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                  <text>Medievalism on the Streets</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>&lt;a href="http://www.swordcraft.com.au/"&gt;http://www.swordcraft.com.au/&lt;/a&gt;</text>
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                <text>Swordcraft</text>
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                <text>Archery, armour, arrow, battle, costume, fantasy, game,The Lord of the Rings, Melbourne, Orc, performance, re-enactment, roleplay, Swordcraft, J.R.R. Tolkien, Vic, Victoria, Warhammer, weapons, World of War</text>
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                <text>Swordcraft is a live medieval re-enactment roleplaying game in which players wear realistic costumes and fight with realistic-looking weapons made of rubber and foam, and padded arrows. For photographs see the Gallery on their website. The group is based in Melbourne, Victoria, and meets weekly for games, often attracting over 100 participants. The website describes the game as â€˜paintball meets medieval/fantasy battleâ€™. The group acknowledges the games debt to medievalism, citing The Lord of the Rings (Orcs are featured), Warhammer, and World of War as influences, along with actual medieval history.</text>
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                <text>Swordcraft</text>
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                <text>7 June 2012</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="21036">
                <text>Swordcraft</text>
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        <name>J.R.R. Tolkien</name>
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        <name>Melbourne</name>
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        <name>Swordcraft</name>
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        <name>The Lord of the Rings</name>
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              <description>A name given to the resource</description>
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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>â€˜The Scaly Monsterâ€™</text>
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                <text>Alderman, â€˜Bloody Jack,â€™ boat, cartoon, democracy, E. Montague Scott (1835-1909), John McElhone (1833-1898), knight, NSW politics, political cartoon, politics, Sydney Municipal Council,  respectability</text>
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                <text>&amp;lsquo;The Scaly Monster&amp;rsquo; drawing shows an unruffled &amp;lsquo;Bloody Jack&amp;rsquo; McElhone boarding a vessel embarking for England. This feisty Sydney alderman had a reputation for forthrightness and &amp;lsquo;fisticuffs,&amp;rsquo; which was not always appreciated by others. He was once referred to by Daniel O&amp;rsquo;Connor as &amp;ldquo;&amp;lsquo;an illiterate mountebank,&amp;rsquo; &amp;lsquo;a commercial Shylock,&amp;rsquo; &amp;lsquo;an unscrupulous vulture,&amp;rsquo; and &amp;lsquo;a political Quilp&amp;rsquo;&amp;rdquo; (See Martha Rutledge, 'McElhone, John (1833&amp;ndash;1898)',Australian Dictionary of Biography, National Centre of Biography, Australian National University, &lt;a href="http://adb.anu.edu.au/biography/mcelhone-john-4087/text6529"&gt;http://adb.anu.edu.au/biography/mcelhone-john-4087/text6529&lt;/a&gt;, accessed 11 June 2012). O&amp;rsquo;Connor had previously had a run-in with McElhone after calling him a &amp;ldquo;servile lickspittle&amp;rdquo;, for which he received a punch below the left eye. It is not entirely clear to whom or what &amp;lsquo;The Scaly Monster of the House&amp;rsquo; refers when he states, &amp;ldquo;I do not care two straws what the public think. I treat the whole matter with contempt&amp;rdquo;. It is probable that the cartoonist is merely highlighting the typical McElhone response to opposition of any kind. By all accounts he was well-used to causing indignation and political controversy. He was, however, essentially an honest man who frequently asked difficult questions of the government, and as a result &amp;ldquo;exposed many public wrongs&amp;rdquo; in the process. A bearded knight charging from behind may be Sir Henry Parkes, or it could be Sir John Robertson who also sported a luxuriant beard and flowing white locks. Either way, the &amp;lsquo;knight&amp;rsquo; is a representative &amp;ldquo;champion of democracy&amp;rdquo; (Marguerite Mahood,The Loaded Line: Australian Political Caricature 1788-1901,Carlton: Melbourne University Press, 1973, p.131), and a visible embodiment of political fairness and respectability.</text>
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                <text>Possibly MS (Montague Scott)</text>
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                <text>The Bulletin</text>
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                <text>The Bulletin</text>
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                <text>3 May 1884 (p. 13)</text>
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              <elementText elementTextId="21027">
                <text>The Bulletin</text>
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        <name>â€˜Bloody Jack</name>
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        <name>E. Montague Scott (1835-1909)</name>
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        <name>John McElhone (1833-1898)</name>
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                  <text>Medievalism on the Streets</text>
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              <description>An account of the resource</description>
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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;Photographs can be found at: http://www.territorystories.nt.gov.au/handle/10070/36939&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=11660094&amp;amp;SE=1"&gt;http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=11660094&amp;amp;SE=1&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://mylibrary.wollongong.nsw.gov.au/cgi-bin/spydus.exe/ENQ/PIC/BIBENQ?IRN=10828109&amp;amp;FMT=PA"&gt;http://mylibrary.wollongong.nsw.gov.au/cgi-bin/spydus.exe/ENQ/PIC/BIBENQ?IRN=10828109&amp;amp;FMT=PA&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://www.picturevictoria.vic.gov.au/site/maribyrnong/miscellaneous/4774.html"&gt;http://www.picturevictoria.vic.gov.au/site/maribyrnong/miscellaneous/4774.html&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://nla.gov.au/nla.cs-pa-http%253A%252F%252Fhandle.slv.vic.gov.au%252F10381%252F45357"&gt;http://nla.gov.au/nla.cs-pa-http%253A%252F%252Fhandle.slv.vic.gov.au%252F10381%252F45357&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://acms.sl.nsw.gov.au/item/itemLarge.aspx?itemID=388815"&gt;http://acms.sl.nsw.gov.au/item/itemLarge.aspx?itemID=388815&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://nla.gov.au/nla.cs-pa-http%253A%252F%252Fhdl.handle.net%252F10462%252Fderiv%252F137235"&gt;http://nla.gov.au/nla.cs-pa-http%253A%252F%252Fhdl.handle.net%252F10462%252Fderiv%252F137235&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://www.greataussieroadtrip.com.au/reviews/attraction-reviews/national-folk-festival-canberra.html"&gt;http://www.greataussieroadtrip.com.au/reviews/attraction-reviews/national-folk-festival-canberra.html&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://images.slsa.sa.gov.au/searcy/33/PRG280_1_33_118.htm"&gt;http://images.slsa.sa.gov.au/searcy/33/PRG280_1_33_118.htm&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://innopac.slwa.wa.gov.au/record=b2214859"&gt;http://innopac.slwa.wa.gov.au/record=b2214859&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://catalogue.statelibrary.tas.gov.au/item/?id=AB713-1-1794"&gt;http://catalogue.statelibrary.tas.gov.au/item/?id=AB713-1-1794&lt;/a&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;a href="http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=7883724&amp;amp;SE=1"&gt;http://recordsearch.naa.gov.au/scripts/PhotoSearchItemDetail.asp?M=0&amp;amp;B=7883724&amp;amp;SE=1&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Maypole dancing around Australia</text>
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                <text>ACT, Australian Capital Territory, dance, festival, folk, folk dance, New South Wales, NSW, Norfolk Island, Northern Territory, NT, Qld, Queensland, SA, South Australia, Tas, Tasmania, Vic, Victoria, WA, Wales, Western Australia</text>
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                <text>Maypoles and the folk dance associated with them are a popular event, often involving children, at festivals throughout Australia. The origins, and possible symbolism, of Maypole dancing are uncertain but they can be traced back at least as far as the late medieval period, with a mid-fourteenth-century Welsh poem describing a Maypole of birch. The top of the pole often has coloured ribbons attached and the dance involves the participants moving in a circle around the pole weaving in and out, thereby forming a woven pattern with the ribbons around the Maypole. The links in this entry are of early Maypole dances from all States and Territories of Australia, as well as Norfolk Island. The age of some of the photographs suggest that the tradition of Maypole dancing may have arrived with the earliest European settlers.</text>
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                <text>14 June 2012</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>An image showing examples of neo-gothic windows at of the Mitchell Building, The University of Adelaide. The lower row of windows shows sets of twin lancet windows separated by a stone column, while the upper level windows comprise pairs of trefoil pointed lancets, separated by a stone mullion and topped with a quatrefoil window, all contained within a single equilateral pointed arch. &#13;
&#13;
About the Mitchell Building:&#13;
&#13;
The Mitchell Building was designed by South Australian architect Willliam McMinn in the Victorian Academic Gothic style. It was completed between 1879 and 1881, and officially opened in 1882. The Mitchell Building was the first building on the North Terrace campus of The University of Adelaide and originally housed all of the university disciplines. It was named the Mitchell Building in 1961 in honour of Sir William Mitchell, who was Vice-Chancellor of the university from 1916-1942 and Chancellor from 1942-1948. Today it is used as an administrative hub. The Mitchell Buildingâ€™s neo-gothic features include its steeply gabled roof, lancet windows, decorative stone tracery and the roof fleche/spire.</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>&lt;p&gt;These two photographs are of the corner tower of the neo-Gothic Grace Building on York Street in central Sydney. The building was built for the Grace Brothers department store in 1930 and was designed by Morrow and Gordon. The corner tower in particular was inspired by the Tribune Building in Chicago. Medievalist features include blind arcading, whilst the top of the corner tower gives the impression of the flying buttresses common on Gothic churches. The building became a hotel, The Grace Sydney, in 1997.&lt;/p&gt;&#13;
&lt;p&gt;For more on the hotel see &lt;a href="http://www.gracehotel.com.au/"&gt;http://www.gracehotel.com.au/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;&amp;lsquo;The Quest&amp;rsquo; is a wine range produced by Chalice Bridge Estate winery in Margaret River, Western Australia. The name evokes the Arthurian legend of the Quest for the Holy Grail, and this medieval association is enhanced by the elaborately illustrated Templar Knights that feature on the five individualised labels contained within the series. The Knights Templar formed what was probably the most powerful and well-known of the Christian military orders in the medieval period. The order was endorsed by the Catholic Church in the early twelfth century and was particularly active during the Crusades, before it was forcefully disbanded in the early fourteenth century. The immense power of the Order at its height and speculation about it&amp;rsquo;s suppression fuelled rumours that members of the Order had discovered (and re-located) the Holy Grail. Each of &amp;lsquo;The Quest&amp;rsquo; wine labels depicts a knight dressed in the distinctive outfit of the Knights Templar &amp;ndash; the red Cross of St George on the breast of a white tunics &amp;ndash; complete with chainmail, a sword and a shield that also features the red cross. Each of the knights strikes a different pose; three are engaged in combat and two are resting.&lt;/p&gt;&#13;
&lt;p&gt;The Chalice Bridge Estate can be found at &lt;a href="http://chalicebridge.com.au/" target="_blank"&gt;http://chalicebridge.com.au/&lt;/a&gt;&lt;/p&gt;</text>
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&lt;p&gt;Illustrator: Skye Ogden - Tokyo, Japan: &lt;a href="http://www.skyeogden.com" target="_blank"&gt;http://www.skyeogden.com&lt;/a&gt;.&lt;/p&gt;</text>
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                <text>â€˜The Chaliceâ€™, Arthurian legend, beverage, chalice, Chalice Bridge Estate, ChrÃ©tien de Troyes, Holy Grail, King Arthur, knight, label, legend, mantle, Margaret River, medieval imagery, military order, Order of the Temple, quest, Templar Knights, vessel, WA, Western Australia, wine, Wolfram von Eschenbach.</text>
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                <text>&lt;p&gt;&amp;lsquo;The Chalice&amp;rsquo; is a limited release, reserve wine range produced by Chalice Bridge Estate winery in Margaret River, Western Australia. The name evokes the legends of the Quest for the Holy Grail, and this medieval association is enhanced by the illustrations on the bottle labels. The label features a chalice, or goblet/footed cup, surrounded by a floral design. A chalice is often depicted as the vessel of the Holy Grail, although during the medieval period it was also sometimes depicted as a platter. The Quest for the Holy Grail was a popular part of the legendary Arthurian cycle involving Lancelot and/or Galahad during the medieval period, particularly in the work of Chr&amp;eacute;tien de Troyes and Wolfram von Eschenbach. Now, however, the Quest is often more readily associated with the Knights Templar, for example in the 1989 film &lt;em&gt;Indiana Jones and the Last Crusade&lt;/em&gt;.&lt;/p&gt;&#13;
&lt;p&gt;Chalice Bridge Estate can be found at &lt;a href="http://chalicebridge.com.au/" target="_blank"&gt;http://chalicebridge.com.au/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;Designer: Daniel McKeating, Studio Lost &amp;amp; Found, Western Australia (&lt;a href="http://www.studiolostandfound.com/" target="_blank"&gt;http://www.studiolostandfound.com/&lt;/a&gt;)&lt;/p&gt;</text>
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                <text>Chalice Bridge Estate: &lt;a href="http://chalicebridge.com.au/" target="_blank"&gt;http://www.chalicebridge.com.au/&lt;/a&gt;</text>
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                <text>Chalice Bridge Estate Limited, Margaret River, Western Australia (&lt;a href="http://chalicebridge.com.au/" target="_blank"&gt;http://www.chalicebridge.com.au/&lt;/a&gt;)</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>An image of a courtyard at Kryal Castle, a tourist attraction located 8km from Ballarat in Victoria. It was built in 1972 and opened in 1974 by Keith Ryall.&#13;
&#13;
Described as â€˜Australiaâ€™s unique medieval castleâ€™, Kryal Castle can also be hired for weddings, conferences, functions, and special events.&#13;
&#13;
Its medieval architectural features include crenellation, a moat, and a defended gate with flanking towers, drawbridge and a porticullis. </text>
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