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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;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>Voice and Violin</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>&lt;a href="http://nla.gov.au/nla.news-article32284566" target="_blank"&gt;http://nla.gov.au/nla.news-article32284566&lt;/a&gt;</text>
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                <text>Building a Cathedral. Progress at St. Mary's.</text>
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                <text>â€œSt Maryâ€™s Cathedralâ€, â€œSt. Maryâ€™s churchâ€, Cathedral, church, Catholicism, â€œGothic architectureâ€, â€œEast Perthâ€, rebuilding, â€œCavanagh - architectâ€, masons, stonemasons, craftsmen, "guild journeymanâ€, stonework, stone, stained-glass, windows,  â€œmedieval village cathedralsâ€, transepts, sanctuary, sacristy, â€œlady chapelâ€</text>
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                <text>In this newspaper article from The West Australian, the author describes progress on the building of the eastern part of St. Maryâ€™s Cathedral in East Perth in June, 1929. He describes the Gothic design of the architecture as a particularly English style dating from the period 1370-1550, characterised by â€œa perpendicularity given it by the extensions of the chief mullions in the windows on to the arches and the addition of horizontal bars or transoms to divide the long lightsâ€. The style is also notable, the article suggests, for its â€œgreat window spacesâ€. In the second half of the article, the author likens the intricate stonework of the 25 masons employed to work on the cathedral to that of guild journeymen building village cathedrals in the middle ages.</text>
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                <text>"Hermes"</text>
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                <text>National Library of Australia&lt;br /&gt;&lt;a href="http://nla.gov.au/nla.news-article32284566" target="_blank"&gt;http://nla.gov.au/nla.news-article32284566&lt;/a&gt;&lt;a href="http://nla.gov.au/nla.news-article32284539" target="_blank"&gt;&lt;br /&gt;&lt;/a&gt;</text>
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                <text>Saturday, 1 June 1929, p.7.</text>
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                <text>The West Australian</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>â€˜The Chaliceâ€™ Range Wine Labels, Chalice Bridge Estate</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>2011</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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        <name>ChrÃ©tien de Troyes</name>
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        <name>King Arthur</name>
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        <name>Wolfram von Eschenbach.</name>
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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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                <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;&#13;
&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>Chalice Bridge Estate: &lt;a href="http://www.chalicebridge.com.au/" target="_blank"&gt;http://www.chalicebridge.com.au/&lt;/a&gt;</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
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                <text>Chalice Bridge Estate Limited, Margaret River, Western Australia (&lt;a href="http://www.chalicebridge.com.au/" target="_blank"&gt;http://www.chalicebridge.com.au/&lt;/a&gt;)</text>
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                  <text>Medievalism in the Classroom</text>
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              <description>An account of the resource</description>
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                <elementText elementTextId="34457">
                  <text>This Collection traces the development of academic medievalism in Australiaâ€™s universities, and explores the disciplineâ€™s complex ideological affiliations. In this Collection you will find items relating to: the medievalist content of educational programmes, such as examples of university unit outlines; the teaching of the medieval through processes of medievalism, such as in demonstrations of medieval cooking or fighting techniques; and references to the medieval in modern educational debates and contexts.</text>
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              <text>Newspaper Article from &lt;em&gt;The Sydney Morning Herald&lt;/em&gt;</text>
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                <text>"Jokes in Stone", in The Sydney Morning Herald</text>
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                <text>gargoyle, gargoyles, University of Queensland, University of QLD, Queensland, stone carving, sculpture, medieval sculpture, stone mason, stone masonry, Colin Clark, Theodore Muller, jest, jesting, mummer, mummery</text>
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            <description>An account of the resource</description>
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                <text>Newspaper article regarding a carving by the sculptor Thomas Muller. The carving is said to bear a resemblance to the economist Colin Clark. By carving the gargoyle-like creature in the image of a public figure, the journalist argues that Muller has revived the 'medieval practice' of caricaturing public figures in gargoyles on buildings.</text>
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                <text>A Special Correspondent</text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>National Library of Australia</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>9 July 1954</text>
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            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3047">
                <text>National Library of Australia</text>
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        <name>Colin Clark</name>
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                <text>â€˜The Rule of the Manyâ€™, The Bulletin, 15 November 1890.</text>
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                <text>Democracy, feudalism, inequality, natural law, merit, poem, privilege, wealth, workers rights</text>
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            <description>An account of the resource</description>
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                <text>This poem provides a vigorous denunciation of â€œthe English caste systemâ€ and â€œcelebrates the decay of feudalism,â€ at least in the Australian rural locale (Louise D'Arcens, Old Songs in the Timeless Land: Medievalism in Australian Literature 1840-1910, Turnhout: Brepols, 2011, p. 143). It praises â€œmuscle and brainâ€ (merit) while condemning the undeserving ruling classes, who it refers to as â€œPampered idlersâ€. The point of the exercise is demonstrated in the lines: â€œKing, prince and lord are a useless load and must by that law abide! / No Parliament can alter that fact, / Or the march of mankind stay.â€ The law that this section of the poem acknowledges is simply the law of Nature, for no law of man can usurp natural law. Underpinning everything else is the firm belief that the â€˜fruits of the earthâ€™ (its wealth and resources) are made not just for a select and powerful minority, but for everyone equally. The inescapable conclusion of the poem is that with the removal of the medieval â€˜baggageâ€™ of the past, i.e. feudalism, nostalgia, overlordship and the monarchy, the earth will return to an extended period of serenity and  harmony under the sure-handed guidance of â€œthe Peopleâ€.</text>
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                <text>A. X. C. (Unknown)</text>
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                <text>15 November 1890 (p. 17)</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>A.T. critiques three plays that have an angel or saint in them. Set in a Welsh village, â€˜The Wind of Heavenâ€™ is about a boy named Gwyn who works a miracle in a village devastated by cholera. He brings back to life a dead soldier and new hope to the soldierâ€™s widow and the whole town. Jerome K. Jeromeâ€™s play about a mysterious Stranger is â€˜the saint over-doneâ€™. The final play, â€˜The Marvellous History of Saint Bernardâ€™, divides its stage into heaven, earth and hell. This picture â€˜was as real to the medieval mind as the Harbour Bridge is to usâ€™. The author notes that it is illegal to depict the Deity on stage in England so Mary was substituted for God in the latter play. A.T. remarks that Bernard Shaw deployed similar techniques in his play â€˜Saint Joanâ€™.</text>
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                <text>Sydney Morning Herald</text>
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            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
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                <text>26 April 1947</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Public Domain&#13;
Trove&#13;
</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>&amp;lsquo;The Sagamen&amp;rsquo;, &lt;em&gt;The Bulletin&lt;/em&gt;, 2 May 1907</text>
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                <text>armour, battle-axe, conquest, dragon ship, Francis William Ophel (1871-1912), Freya, heroism, Iceland, Norns, Odin, paganism, runes, sagas, shields, Skaldic tales, spells, swords, Thor, Valhalla, Valkyrie, Vikings, violence, warriors.</text>
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                <text>&amp;lsquo;Prospect Good&amp;rsquo; was the nom de plume of the gold prospector, fossicker, and bush poet, Francis William Ophel. This poem, &amp;lsquo;The Sagamen,&amp;rsquo; is filled with vivid imagery drawn in the style of Old Icelandic sagas (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.142). According to Ophel&amp;rsquo;s logic, the content of these Skaldic tales is no different from speeches and editorials designed to legitimize nineteenth-century imperial narratives; they cleverly subvert truth and disguise real-life events under a nuanced and textured layer of bravado and heroic deeds where violence is praised and overvalued. In contrast, Ophel&amp;rsquo;s is likely suggesting here that there is nothing glorious about slaughter, plunder, theft and rapine, and the over reliance on strong-arm tactics. Presumably the political rationale for this strategy is formed along the lines of: &amp;lsquo;they&amp;rsquo; did it &amp;lsquo;back then,&amp;rsquo; so it must be alright for &amp;lsquo;us&amp;rsquo; to emulate &amp;lsquo;now&amp;rsquo;; but Ophel, who realises that this reasoning is mendacious, states plainly and firmly in The Sagamen&amp;rsquo;s final couplet: &amp;ldquo;The naked truth is hidden / Beneath a web of words".</text>
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                <text>â€˜Prospect Goodâ€™ (Francis William Ophel)</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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                <text>&lt;em&gt;The Bulletin&lt;/em&gt;</text>
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          <element elementId="47">
            <name>Rights</name>
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                <text>Public Domain</text>
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          </element>
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        <name>Thor</name>
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