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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>G.H. suggests that the English novel is indebted to Chaucerâ€™s literary device of throwing together people from assorted social grades to interact. The writer notes that few people read Chaucer for pleasure but if they did master Middle English they would agree that Chaucer was the greatest depicter of social types that English literature has produced. Chaucerâ€™s interest in human nature is his most important quality. Humour and humanity are also characteristics of Englishness, the author remarks. The article finishes with a quote from Dryden: â€˜Here is Godâ€™s plenty.â€™ [HH]&#13;
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                <text>The Argus</text>
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                <text>Victor Hugoâ€™s novel, Notre-Dame de Paris, anglicised to â€˜The Hunchback of Notre Dameâ€™ explores a number of themes: the role of religious fanaticism in medieval theology, passion and, for Hugo, old versus new Paris. Franceâ€™s most famous medieval cathedral is the â€˜starâ€™ of the show and functions as a backdrop for and focus of the story. The cathedral is portrayed as a place of political and criminal sanctuary (Westminster Church in fourteenth-century London) and a symbol of all that is decaying in Paris. The novel mobilized interest in the cathedral to such an extent that a restoration project followed shortly after. It strengthened a worldwide interest in gothic revival architecture. The review in the West Australian suggests that â€˜religious offenceâ€™ occurs in the novel but has been ironed out in the film. Whether this offence is anti-Catholic rhetoric or sensitivity to Catholic sentiment in Australia is speculative. &#13;
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National Library of Australia</text>
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                <text>Review of Film Launch</text>
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