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He is the author of a number of academic monographs, collections, and articles on gender and sexuaiity, friendship, medieval literature, and contemporary medievalism. He taught these areas as well as Creative Writing in the Midlands for over a decade, before leaving full-time academia in 2021 to travel and pursue other interests, and now lives and works in Manchester, England, as an accompanist, vocal repetiteur, and private tutor. As David Tregarthen, he is author of a well-received queer medievalist serial killer novel, Come the Dark Night (Bloodhound Books, 2022), and his monograph Children’s Literature and Old Norse Medievalism is forthcoming with Arc Humanities Press (2023)\n","image":"https://0.academia-photos.com/551270/198661/231616/s200_david.clark.jpg","thumbnailUrl":"https://0.academia-photos.com/551270/198661/231616/s65_david.clark.jpg","primaryImageOfPage":{"@type":"ImageObject","url":"https://0.academia-photos.com/551270/198661/231616/s200_david.clark.jpg","width":200},"sameAs":["https://creativelymedievalist.wordpress.com/about/"],"relatedLink":"https://www.academia.edu/104826644/Revisiting_G%C3%ADsla_saga_Sexual_Themes_and_the_Heroic_Past"}</script><link rel="stylesheet" href="//a.academia-assets.com/assets/design_system/heading-95367dc03b794f6737f30123738a886cf53b7a65cdef98a922a98591d60063e3.css" media="all" /><link rel="stylesheet" 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if ($a.is_logged_in() && $viewedUser.is_current_user()) { $('body').addClass('profile-viewed-by-owner'); } $socialProfiles = [{"id":72212076,"link":"https://creativelymedievalist.wordpress.com/about/","name":"WordPress","link_domain":"creativelymedievalist.wordpress.com","icon":"//www.google.com/s2/u/0/favicons?domain=creativelymedievalist.wordpress.com"}]</script><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://uwl.academia.edu/DavidClark","location":"/DavidClark","scheme":"https","host":"uwl.academia.edu","port":null,"pathname":"/DavidClark","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" style="display:none" data-component-name="ProfileCheckPaperUpdate" data-props="{}" data-trace="false" data-dom-id="ProfileCheckPaperUpdate-react-component-0b09aa1e-fb0e-411a-8fd5-4032d86bfd5c"></div> <div id="ProfileCheckPaperUpdate-react-component-0b09aa1e-fb0e-411a-8fd5-4032d86bfd5c"></div> <div class="DesignSystem"><div class="onsite-ping" id="onsite-ping"></div></div><div class="profile-user-info DesignSystem"><div class="social-profile-container"><div class="left-panel-container"><div class="user-info-component-wrapper"><div class="user-summary-cta-container"><div class="user-summary-container"><div class="social-profile-avatar-container"><img class="profile-avatar u-positionAbsolute" alt="David Clark" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = '//a.academia-assets.com/images/s200_no_pic.png';" width="200" height="200" src="https://0.academia-photos.com/551270/198661/231616/s200_david.clark.jpg" /></div><div class="title-container"><h1 class="ds2-5-heading-sans-serif-sm">David Clark</h1><div class="affiliations-container fake-truncate js-profile-affiliations"><div><a class="u-tcGrayDarker" href="https://uwl.academia.edu/">University of West London</a>, <a class="u-tcGrayDarker" href="https://uwl.academia.edu/Departments/London_College_of_Music/Documents">London College of Music</a>, <span class="u-tcGrayDarker">Department Member</span></div><div><a class="u-tcGrayDarker" href="https://oxford.academia.edu/">University of Oxford</a>, <a class="u-tcGrayDarker" href="https://oxford.academia.edu/Departments/English_Language_and_Literature/Documents">English Language and Literature</a>, <span class="u-tcGrayDarker">Alumnus</span></div></div></div></div><div class="sidebar-cta-container"><button class="ds2-5-button hidden profile-cta-button grow js-profile-follow-button" data-broccoli-component="user-info.follow-button" data-click-track="profile-user-info-follow-button" data-follow-user-fname="David" data-follow-user-id="551270" data-follow-user-source="profile_button" data-has-google="false"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">add</span>Follow</button><button class="ds2-5-button hidden profile-cta-button grow js-profile-unfollow-button" data-broccoli-component="user-info.unfollow-button" data-click-track="profile-user-info-unfollow-button" data-unfollow-user-id="551270"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">done</span>Following</button></div></div><div class="user-stats-container"><a><div class="stat-container js-profile-followers"><p class="label">Followers</p><p class="data">232</p></div></a><a><div class="stat-container js-profile-followees" data-broccoli-component="user-info.followees-count" data-click-track="profile-expand-user-info-following"><p class="label">Following</p><p class="data">15</p></div></a><a><div class="stat-container js-profile-coauthors" data-broccoli-component="user-info.coauthors-count" data-click-track="profile-expand-user-info-coauthors"><p class="label">Co-author</p><p class="data">1</p></div></a><span><div class="stat-container"><p class="label"><span class="js-profile-total-view-text">Public Views</span></p><p class="data"><span class="js-profile-view-count"></span></p></div></span></div><div class="user-bio-container"><div class="profile-bio fake-truncate js-profile-about" style="margin: 0px;">David Clark (DPhil, Oxon) is an accompanist, singer, writer, and tutor. He is the author of a number of academic monographs, collections, and articles on gender and sexuaiity, friendship, medieval literature, and contemporary medievalism. He taught these areas as well as Creative Writing in the Midlands for over a decade, before leaving full-time academia in 2021 to travel and pursue other interests, and now lives and works in Manchester, England, as an accompanist, vocal repetiteur, and private tutor. As David Tregarthen, he is author of a well-received queer medievalist serial killer novel, Come the Dark Night (Bloodhound Books, 2022), and his monograph Children’s Literature and Old Norse Medievalism is forthcoming with Arc Humanities Press (2023)<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><h3 class="ds2-5-heading-sans-serif-xs">Related Authors</h3></div><ul class="suggested-user-card-list" data-nosnippet="true"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a data-nosnippet="" href="https://ucs.academia.edu/KeithRuiter"><img class="profile-avatar u-positionAbsolute" alt="Keith Ruiter related author profile picture" border="0" onerror="if (this.src != '//a.academia-assets.com/images/s200_no_pic.png') this.src = 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Clark</h3></div><div class="js-work-strip profile--work_container" data-work-id="43339573"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/43339573/Beowulf_in_Contemporary_Culture"><img alt="Research paper thumbnail of Beowulf in Contemporary Culture" class="work-thumbnail" src="https://attachments.academia-assets.com/104451390/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/43339573/Beowulf_in_Contemporary_Culture">Beowulf in Contemporary Culture</a></div><div class="wp-workCard_item"><span>Beowulf in Contemporary Culture</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Beowulf in Contemporary Culture (Newcastle: Cambridge Scholars Press, 2020)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5fa8655f8fca7dbdb8bfa075ddb4ace3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104451390,"asset_id":43339573,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104451390/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43339573"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count 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dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-742767-figures'); } }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by David Clark</h3></div><div class="js-work-strip profile--work_container" data-work-id="104826644"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104826644/Revisiting_G%C3%ADsla_saga_Sexual_Themes_and_the_Heroic_Past"><img alt="Research paper thumbnail of Revisiting Gísla saga: Sexual Themes and the Heroic Past" class="work-thumbnail" src="https://attachments.academia-assets.com/104451842/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104826644/Revisiting_G%C3%ADsla_saga_Sexual_Themes_and_the_Heroic_Past">Revisiting Gísla saga: Sexual Themes and the Heroic Past</a></div><div class="wp-workCard_item"><span>JEGP</span><span>, 2007</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">David Clark, 'Revisiting Gísla saga: Sexual Themes and the Heroic Past', JEGP 106.4 (2007), 492-515</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="bf10a4ec16e0370ec08a5de7fe1e0364" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104451842,"asset_id":104826644,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104451842/download_file?s=profile"><span><i class="fa 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data-work-id="104826566"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/104826566/Undermining_and_en_gendering_vengeance_distancing_and_anti_feminism_in_the_Poetic_Edda"><img alt="Research paper thumbnail of Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic Edda" class="work-thumbnail" src="https://attachments.academia-assets.com/104451781/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/104826566/Undermining_and_en_gendering_vengeance_distancing_and_anti_feminism_in_the_Poetic_Edda">Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic Edda</a></div><div class="wp-workCard_item"><span>Scandinavian Studies</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">David Clark, 'Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">David Clark, 'Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic Edda', Scandinavian Studies 77.2 (2005), 173-200.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c570b51add10cfe256e06848b8d31cf2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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class="wp-workCard_item"><span>Beowulf in Contemporary Culture</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">'Race/Ethnicity and the Other in Beowulf: Return to the Shieldlands’, in David Clark, ed., Beowul...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">'Race/Ethnicity and the Other in Beowulf: Return to the Shieldlands’, in David Clark, ed., Beowulf in Contemporary Culture (Cambridge Scholars Press, 2020), pp. 31-50. <br /> <br />Proof version attached below. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-43339435-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="35546831"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/35546831/The_Magical_Middle_Ages_in_Childrens_Fantasy_Literature"><img alt="Research paper thumbnail of The Magical Middle Ages in Children's Fantasy Literature" class="work-thumbnail" src="https://attachments.academia-assets.com/55412209/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/35546831/The_Magical_Middle_Ages_in_Childrens_Fantasy_Literature">The Magical Middle Ages in Children's Fantasy Literature</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A faun carrying an umbrella; a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A faun carrying an umbrella; a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treated schoolboy with a scar and a secret. Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. One of the fascinating things about many of the authors discussed below, however, is the extent to which they challenge and ignore generic boundaries, to create something new from something old. <br /> <br />In Carolyne Larrington with Diane Purkiss, ed., 'Magical Tales: Myths, Legend & Enchantment in Children's Books' (Bodleian Library, 2013)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="345ce551f4d0b8bb3e9490000359387b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55412209,"asset_id":35546831,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55412209/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35546831"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35546831"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35546831; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35546831]").text(description); $(".js-view-count[data-work-id=35546831]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35546831; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35546831']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "345ce551f4d0b8bb3e9490000359387b" } } $('.js-work-strip[data-work-id=35546831]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35546831,"title":"The Magical Middle Ages in Children's Fantasy Literature","translated_title":"","metadata":{"abstract":"A faun carrying an umbrella; a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treated schoolboy with a scar and a secret. Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. 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However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. 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Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. One of the fascinating things about many of the authors discussed below, however, is the extent to which they challenge and ignore generic boundaries, to create something new from something old.\r\n\r\nIn Carolyne Larrington with Diane Purkiss, ed., 'Magical Tales: Myths, Legend \u0026 Enchantment in Children's Books' (Bodleian Library, 2013)","impression_tracking_id":null,"owner":{"id":551270,"first_name":"David","middle_initials":null,"last_name":"Clark","page_name":"DavidClark","domain_name":"uwl","created_at":"2011-07-13T23:38:38.536-07:00","display_name":"David Clark","url":"https://uwl.academia.edu/DavidClark"},"attachments":[{"id":55412209,"title":"","file_type":"doc","scribd_thumbnail_url":"https://attachments.academia-assets.com/55412209/thumbnails/1.jpg","file_name":"David_Clark_chapter_from_Larrington_volume_2013.doc","download_url":"https://www.academia.edu/attachments/55412209/download_file","bulk_download_file_name":"The_Magical_Middle_Ages_in_Childrens_Fan.doc","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/55412209/David_Clark_chapter_from_Larrington_volume_2013.doc?1738370706=\u0026response-content-disposition=attachment%3B+filename%3DThe_Magical_Middle_Ages_in_Childrens_Fan.doc\u0026Expires=1744180328\u0026Signature=GCgxrxkwTarRSRoKTumwI2l7cBsQYjSDMiOh8XqjWeH1lIZtTcyBIyKSN6HM4954Q6Uxitf83FozcPmKBOH9BD~tb7fD02TF52bSHpwSecy5UmnH1dbOMYFIqCdOTcGiiDCuac89Xy7VIUlRgDlI9EeUlTc0RC2M1NyPYJNx~RIYY0nSsREGGKVlXS-dzCCQmL18pJ8G-MR8bg9~Cc4nJibJ2eULTAe63IlRCbKCZthFefTyRFHzDwjgAMWLzzvufPXn2tg46xiElTWmCMLIESVa0Ze0ubH5mjrxClyDL2O1AfiKKsL~xKrqgj8uE2e9U-2co0t8rwGmQ5LMSJZfpg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":4066,"name":"Medievalism","url":"https://www.academia.edu/Documents/in/Medievalism"},{"id":4068,"name":"Contemporary Medievalism","url":"https://www.academia.edu/Documents/in/Contemporary_Medievalism"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") if (false) { Aedu.setUpFigureCarousel('profile-work-35546831-figures'); } }); </script> <div class="js-work-strip profile--work_container" data-work-id="13171090"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13171090/Norse_medievalism_in_children_s_literature"><img alt="Research paper thumbnail of Norse medievalism in children’s literature" class="work-thumbnail" src="https://attachments.academia-assets.com/104451562/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13171090/Norse_medievalism_in_children_s_literature">Norse medievalism in children’s literature</a></div><div class="wp-workCard_item"><span>Pre-Christian Religions of the North, Research and Reception vol. II </span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">'Norse medievalism in children’s literature’, in Pre-Christian Religions of the North, Research a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">'Norse medievalism in children’s literature’, in Pre-Christian Religions of the North, Research and Reception, Volume II: From c. 1830 to the present. Ed. Professor Margaret Clunies Ross. 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Studies</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">David Clark, 'Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">David Clark, 'Undermining and en-gendering vengeance: distancing and anti-feminism in the Poetic Edda', Scandinavian Studies 77.2 (2005), 173-200.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c570b51add10cfe256e06848b8d31cf2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" 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class="wp-workCard_item"><span>Beowulf in Contemporary Culture</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">'Race/Ethnicity and the Other in Beowulf: Return to the Shieldlands’, in David Clark, ed., Beowul...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">'Race/Ethnicity and the Other in Beowulf: Return to the Shieldlands’, in David Clark, ed., Beowulf in Contemporary Culture (Cambridge Scholars Press, 2020), pp. 31-50. <br /> <br />Proof version attached below. 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a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treat...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A faun carrying an umbrella; a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treated schoolboy with a scar and a secret. Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. One of the fascinating things about many of the authors discussed below, however, is the extent to which they challenge and ignore generic boundaries, to create something new from something old. <br /> <br />In Carolyne Larrington with Diane Purkiss, ed., 'Magical Tales: Myths, Legend & Enchantment in Children's Books' (Bodleian Library, 2013)</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="345ce551f4d0b8bb3e9490000359387b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":55412209,"asset_id":35546831,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/55412209/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="35546831"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="35546831"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35546831; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35546831]").text(description); $(".js-view-count[data-work-id=35546831]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35546831; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='35546831']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "345ce551f4d0b8bb3e9490000359387b" } } $('.js-work-strip[data-work-id=35546831]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":35546831,"title":"The Magical Middle Ages in Children's Fantasy Literature","translated_title":"","metadata":{"abstract":"A faun carrying an umbrella; a hobbit who lives in a hole; a mysterious name – Lyra; an ill-treated schoolboy with a scar and a secret. Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. 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However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. 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Children's fantasy may be said in some sense to begin with resonant images – certainly they often do so in the authors' myths of origins. However, they also begin in an author's reading practices, in his or her experiences, in the influences which, acknowledged or not, shape and articulate their own vision and help define what it is and, sometimes more importantly, what it is not. Medieval culture and literature in one way or another has provided inspiration for all of the writers discussed in this chapter, from Anglo-Saxon warrior heroes and valiant last stands to druids and the Celtic Otherworld, from chivalric knights and more or less distressed damsels to manuscripts and scribes and the Bodleian Library itself. It is almost impossible now to think of fantasy literature without simultaneously thinking of J. R. R. Tolkien, and indeed some of the fantasy literature that followed the publication of The Lord of the Rings is derivative of his created world, rather than taking influence from the medieval sources upon which he drew. However, this chapter shows that medievalist fantasy existed both before and after Tolkien, and that the Middle Ages still provide a rich source for the creative imagination. We may divide medievalist fantasy into a couple of types. Firstly, we have fantasies of an imagined past, which divide in turn into those which seek to recreate the historical Middle Ages but add fantastic ingredients such as dragons and spells, and those which recreate the fantasy worlds of medieval authors themselves. Secondly, we may identify fantasies of an imagined present, where medieval characters and the medieval world invade the contemporary environment of the books' original audience, or where medieval culture shapes the creation of an alternative world. 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II </span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">'Norse medievalism in children’s literature’, in Pre-Christian Religions of the North, Research a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">'Norse medievalism in children’s literature’, in Pre-Christian Religions of the North, Research and Reception, Volume II: From c. 1830 to the present. Ed. Professor Margaret Clunies Ross. Brepols, 2018, pp. 367-400</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="53d23b34970a3ace0a3e31288d8b4d79" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":104451562,"asset_id":13171090,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/104451562/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="13171090"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="13171090"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 13171090; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=13171090]").text(description); $(".js-view-count[data-work-id=13171090]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 13171090; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='13171090']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "53d23b34970a3ace0a3e31288d8b4d79" } } $('.js-work-strip[data-work-id=13171090]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":13171090,"title":"Norse medievalism in children’s literature","translated_title":"","metadata":{"abstract":"'Norse medievalism in children’s literature’, in Pre-Christian Religions of the North, Research and Reception, Volume II: From c. 1830 to the present. 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</script> <div class="js-work-strip profile--work_container" data-work-id="13170960"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/13170960/The_semantic_range_of_wine_and_freond_in_Old_English"><img alt="Research paper thumbnail of The semantic range of wine and freond in Old English" class="work-thumbnail" src="https://attachments.academia-assets.com/63625096/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/13170960/The_semantic_range_of_wine_and_freond_in_Old_English">The semantic range of wine and freond in Old English</a></div><div class="wp-workCard_item"><span>Neuphilologische Mitteilungen</span><span>, 2013</span></div><div class="wp-workCard_item"><span 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data-click-track="profile-work-strip-title" href="https://www.academia.edu/1043045/Notes_on_the_Medieval_Ideal_of_Dying_with_Ones_Lord">Notes on the Medieval Ideal of Dying with One's Lord</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">David Clark, 'Notes on the Medieval Ideal of Dying with One's Lord'. Notes and Queries (December ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">David Clark, 'Notes on the Medieval Ideal of Dying with One's Lord'. Notes and Queries (December 2011), 1-10.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22b78d637a2ba0315f18a515320d4a95" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37967997,"asset_id":1043045,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37967997/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="1043045"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="1043045"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 1043045; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=1043045]").text(description); $(".js-view-count[data-work-id=1043045]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 1043045; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='1043045']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "22b78d637a2ba0315f18a515320d4a95" } } $('.js-work-strip[data-work-id=1043045]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":1043045,"title":"Notes on the Medieval Ideal of Dying with One's Lord","translated_title":"","metadata":{"abstract":"David Clark, 'Notes on the Medieval Ideal of Dying with One's Lord'. 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