor Daley wrote his own explanation (See Louise D&amp;rsquo;Arcens,&lt;em&gt; Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910,&lt;/em&gt; Turnhout, Brepols, 2011, p.139), beginning: &amp;ldquo;They say that fair Romance is dead, and in her cold grave lying low.&amp;rdquo; Nearly two years later, in September 1904 and writing under the pseudonym Creeve Roe, Daley penned this more credible hypothesis for the continued survival of chivalry and romance. Although in this later poem the medieval content is limited to a fleeting reference to the elaborate sonnets of Petrarch (d. 1374) and the veneer of archaic-sounding expressions, it is prefaced with an explanation that ties it to the debate over the death of chivalry and romance. In Daley&amp;rsquo;s previous poem &amp;lsquo;Romance&amp;rsquo; (1902), we find more explicit Arthurian references to &amp;ldquo;Gold Gudrun, and Guinevere,&amp;rdquo; and &amp;ldquo;Merlin wise,&amp;rdquo; and &amp;ldquo;Castle Perilous, beyond the dark Enchanted Wood.&amp;rdquo; While Daley&amp;rsquo;s poem &amp;lsquo;Romance&amp;rsquo; underlines the continued existence of romantic sensibilities despite the fact that, as a rapidly developing country, Australia was dominated by Mammon and Machinery (See D&amp;rsquo;Arcens, p.139), the light-hearted Creeve Roe poem offers a more practical and mischievous solution. The surest way, says the poet, for the continuance of chivalrous behaviour in an Australian setting, is for women to live up to the impossible standards imposed on them by tradition and the whimsy of men.</text>
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                <text>Public Domain</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Medievalism on the Page</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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                <text>&amp;lsquo;A Ro-Me-Owe and Jew-Liet Revival (New Reading)&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 17 November 1904</text>
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                <text>Balcony scene, &lt;em&gt;Bulletin&lt;/em&gt; cartoons, economy, Her Majesty&amp;rsquo;s Theatre, I.O.U., James C. Williamson (1845-1913), Livingston Hopkins aka &amp;lsquo;Hop&amp;rsquo; (1846-1927), loan, Miss Tittell Brune (1875-1974), New South Wales, NSW State loans, Romeo and Juliet, satire, Sir Joseph Carruthers (1856-1932), state politics, &lt;em&gt;Sydney Morning Herald&lt;/em&gt;, William Shakespeare (c.1564-1616), usury.</text>
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                <text>&amp;lsquo;Hop&amp;rsquo; produced this &lt;em&gt;Bulletin&lt;/em&gt; cartoon at a time when J. C. Williamson&amp;rsquo;s theatre company was staging William Shakespeare&amp;rsquo;s &amp;lsquo;Romeo and Juliet&amp;rsquo; at Her Majesty&amp;rsquo;s Theatre in Sydney. The popular young American actress Miss Tittell Brune was in the starring role, with Mr R. A. Greenaway as Romeo and Mr Roy Redgrave (patriarch of the famous English acting family) as Mercutio (See &lt;em&gt;The Sydney Morning Herald&lt;/em&gt;, Nov 12, 1904, p. 2. &lt;a href="http://trove.nla.gov.au/ndp/del/page/1329960?" target="_blank"&gt;http://trove.nla.gov.au/ndp/del/page/1329960?&lt;/a&gt;) Judging from reviews written at the time, Miss Brune&amp;rsquo;s &amp;ldquo;charming&amp;rdquo; balcony performance was hugely successful (See, for example, &lt;em&gt;The Sydney Morning Herald&lt;/em&gt;, Nov 16, 1904, p. 2. &lt;a href="http://trove.nla.gov.au/ndp/del/page/1330003?" target="_blank"&gt;http://trove.nla.gov.au/ndp/del/page/1330003?&lt;/a&gt;). So, Hop&amp;rsquo;s cartoon was not only timely but also bound to raise a laugh or a smile of recognition from Sydney theatre-goers. The NSW government was barely into its fifth month of office, and Sir Joseph Carruthers &amp;minus; who was both premier and treasurer &amp;minus; had inherited the difficult task of dealing with accumulated State debts. &lt;em&gt;The Sydney Morning Herald&lt;/em&gt; calculated that NSW owed around &amp;pound;4,310,000, to be paid-off over thirty years (&lt;em&gt;The Sydney Morning Herald&lt;/em&gt;, October 10, 1904, p. 6. &lt;a href="http://trove.nla.gov.au/ndp/del/page/1329596?" target="_blank"&gt;http://trove.nla.gov.au/ndp/del/page/1329596?&lt;/a&gt;). Subsequently, Hop depicts premier Carruthers fawning and gesticulating to a bored and stereotypically Jewish financier. In the background, three spheres suspended in the night sky represent usury. Hop&amp;rsquo;s critique of the NSW economy is clearly designed to keep the matter firmly under continuous (and sceptical) public scrutiny.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Livingston Hopkins (â€˜Hopâ€™)</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="24703">
                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="24704">
                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>17 November 1904, Cover</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24706">
                <text>Public Domain</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24707">
                <text>Journal (Microfilm)</text>
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        <name>Balcony scene</name>
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        <name>Bulletin cartoons</name>
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        <name>economy</name>
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        <name>Her Majestyâ€™s Theatre</name>
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        <name>I.O.U.</name>
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        <name>James C. Williamson (1845-1913)</name>
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        <name>Livingston Hopkins aka â€˜Hopâ€™ (1846-1927)</name>
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      <tag tagId="5198">
        <name>loan</name>
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      <tag tagId="5199">
        <name>Miss Tittell Brune (1875-1974)</name>
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      <tag tagId="106">
        <name>New South Wales</name>
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        <name>NSW State loans</name>
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        <name>Romeo and Juliet</name>
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      <tag tagId="1656">
        <name>satire</name>
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      <tag tagId="5201">
        <name>Sir Joseph Carruthers (1856-1932)</name>
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        <name>state politics</name>
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        <name>Sydney Morning Herald</name>
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        <name>usury</name>
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        <name>William Shakespeare (c.1564-1616)</name>
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        <src>https://ausmed.arts.uwa.edu.au/files/original/eafeb3cf9c0800d5cdf8fff9f073ce2e.jpg</src>
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                    <text>8</text>
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                    <text>3</text>
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                  <elementText elementTextId="24712">
                    <text>3503</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Medievalism on the Page</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="34461">
                  <text>This Collection examines literary medievalism from the mid-nineteenth century to the present day. It traces an arc from the populist literary medievalism of the nineteenth century, through the more rarefied modernist turn of the mid-twentieth century, to the re-emergence of popular forms such as childrenâ€™s literature and fantasy since the 1980s. In this Collection you will find items relating to printed medievalist works and also to medievalism operating in print, for example in references to medieval events, people, and literature in nineteenth- and twentieth-century texts and dramatic works.</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps.  Recommended best practice is to assign the type "text" to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>&amp;lsquo;My Lady of the Lake&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 15 December 1904</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24724">
                <text>Adam Lindsay Gordon (1833-1870), Alfred Lord Tennyson (1809-1892), Algernon Charles Swinburne (1837-1909), Arthurian myth, Charles Crawford, &lt;em&gt;Ex-Voto&lt;/em&gt;, Geoffrey Chaucer (c.1343-1400), &lt;em&gt;Joyous Garde&lt;/em&gt;, Nixon Waterman (1859-1944), Sir Walter Scott (1771-1832),&lt;em&gt; The Girl Who Loved Him So, The Lady of Shallot, The Lady of the Lake, The Parliament of Fowls,&lt;/em&gt; Victorian medievalism, Victorian poetry.</text>
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            <description>An account of the resource</description>
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                <text>&lt;p style="text-align: left;"&gt;This light-hearted poem by Charles Crawford is packed with poetic allusion, and with classical, medieval, and medievalist references. We find mention of several beautiful women from classical antiquity: Queen Semiramis, Eurydice, Judith, Cytheris, and Helen of Troy. However, this is similar to a listing that renowned medieval author Geoffrey Chaucer provides in &lt;em&gt;The Parliament of Fowls&lt;/em&gt;. There is also a barely altered line from Adam Lindsay Gordon&amp;rsquo;s medievalist poem &lt;em&gt;Joyous Garde&lt;/em&gt;, which Crawford renders: &amp;ldquo;And mute and still I stood, until&amp;rdquo; (as opposed to Gordon&amp;rsquo;s &amp;ldquo;And I stood watching [...] still and mute&amp;rdquo;). They amount to much the same thing: the fascinated and enraptured male gaze. Additionally, there is half a line from a poem by American writer and columnist Nixon Waterman, and Charles Swinburne is represented through use of the descriptive phrase &amp;ldquo;[That in] my veins like wine.&amp;rdquo; Yet, this poem is not some wistful legend revived by Sir Walter Scott or Lord Tennyson as the title would suggest. It is an Australian poem (for we hear &amp;ldquo;The bell-bird&amp;rsquo;s call&amp;rdquo;) and a pragmatic worldly poem, which rather pokes fun at nostalgic Romantic styles:&lt;/p&gt;&#13;
&lt;p style="text-align: center;"&gt;&lt;br /&gt;But shame on it, to think a bit &lt;br /&gt;Of muslin skirt, &lt;br /&gt;Combined with witchery and wit, &lt;br /&gt;And Venus modelled into it &lt;br /&gt;[...] &lt;br /&gt;Should get beneath a fellow&amp;rsquo;s guard, &lt;br /&gt;And hit him straight and hit him hard.&lt;/p&gt;</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="24726">
                <text>Charles Crawford</text>
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            </elementTextContainer>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="24727">
                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="24728">
                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24729">
                <text>15 December 1904, p.39</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24730">
                <text>Public Domain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="24731">
                <text>Journal (Microfilm)</text>
              </elementText>
            </elementTextContainer>
          </element>
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    <tagContainer>
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        <name>Adam Lindsay Gordon (1833-1870)</name>
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      <tag tagId="3862">
        <name>Alfred Lord Tennyson (1809-1892)</name>
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      <tag tagId="5204">
        <name>Algernon Charles Swinburne (1837-1909)</name>
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      <tag tagId="5205">
        <name>Arthurian myth</name>
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        <name>Charles Crawford</name>
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        <name>Ex-Voto</name>
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        <name>Geoffrey Chaucer (c.1343-1400)</name>
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      <tag tagId="5209">
        <name>Joyous Garde</name>
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      <tag tagId="5210">
        <name>Nixon Waterman (1859-1944)</name>
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        <name>Sir Walter Scott (1771-1832)</name>
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        <name>The Girl Who Loved Him So</name>
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        <name>The Lady of Shallot</name>
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      <tag tagId="5214">
        <name>The Lady of the Lake</name>
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        <name>The Parliament of Fowls</name>
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        <name>Victorian medievalism</name>
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      <tag tagId="5216">
        <name>Victorian poetry</name>
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