Abstract
My point in this essay is that popular usage no longer despises the Middle Ages, and that, ironically, academic medievalists have been slow to see the change because we still have a stake in the Renaissance model of the world that created the superior attitude. Several years ago, I argued that American popular images of the Middle Ages were a kind of temporal Orientalism: in fiction, film, news reporting, advertising, and political cant, the period became a dumping ground for the modern Western world’s repressed evils (barbarism, torture, disease, and general chaos) and daydreams (exotic adventure, romance, honor, the simple life).2 The images were familiar: on one side (the evils), network news references to “medieval” places like Afghanistan, with their warlords and their unpaved towns and religions, or the simple youth dismissal, “that’s so medieval,” of anything built, done, written, or thought before 1980; on the other side (the daydreams), the greening of community and the Disneyfication of King Arthur. Images of violence and dirt far outnumbered images of honor and greenery, however, and clean, clear air was rarely called medieval; fictional treatment of the period always dwelled on the smelliness of the place.
There’s a lot of moral ambiguity goin’ on around here.
Utah Phillips1
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Notes
Utah Phillips, “The Violence Within,” in U. Utah Phillips: I’ve Got to Know (AK Press, 2003), CD.
Steve Guthrie, “Medievalism and Orientalism,” Medieval Perspectives 19 (2004): 91–113.
Daphne duMaurier, The House on the Strand (Philadelphia: University of Pennsylvania Press, 1969);
Connie Willis, Doomsday Book (New York: Bantam, 1994).
Michael Crichton, Timeline (New York: Ballantine, 1999).
George Slusser and Danièle Chatelain, “Spacetime Geometries: Time Travel and the Modern Geometrical Narrative,” Science Fiction Studies 22 (1995): 181.
Jenny Adams, “Marketing the Medieval: The Quest for Authentic History in Michael Crichton’s Timeline,” Journal of Popular Culture 36 (2003): 705.
Laurie Finke and Martin Shichtman, “Inner-City Chivalry in Gil Junger’s Black Knight: A South-Central Yankee in King Leo’s Court,” in Race, Class, and Gender in “Medieval” Cinema, ed. Lynn Ramey and Tison Pugh (New York: Palgrave MacMillan, 2007), 107.
Carolyn Dinshaw, Getting Medieval: Sexualities and Communities, Pre- and Postmodern (Durham, NC: Duke University Press, 1999).
Seymour Hersh, Chain of Command: The Road from 9/11 To Abu Ghraib (New York: Harper Collins, 2004).
Noam Chomsky, Failed States (New York: Holt, 2007), 1.
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© 2012 Gail Ashton and Daniel T. Kline
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Guthrie, S. (2012). Time Travel, Pulp Fictions, and Changing Attitudes Toward the Middle Ages: Why You Can’t Get Renaissance on Somebody’s Ass. In: Ashton, G., Kline, D.T. (eds) Medieval Afterlives in Popular Culture. The New Middle Ages. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137105172_8
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DOI: https://doi.org/10.1057/9781137105172_8
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