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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€˜Dam(n)pier as Mephistophelesâ€™</text>
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                <text>Alfred Dampier (1848-1908), cartoon, Christopher Marlowe (1564-1593), devil, Dr Faustus (c. 1590), Faust (I &amp; II), Goethe (1749-1832), â€˜Mephistoâ€™, Mephistopheles, Phil May (1864-1903), The Bulletin</text>
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                <text>â€˜Dam(n)pier as Mephistopheles,â€™ is The Bulletin cartoonist Phil Mayâ€™s humorous pun on actor and theatrical entrepreneur Alfred Dampierâ€™s name (See Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p.164). Alfred Dampier first appeared as Mephisto in Faust in 1873 at the Royal theatre, Melbourne. While reasonably successful in his chosen profession (his acting career spanned thirty years), he was generally considered â€œsound rather than brilliantâ€ by his critics (See, for example: John Rickard, 'Dampier, Alfred (1848â€“1908)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/dampier-alfred-3360/text5067, accessed 12 June 2012.) Phil May acknowledges Dampierâ€™s competence and durability, albeit with a mischievous gleam in the eye and a knowing flourish of his pen. The literary origins of the legend of Dr Faust date back to the 1580s, and may be based upon a real person who died c. 1540-41 (J. W. Smeed, Faust in Literature, London: Oxford University Press, 1973, pp.1-2).</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€˜Gratuitous Pugnacityâ€™, The Bulletin, 3 March 1888.</text>
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                <text>&lt;span style="font-family: Calibri; font-size: small;"&gt;Cartoonist Phil May here encapsulates the main problems of a premature pitch by NSW for Australian Federation. The doughty knight (Sir Henry) is ready to do battle with &amp;lsquo;all and sundry,&amp;rsquo; for he needs to pay off (or perhaps unload the responsibility of) his debts. The symbols of his fiscal carelessness are daubed on his surcoat and shield. This was a sticking point in the Federation debate, where the difficult question &amp;ldquo;Who would take responsibility for the unequal debts and liabilities of the [other] colonies?&amp;rdquo; frequently arose (See Beverley Kingston, &lt;em&gt;The Oxford History of Australia: Glad, Confident Morning 1860-1900&lt;/em&gt;, vol. 3, Oxford: OUP, 1993, p. 56). Indeed, this question was still being debated at the 1910 elections (See, for example: &lt;/span&gt;&lt;a href="http://nla.gov.au/nla.news-article15142572" target="_blank"&gt;&lt;span style="color: #0000ff; font-family: Calibri; font-size: small;"&gt;http://nla.gov.au/nla.news-article15142572&lt;/span&gt;&lt;/a&gt;&lt;span style="font-size: small;"&gt;&lt;span style="font-family: Calibri;"&gt;). While Sir Henry is keen to push forward, the female figure in the cartoon - &amp;lsquo;That State House&amp;rsquo; - wears mourning black and remains unconvinced, for it is she who will have to find the money and manage things should the need arise. The State House in question is most likely the Senate, the then much debated Upper House of the projected Federal Parliament (See R. C. Baker, &lt;em&gt; Federation&lt;/em&gt;, Adelaide: Scrymgour &amp;amp; Sons, 1897, p. 4).&lt;/span&gt;&lt;/span&gt;</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;br /&gt;&lt;br /&gt;&lt;a href="http://medievalcombat.org/"&gt;http://medievalcombat.org/&lt;/a&gt;&lt;br /&gt;</text>
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                <text>medieval combat, combat, re-enactment, training, battle, battles, martial arts, European, Middle Eastern, recreation, sport, sports, medieval sport, New South Wales, NSW, Cowra</text>
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                <text>The website for MCC - Medieval Combat, a group of martial enthusiasts and historians who are students and practitioners of both European and Middle Eastern martial arts. They are based in Cowra, New South Wales.</text>
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                <text>Accessed 26/11/2012</text>
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            <name>Contributor</name>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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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>SCA Members Battling at the SCA College Challenge - St. Basil vs. St. Lazarus</text>
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                <text>Members of the Society for Creative Anachronism (SCA) fighting in a tournament known as 'the College Challenge.' In Perth, Western Australia, there are only two chapters of the SCA which are based in colleges (St. Basil (UWA) or St. Lazarus (Murdoch University). Therefore, this challenge was fought solely between St. Basil and St. Lazarus at the UWA campus on the 19th December 2010.   &lt;br /&gt;&lt;br /&gt;About the Society for Creative Anachronism and the Kingdom of Lochac (the Australian and New Zealand regional branch of the SCA):  &lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Society for Creative Anachronism&lt;/strong&gt; is an international organisation which focuses on the study and 're-creation' of Medieval and Early Modern cultures and their histories before the seventeenth century. As the prime example of a 'living history' group, members of the SCA aim to re-create the past through applying elements of historical knowledge to a practical engagement with Medieval and Early Modern crafts, martial arts, science, metalwork and cooking (for example). The Society was created by graduates of the University of Berkley in California in the 1960s and has since branched out to include 19 kingdoms, with over 30,000 members in locations across the globe.&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;The Kingdom of Lochac&lt;/strong&gt; is the regional branch of the Society for Creative Anachronism for individuals living in Australia and New Zealand. &lt;br /&gt;&lt;br /&gt;Information regarding &lt;strong&gt;the College of St. Basil the Great &lt;/strong&gt;can be found at &lt;a href="http://lochac.sca.org/basil/index.php?page=home"&gt;http://lochac.sca.org/basil/index.php?page=home&lt;/a&gt;</text>
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                <text>The Society for Creative Anachronism</text>
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                <text>Joanne McEwan</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Image made available with the permission of the participants.</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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        <name>armoury</name>
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        <name>Kingdom of Lochac</name>
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        <name>knight</name>
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        <name>knighthood</name>
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        <name>medieval craft</name>
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                  <text>Medievalism at the Foundations</text>
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              <description>An account of the resource</description>
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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>Stained glass window depicting the Cross of St Benedict in the New Chapel, New Norcia</text>
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            <description>The topic of the resource</description>
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                <text>Benedictine monks, Benedictines, Catholic chapel, Cross of St Benedict, Latin wording, monastery, monasticism, monks, New Chapel, New Norcia, Order of St Benedict, St Benedict of Nursia, stained glass, window</text>
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                <text>&lt;p class="MsoNormal"&gt;This small round window above the altar in the New  Chapel at New Norcia bears the Cross of St Benedict in stained glass. A  cross dominates almost the entire frame surrounded by the letters C. S.  P. and B.&amp;nbsp; These letters denote the Latin phrase &amp;ldquo;Crux Sancti Patris  Benedicti&amp;rdquo;, which translates into English as &amp;ldquo;The Cross of our Holy  Father Benedict&amp;rdquo;. This cross is often depicted on the reverse side of St  Benedict medals.&amp;nbsp;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;&lt;strong&gt;About New Norcia:&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;New  Norcia is a monastic town located 132 km north of Perth in Western  Australia. The town is owned and run by a community of Benedictine monks  and houses one of only three Benedictine monasteries (for men) in  Australia. At its height the monastery housed approximately 80 monks,  but currently there are only seven in residence. The Benedictines are  part of a religious order within the Catholic Church known as the Order  of St Benedict (OSB). Benedictines live in small, largely autonomous  communities and base their way of life on the Rule of St Benedict, which  prioritises a balance of prayer and work and calls for promises of  stability, obedience and a conversion of life. The first Benedictine  community was established in the sixth-century in Italy by St Benedict  of Nursia (c.480-547).&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;Originally  intended as a mission to evangelise and educate the indigenous peoples  of the Victoria Plains, the site at New Norcia was founded in 1847 by  two Spanish Benedictine missionaries, Dom Jos&amp;eacute; Benito Serra and Dom  Rosendo Salvado. Serra&amp;rsquo;s involvement in the missionary activities at new  Norcia decreased following his appointment as Co-adjutor Bishop of  Perth in 1849, while Salvado (1814-1900) committed himself wholly to  developing the mission and leading the monastic community. He  subsequently became the key figure in the first 50 years of New Norcia&amp;rsquo;s  history. He made numerous fundraising trips to Europe, which provided  him with the means to purchase books, vestments, artwork and equipment  for the community and also to oversee the construction of new buildings.  He died in Rome in 1900 and his body was returned to New Norcia. Under  Salvado&amp;rsquo;s successor, Bishop Fulgentius Torres (1861-1914), New Norcia  became more like a traditional monastic settlement. An increased focus  on education and artistic pursuits led to the establishment of two  schools and improvements to many of the town&amp;rsquo;s buildings. For more  information on New Norcia, see the New Norcia Benedictine Community  website: &lt;a href="http://newnorcia.wa.edu.au/" target="_blank"&gt;http://newnorcia.wa.edu.au/&lt;/a&gt;.&lt;/p&gt;&#13;
&lt;p class="MsoNormal"&gt;&lt;strong&gt;&amp;nbsp;&lt;/strong&gt;&lt;/p&gt;</text>
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                <text>7 January 2011</text>
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