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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;p&gt;Newspaper Article&lt;/p&gt;&#13;
&lt;p&gt;&lt;br /&gt; National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article47314286" target="_blank"&gt;http://nla.gov.au/nla.news-article47314286&lt;/a&gt;&lt;/p&gt;</text>
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                <text>folk, folk singer, folk-singers, sing, singer, singers, Gustav Hoist (1874-1934), harmonic, Kylie Club, Lorna McKean, medieval religious poems, music, Mozart, Nora Coalstad, orchestra, performance, sonata, singing, solo, soprano, Tartini Vaughan Hanly, violin, violinist, vocals, voice</text>
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                <text>This article from The West Australian details a performance, by Miss Lorna McKean and Mr Vaughan Hanly, of Gustav Hoistâ€™s four songs for voice and solo violin at the Kylie Club. The performance was unusual, it suggests, because modern audiences were unaccustomed to hearing music performed without the backing of a harmonic keyboard or orchestra. The wording of the songs are noted to be medieval religious poems.</text>
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                <text>&lt;br /&gt; National Library of Australia, &lt;a href="http://nla.gov.au/nla.news-article47314286" target="_blank"&gt;http://nla.gov.au/nla.news-article47314286&lt;/a&gt;</text>
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                <text>18 March 1941, p. 3.</text>
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                  <text>Medievalism at the Foundations</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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                <text>Winthrop Hall, The University of Western Australia</text>
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                <text>architect, architecture, bell tower, benefactor, bequest, campanile, clock tower, Conrad Sayce, Crawley, Hackett Hall, Italian influence, Mediterranean style, â€œRenaissanceâ€ style, Rodney Alsop, Romanesque style, Sir John Winthrop Hackett (1848-1916), The University of Western Australia, tower, university buildings, Western Australia, Winthrop Hall</text>
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                <text>A view of Winthrop Hall and the clock tower at the University of Western Australia. They are built in an Italian or Mediterranean Romanesque style, typified by rounded arches, arcading, thick walls (they are 9ft thick) and the large square campanile tower. When asked about the style of the design, the architect described it variously as â€œRenaissanceâ€, and as being of Italian ancestry, but notably â€œanglicised and adapted to the local conditionsâ€ (See Western Mail, 21 April 1932, pp.14: http://nla.gov.au/nla.news-article38891565). There was at first, as historian Fred Alexander noted, some concern over â€œthe wisdom of preferring a boldly Mediterranean or Spanish type of architecture to the more familiar neo-gothic style generally favoured by academic authoritiesâ€, but these concerns faded as the buildings began to take shape and by the time Winthrop Hall was officially opened on 13 April 1932, it was highly praised as a fitting commemoration to its founder (See Fred Alexander, Campus at Crawley: A Narrative and Critical Appreciation of the First Fifty Years of The University of Western Australia, F.W. Cheshire, Melbourne, 1963, p.136).&#13;
&#13;
Winthrop Hall was designed by Melbourne architects Rodney Alsop and Conrad Sayce, whose joint entry won an architectural competition held by the University Senate in 1927. The impetus for the competition was a large bequest left by the Universityâ€™s first Chancellor, Sir John Winthrop Hackett, who had died in 1916. Alsop, the senior of the pair, was employed as the lead architect and they began the project of building Winthrop Hall and the Hackett Buildings together. However, they fell out in the process and Sayce left before the buildings were completed. One of the points on which they disagreed was Alsopâ€™s replacement of the clock tower in the original design with the Italian Campanile style tower that stands today (See R. J. Ferguson, Crawley Campus: The Planning and Architecture of The University of Western Australia, University of Western Australia Press, Perth, 1993).&#13;
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                <text>McEwan, Joanne</text>
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                <text>3 February 2011</text>
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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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                <text>Viking Runes Display at the Perth Medieval Fayre</text>
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                <text>alphabet, FuÃ¾ark, Futhark, handcrafted, literacy, medieval craft, craft, crafts, Perth, Perth Medieval Fayre, re-creation, recreation, rune, runes, WA, WAMA, Western Australia, Western Australian Medieval Alliance, writing</text>
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                <text>Image of person in costume stamping initials into leather using the Viking alphabet, or FuÃ¾ark. Runic inscriptions are attested from c. 150 CE and were used by a number of â€˜Germanicâ€™ peoples. During the Viking Age (c. 800-1100) the Younger FuÃ¾ark was used by the Scandinavians, with many inscriptions surviving today not only in Scandinavia but other places visited and/or settled by Scandinavians, including Britain, Constantinople (Istanbul), and Greenland.&#13;
&#13;
The Perth Medieval Fayre is organised by the Western Australian Medieval Alliance (WAMA). In 2011 it was held at Supreme Court Gardens on 19 March. Enthusiasts and vendors showcased a range of medieval arts and crafts, from dancing, calligraphy and lace-making to demonstrations of the techniques, weaponry and apparel of medieval combat.</text>
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                <text>Image of person in costume stamping initials into leather using the Viking alphabet, or FuÃ¾ark. Runic inscriptions are attested from c. 150 CE and were used by a number of â€˜Germanicâ€™ peoples. During the Viking Age (c. 800-1100) the Younger FuÃ¾ark was used by the Scandinavians, with many inscriptions surviving today not only in Scandinavia but other places visited and/or settled by Scandinavians, including Britain, Constantinople (Istanbul), and Greenland.&#13;
&#13;
The Perth Medieval Fayre is organised by the Western Australian Medieval Alliance (WAMA). In 2011 it was held at Supreme Court Gardens on 19 March. Enthusiasts and vendors showcased a range of medieval arts and crafts, from dancing, calligraphy and lace-making to demonstrations of the techniques, weaponry and apparel of medieval combat.</text>
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                  <text>This Collection illustrates how medievalism has always existed â€˜in plain viewâ€™ in Australian public life, as a conspicuous cultural memory ghosting Australiaâ€™s modernity. It focuses on discourses about, debates over, and changing interpretations of i) Australiaâ€™s medievalist political and religious institutions and rituals, ii) its architecture, and iii) its civic environment. In this Collection are items relating to all three of these key areas. Firstly, you will find items that point to the medieval influences and inflections that still permeate and influence our political, legal and religious institutions and traditions. Secondly, you will find numerous examples of neo-gothic and neo-romanesque architecture, and some cases where architectural features are known to have been modelled on specific medieval buildings. Thirdly, you will find items relating to the ways in which medievalism is incorporated into our civic environments and expressed through statues, monuments and war memorials.</text>
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                <text>Images of â€œThe Tournament of Armoured Knightsâ€ at London Court in Western Australia. In a window above the clock at the Hay Street entrance, these four mechanical knights joust at the chiming of every quarter hour on the clock. Each of the four knights appears fully armoured on horseback armed with a lance. They can be differentiated by the â€˜caprisonsâ€™, or horse blankets, which display varying heraldic decorations. A crenellated Norman style castle serves as a backdrop.&#13;
&#13;
London Court is a retail shopping arcade that runs between St Georgeâ€™s Terrace and Hay Street in the centre of Perth. The building was commissioned by WA entrepreneur Claude de Bernales and designed by Melbourne based architect Bernard Evans. It was completed in 1937. London Court is distinctive for its Inter-War Old English style of architecture.</text>
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                <text>Image of â€œThe Tournament of Armoured Knightsâ€ at London Court in Western Australia. In a window above the clock at the Hay Street entrance, these four mechanical knights joust at the chiming of every quarter hour on the clock. Each of the four knights appears fully armoured on horseback armed with a lance. They can be differentiated by the â€˜caprisonsâ€™, or horse blankets, which display varying heraldic decorations. A crenellated Norman style castle serves as a backdrop.&#13;
&#13;
London Court is a retail shopping arcade that runs between St Georgeâ€™s Terrace and Hay Street in the centre of Perth. The building was commissioned by WA entrepreneur Claude de Bernales and designed by Melbourne based architect Bernard Evans. It was completed in 1937. London Court is distinctive for its Inter-War Old English style of architecture.</text>
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                <text>Amidst media fervour over the royal wedding of Prince William and Kate Middleton (Princess Catherine), Geoffrey Robertson raises the Australian republican question in this opinion piece. Beginning with reference to Thomas Paineâ€™s denunciation of hereditary monarchy and the religious bias of the 1701 Act of Settlement which prevents non-Protestant heirs from succeeding to the British throne, Robertson suggests that Australiaâ€™s enduring penchant for royal tradition is what keeps it part of the commonwealth. He goes on to cite examples of what he refers to as â€˜medieval nonsenseâ€™ that â€˜still applies in Australiaâ€™, including the feudal principle of primogeniture, the 1351 Treason Act and obsolete but unrepealed laws such as one that vests the ownership of wild swans with the monarch.</text>
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