Arthuriana: The Journal of Arthurian Studies

[by William Leonard]

There have been may works dedicated to an era of European history known as the Dark Ages and the Middle Ages.  It was in this time period that there arose a legend of a knight who pulled an enchanted sword from a stone, and quested across the land of Britain to restore law, order, and peace, and sought the Holy Grail, the cup which was used at the Last Supper and caught the blood of Christ at the Crucifixion.  This legend has grown over time to include the journeys of many knights who joined the first, who was hailed as king by Divine Providence.  The common world would know these as the legends of King Arthur and the Knights of the Round Table.

While the tales are fantastical, they ring with truth-but how much truth?  This is the line of thought for the scholarly journal, Arthuriana.  It strives to peel back the shrouds of mystery and unveil the actual facts behind the myths of King Arthur and his knights.  What are all the geographical locations of the settings and places mentioned in the tales?  What was Arthur’s genuine nationality of birth-English which would have been the Picts and Woads of the northern regions, or Roman at the time of the collapse of the Empire, the construction of Hadrian’s Wall, and the subsequent withdrawal of that Empire, or was he some other nationality?  Was Arthur even real, or was he a fictional character created by the needs of the people over the years-or was he truly a collection of works, prescribed to a single man whether fictional or genuine?

Without going into too much detail, one example of this would be the character of Merlin, the wizard with an owl named Archimedes (an obvious reference to the Greek who ran through the streets stark naked shouting Eureka to many a startled passerby when he discovered irrefutable scientific proof of the concept of pressure in the bathtub), and the effect of Merlin as an advisor.

In particular, refer to the article titled “Ruled by merlin: Mirrors for Princes, Counseling Patterns, and Malory’s ‘Tale of King Arthur.’”  This article, written by Louis J. Boyle, focuses on Malory’s emphasis on Merlin as an infallible advisor, and that his actions show the contradictory nature of counseling patterns for monarchs and nobles advocated the advice texts of the speculum pricipis tradition.  In layman terms, words, it shows that the way Merlin gives advice, while infallible for the sake of story, is in fact a paradox when compared to how a king should have gotten advice—from a council of advisors, which is how the Romans did things and subsequently wrote them down in some dusty tome in Latin consulted by rulers.

In specific detail, on page 53 of the article, it states that fifteenth-century readers were sometimes reading Malory’s text almost literally alongside advice texts (such as the speculum principis); it later states that by logical progression that contemporary audiences of Malory may have been assessing Arthur’s actions regarding counseling patterns in light of what the advice books actually said about how a king should handle counseling situations.  Thus, these audiences and those who subsequently read these works, can deduce the contradictions between the infallible Merlin, and the actual practicality of the laws of council as the Romans conceived.

In conclusion, there are many articles, and they all have focus in such field—specific, detailed manners of scholastic examination of the Arthur Legend.  It is advised to read these if in fact one should wish to understand the legend better.

Scholarly Journal Profile

Shakespeare Quarterly Journal

Shakespeare Quarterly is a scholarly, quarterly journal that has been published by the Johns Hopkins University Press since the Shakespeare Association of America first founded it in 1950. It is accessible through the TTU Library in print and digital format through both the Humanities Full Text and JSTOR databases. The international editorial board had a switch between editors in 2009 when the chair was passed from Gail Kern Pastor (editor from 1997 to 2009) to David Schalkwyk (serving as editor 2009 to present), who is currently working alongside with the associate editor (Sarah Werner) and issue editor (Katherine Rowe). In association with the George Washington University Press and the Folger Shakespeare Library, SQ has been referenced in indexes (abstracts and HTML of back issues included) by nineteen online databases besides the two previously mentioned.

Submissions to SQ start as 100 word abstracts of the written piece then, if accepted after being reviewed by the double-blind system, the article or essay is to be sent via the Folger Editorial Manager site. With this, a revised 250-word abstract, along with any illustrations, are required. Additional instructions can be found on the Folger website.

Volumes of four issues each range between 350-600 pages with some issues showing variations in the amount of articles, essays, book reviews (done only by the editorial board), and performance criticism between 1950 to the present time. The journal has provided inclusions such as the World Shakespeare Bibliography (1996-2000), a Cumulative Index and Annotated Bibliography (1964 issues), and special issue topics ranging from Teaching Shakespeare, Shakespeare and New Media, and Teaching Judith Shakespeare. Some issues cover one specific aspect of Shakespeare such as Shakespeare in Performance and Surviving Hamlet. This year there has been a call for material on Not Shakespeare for the 2014 year.

Readers can expect materials related to Elizabethan, Jacobean, and Caroline works with topics ranging from plays, props, performance, and theatre history to ethnicity, music, and use of language. Other less-covered topics include homosexuality, feminism, prisons, and cinema. Altogether, according to the Folger Shakespeare Library, Shakespeare Quarterly is committed to, “publishing articles in the vanguard of Shakespeare studies, notes that bring to light new information on Shakespeare and his age…and book reviews to keep readers current with Shakespeare criticism and scholarship.”

By researching the life and material range of SQ’s journal topics, the reader can easily assess that this journal’s mission is central to understanding the Renaissance time period, including its articles covering current events and other performances from traditional Elizabethan-style to modern film adaptations. All articles include a works cited page and endnotes, and are rarely written in first-person, including the book reviews. All material is backed–up, peer-reviewed, and articles (essays) encompass anywhere from 26-40 pages in length.

As SQ matured over the years, so did the material, as it began to cover much more than teaching methods such as “Judith Shakespeare Reading” (1996), “Credible Consorts: What Happens When Shakespeare’s Sister Enters the Syllabus” (1996), and “Teaching Shakespeare in the Context of Renaissance Women’s Culture” (1996). There there’s Hamlet with “The Word in Hamlet” (1951), “Hamlet’s Tables and the Technologies of Writing in Renaissance England” (2004), and “Surviving Hamlet” (2011). Also, theatre history in “Shakespeare and New Media” (2011), “Shakespeare, the Reviewer, and the Theatre Historian” (1985), and “Shakespeare: An Annotated Bibliography for 1964” (1965).

Basically, Shakespeare Quarterly is a resource for teachers, professors, researchers, students, performers, directors, and the Shakespeare–obsessed. With an extensive shelf life going back to the ‘50s it has proven to contain both scholarly and reliable material in a variety of formats (articles, essays, and book reviews). With a circulation of 1,980 readers SQ provides an academic, Shakespearean lens to both American and international audiences.

Works Cited:

“The Johns Hopkins University Press.” The Johns Hopkins University Press. N.p., n.d. Web. 27 Sept. 2013.

“The Free Automatic Bibliography and Citation Generator.” EasyBib. N.p., n.d. Web. 08 Oct. 2013.

N/A. Folger Shakespeare Library: Shakespeare Quarterly. Folger Shakespeare Library. N/A. Web. 27 September 2013.

“Shakespeare Quarterly.” JSTOR. N.p., n.d. Web. 24 Sept. 2013.

English Literature in Transition, 1880-1920

Published through the University of North Carolina, English Literature in Transition, 1880-1920 is a quarterly journal with material focusing on lesser-known authors of British literature from 1880-1920.  It is a journal which publishes under the belief that literature at the turn of the century did not consist solely of the likes of Virginia Woolf and W.B. Yeats and that other authors deserved an outlet to display how they shaped literature during that time.  Because of this, the journal will occasionally feature articles featuring better-known authors of that time but only if they link in some way to the lesser-known such as Dorothy Richardson and Stanley John Weyman.  Ongoing from 1974, this journal’s essays and other articles have critiqued British works for years.

Judging from the listed Advisory Board and the previous lists of editorial advisors, ELT hosts an international degree of editors.  In the past were editorial advisors such as Charles Burkhart of Temple University and Alan Johnson of Arizona State University, already spanning from the East Coast to the Midwest.  Newer additions include Marjorie Perloff of Stanford University, Michel W. Pharand of Queen’s University in Canada, and Roger Luckhurst of Birbeck College of the University of London.  Though not international on a grand scale, it does at least host editors of two countries deeply affected by the U.K. (as well as the U.K. itself).

Because of its specificity in dates and subject matter, ELT would prove most effective at providing material for students studying British literature at the turn of the century.  However, it is severely lacking in British literature from more well-known authors, so if a teacher or professor expects to see more mainstream names in a student’s paper, this is not the best resource to go to.  Articles are available to students of Tennessee Tech University in print at the Volpe Library from 1974-1996, and even more articles (those from the years 1999-2013) are available on eJournals.

Origins and Alterations in Arthurian Folklore

From the Round Table to tales of conquest and discovery, stories of King Arthur and his knights have captivated audiences for generations.  Sir Percival had his hunt for the Holy Grail in Chrétien de Troyes’ Perceval, ou le Conte del Graal, and Sir Gawain had his journey to escape certain death in Sir Gawain and the Green Knight, among many other legends and folklore. Stories of battle and glory, of uniting communities under the banner of Arthur, and of cutting down the enemies of the Britons with the fabled sword Excalibur have thoroughly permeated Western culture.

But where did it all come from?  How did King Arthur come to be?  From where did he amass his fabled knights?  More importantly, though:  how has this story changed as it’s been told from person to person?  There is not any particularly central tale regarding King Arthur and his knights.  Rather, authors add on to the tale with their own unique works, introducing new characters to the mythos and altering old characters in varying degrees.  As to what effect these authors have on the canon of Arthurian Folklore, there are plenty of opinions on the matter.

The following annotated bibliography contains a broad variety of sources attained from various journal articles and reviews regarding and focusing on the topic of Arthurian lore, ordered alphabetically.  More specifically, some of these sources note thematic changes that have occurred throughout the timeline of stories related to King Arthur and his knights.  For the purposes of study, this annotated bibliography would be useful to those students studying Arthurian folklore in general, but it’s especially useful to those studying the origins of the tales of King Arthur and the specific details of how new content has flavored his legend’s canon over the years.

Bruce, J. Douglas. “The Development of Arthurian Romance in Mediæval France.” The Sewanee Review 13.3 (1905): 319-35. JSTOR. The John Hopkins University Press. Web. 24 Oct. 2013.

In depth with his explanations of past conventions and etiquettes, Bruce details potential origins of the Arthurian legend and changes made between Arthur as both a king and a leader of the Briton forces during war with the Saxons.  He also explains how conceptions of chivalry traveled to Northern France to redefine Arthur and future characters as the traditionally gallant nobles and knights, among several other observations.

Campbell, T. M. “The Arthurian Dramas of Eduard Stucken.” Sewanee Review 21.2 (1913): 210-22. JSTOR. Web. 3 Oct. 2013.

This article, found in the Sewanee Review, describes the works of Eduard Stucken and how he thematically altered some Arthurian works for the purposes of relating to a changed audience.  Though the article is largely a lauding of Stucken and his works, the mentions of his work give him some credit as an author of Arthurian drama and detail some of the aspects of his work.

Gilbert, Elliot L. “The Female King: Tennyson’s Arthurian Apocalypse.” PMLA 98.5 (1983): 863-78. JSTOR. Modern Language Association. Web. 03 Oct. 2013.

This source describes the work of one Alfred Lord Tennyson, a man who published much poetry depicting the lives of King Arthur, Guinevere, and Sir Lancelot, and hardly in a flattering fashion.  It also takes the story of Guinevere’s unfaithfulness and thematically links that to other subjects, such as the connection between traditional sexual roles and the health of one’s nation, as well as the dangers of sexual role reversal.

Greenhalgh, M. J. “Arthurian Legend?” The Musical Times 112.1546 (1971): 1168-170. JSTOR. Musical Times Publications, Ltd. Web. 24 Oct. 2013.

This review covers King Arthur, a form of Arthurian tale told in semi-opera form originally written by Dryden and Purcell and adapted by Colin Graham and Philip Ledger.  Though the majority of the review is a scathing criticism of the changes made to the original work, it makes several references to the original work, as is appropriate for one properly critiquing any particular work.  These references disclose their fair portion about another Arthurian work that’s worth looking into as an additional source.

Lacy, Norris J. “From Medieval to Post-Modern: The Arthurian Quest in France.” South Atlantic Review 65.2 (2000): 114-33. JSTOR. South Atlantic Modern Language Association. Web. 22 Oct. 2013.

Though not specific in its Arthurian content, this South Atlantic Review article explains some key themes of several adventure tales, including the importance of ordeal, as explained through the character of Sir Galahad.  It is also a fairly modern article, as well as the only one recent enough to reference and justify Monty Python and the Holy Grail as a part of the Arthurian mythos.

Loomis, Roger Sherman. “Arthurian Tradition and Folklore.” Folklore 69.1 (1958): 1-25.JSTOR. Taylor & Francis, Ltd. Web. 23 Oct. 2013.

This 25-page article sorts out the question of whether King Arthur was based upon a real person or was perhaps the result of a conglomeration of general folklore of the regions in which his legend grew.  He references several key themes of Arthurian tales (such as the Beheading Game and hags who turn into beautiful maidens with a kiss) and relates them back to much older tales already in existence as his evidence.  Overall, it’s an enlightening article.

Loomis, Roger Sherman. “Geoffrey of Monmouth and Arthurian Origins.” Speculum 3.1 (1928): 16-33. JSTOR. Web. 22 Oct. 2013.

Found on the database JSTOR, this article by the same author behind “Arthurian Tradition and Folklore” offers and challenges the opinions of one referred to as “Mr. Gerould” as he draws parallels between the mythical King Arthur and the conqueror Charlemagne. He also covers and disputes the claim that Geoffrey of Monmouth was responsible as the originator of Arthurian Folklore.

Loomis, Roger Sherman. “Some Names in Arthurian Romance.” PMLA 45.2 (1930): 416-43.JSTOR. Modern Language Association. Web. 24 Oct. 2013.

Another article by the prolific Roger Loomis, this source takes names both common and uncommon from the Arthurian canon and identifies both their roots and their variants in various, international tales potentially based off of the old legends.  Though lengthy and boasting a high vocabulary, it holds valuable information for those looking to examine the history of some Arthurian stories, as well as stories branching out from the source.

Maynadier, G. H. “The Evolution of Arthurian Romance by James Douglas Bruce.” Modern Language Notes 39.8 (1924): 482-87. JSTOR. The John Hopkins University Press. Web. 22 Oct. 2013.

A meta-critique of sorts, Maynadier’s 6-page review of The Evolution of Arthurian Romance pays respects to the late author while covering the important aspects of his work. He lays out the time period that was covered by the author, mentions specific, well-known works both included and excluded from the work, and details what would be a good additional source for material on Arthurian folklore.

Millican, Charles Bowie. “Spenser and the Arthurian Legend.” The Review of English Studies 6.22 (1930): 167-74. JSTOR. Oxford University Press. Web. 03 Oct.

A source derived from JSTOR, this article mainly involves details of the author Spenser and his work “The Faerie Queene” and how the work itself ties in with Arthurian legend.  However, it also speaks at length about translations of other works, including many French translations and works.  The reading can be confusing at times, as the author uses several lengthy quotes that take up anywhere from five lines to a third of a page, but much of it is necessary for understanding the author’s point.

English Language Notes

English Language Notes is a semiannual/quarterly journal published through the University of Colorado and accessible by TTU students via the database Humanities Full Text.  It is also available in print within the library itself.  Founded in 1963, this journal’s original mission was to provide a wealth of critical articles and notes on matters of English language and literature.  However, due to a change in leadership between the 2005 and 2006 issues, the journal underwent a major upheaval in terms of content, purpose, publishing dates, and even the stock of their paper.  Now, it releases new content on a semiannual basis with the intent of still providing critical articles, but on specific topics regarding English and various cultural studies.  This new content now contains several new short stories and poetry by up-and-coming authors, as well.  Because of this duality, individual issues between the 2005-06 divide must be treated as two entirely different entities, as their functions are now drastically different from when the journal was founded.

The journal’s requisites for publishing seemed to be fairly balanced pre-2006, not incredibly strict or lax.  Each submission was required to be written in MLA format within a limit of 25 pages.  These submissions were often essays regarding literature, particularly works by Chaucer but otherwise a healthy blend of well-known and not-so-well-known English literature.  Some of these were critiques, but other articles discussed possible differences in commonly held meanings behind literary works.  Because of the great deal of variety in content, the journal can hold value with a good number of inquiring students.  For students looking for more specific details, a quick browse through Humanities Full Text would probably be best for finding relevant information quickly.

The editorial board was once extensive and fluctuating.  Though it never mentions much about those on the editorial board, it often included professors and some authors, including Lesley W. Brill, Jane Brown, James R. Kincaid, and Rubin Rabinovitz.  Over the years, names have come on and off of the list, but some remain today such as Anna Brickhouse and Jeffrey Robinson.  There have occasionally been advisory boards included on the first few pages, but that seems to be largely a new development.

As previously mentioned, the overall layout of the journal has experienced a major reworking.  With the arrival of a new Senior Editor, one Laura Winkiel, the journal has been almost completely changed.  The new mission statement, now the only one present on the website, was included as a final part of the last 2005 issue of ELN.  The issues are now larger on average but are only published on a semiannual basis.  Critiques and informative essays are still a major part of the journal, but the material now includes short stories and poetry and is focused on a particular topic announced at the end of the previous issue.  Because of this, they have a distinct focus as compared to their predecessors.

Women, Feminism, and Jane Austen

Imagine having to spend your entire lives cooking, cleaning, painting tables, doing needlepoint, and playing piano all day. Sounds awesome, right? Now imagine that everyone around you is going to college and getting smarter, and now you are sitting in a room full of people that assumed you are not their equal because of the way you were born. Oh, and they own your entire life. That is how women felt in a society full of men that did not believe women were equals. That is probably how Jane Austen lived.

In the 1790s, before feminism was a term that people used regularly, there were bold, brazen women like Mary Wollstonecraft who stood up and fought for her right as a human being, and there were quiet, subtle workers who yearned for the same freedoms. Jane Austen is the latter. Austen did not scream and kick and put up a fight; instead, she decided to create strong, intelligent heroines that inspired readers all over the world.

Why feminism? Jane Austen is one of the most popular female authors of her time. She constantly mentioned the social and economic standing of females in the eighteenth century, created female characters that were headstrong, independent, and intelligent, and she influenced many women. Austen expressed her disdain for a woman’s status in several, if not all, of her books, but was able to soften it with comedy and happy endings. Life was portrayed realistically; a woman had to get married if she wanted to survive.

The following selective annotated bibliography includes a variety of sources regarding women, gender, and feminism in Jane Austen’s books. Works include analyses of Austen’s novels, influences on Austen herself, and the prevalence of feminism within her work.

Students, scholars, and teachers may use this bibliography for a greater understanding of women, gender, and feminism in Jane Austen’s novels.

Anderson, Kathleen. “Fathers and Lovers: The Gender Dynamics of Relational Influence in Emma.” Persuasions On-Line 21.2 (2000): n. pag. Summer 2000. Web. 23 Oct. 2013.

Anderson argues that Emma’s character growth was not beneficial; Emma became a submissive wife. In the article, Anderson closely examines the roles of Emma’s father and Mr. Knightley, as well as the similarities between Emma’s relationship with Harriet and Mr. Knightley’s relationship with Emma. Patriarchal figures play a part in the deciphering of relationships in Emma, oftentimes confusing gender roles. This is a beneficial source for those who wish to delve into the question of gender roles in Emma.

Ascarelli, Miriam. “A Feminist Connection: Jane Austen and Mary Wollstonecraft.” Persuasions On-Line 25.1 (2004): n. pag. Winter 2004. Web. 23 Oct. 2013.

Ascarelli’s article reveals the similarities between Mary Wollstonecraft and Austen, although their approaches to feminism are drastically different. Ascarelli explains the political turmoil in the 1790s, Wollstonecraft’s writing and botched reputation, Austen’s subtle feminist agenda, and why Jane Austen may have avoided establishing a public connection between Wollstonecraft and herself. Also, Jane Austen’s “fairytale endings” are put into perspective for anyone that is skeptical of Austen’s role as a feminist icon.

Booth, Wayne C. “Emma, Emma, and the Question of Feminism.” Persuasions 5 (1983): 29-40. Jasna.org. Jane Austen Society of North America, Feb. 2009. Web. 23 Oct. 2013.

Booth’s article is separated into five sections discussing the idea of the love story as a necessary evil within Emma. Booth explains the dangers of Emma and taking the male roles too seriously, as well as Austen’s reasoning behind Emma’s strong, overpowering male characters. He continues by giving examples on how to keep a clear head (and heart) while reading the novel. This article provides a lighthearted view on the dangers of reading Emma without sufficient comprehension skills and showcases Austen’s ability to keep Emma Woodhouse a feminist role model.

Brown, Lloyd W. “Jane Austen and the Feminist Tradition.” Nineteenth-Century Fiction 28.3 (1973): 321-38. JSTOR. Web. 23 Oct. 2013.

Composed for graduate students and professors, Brown’s eighteen page article addresses the difficulty many scholars have in defining the feminist and female aspects of Jane Austen’s novels; examples from Persuasion on inherently “female” characteristics; comparisons between Austen’s novels and Mary Wollstonecraft’s Vindication of the Rights of Woman regarding education; sexual passion and modesty in Austen’s work; and finally, Austen’s treatment of marriage. Brown delves into Austen’s work using comparisons with James Fordyce, Mary Wollstonecraft, and Thomas Gisborne, producing an in depth analysis of female stereotypes and truths.

Jeffers, Regina. “Jane Austen and Feminism.” Austen Authors. Austen Authors, 20 Jan. 2011. Web. 01 Oct. 2013.

Regina Jeffers uses her experiences as a child of the women’s movement in 1968 as a tether to Jane Austen’s feminist role in the early eighteenth century; Jeffers also brings up the difficulties of being a female writer in Austen’s time. This article is composed for easy understanding, and is beneficial for those who know little to nothing about Jane Austen and Mary Wollstonecraft, as well as women writers in the eighteenth century.

Kirkham, Margaret. “III Allusion, Irony and Feminism in the Austen Novels.” Jane Austen, Feminism and Fiction. Sussex: Harvester, 1983. 81-99. Print.

The third section of Kirkham’s book contains chapters twelve through sixteen, highlighting Austen’s earlier works: Sense and Sensibility, Northanger Abbey, and Pride and Prejudice, as well as a short chapter entitled “Kotzebue and Theatrical Allusion in Mansfield Park and Emma”. Kirkham examines the schemas Austen uses in her early novels, the heroines, Austen’s steady improvements throughout each novel, and the influence of August von Kotzebue on her later works. This section of Jane Austen, Feminism and Fiction reveals the rise of the strong, intelligent heroines within Austen’s earlier novels as well as analyses on the concepts behind the stories themselves.

Marantz Cohen, Paula. “Jane Austen’s Rejection Of Rousseau: A Novelistic And Feminist Initiation.” Papers On Language & Literature 30.(1994): 215-234. Humanities Full Text (H.W. Wilson). Web. 24 Oct. 2013.

Marantz Cohen proposes that Jane Austen was not a traditional feminist; Austen reacted to the female stereotypes in a more refined fashion, and her feminist perspective grew as her writing skills did (215). Northanger Abbey and Pride and Prejudice are used to show Rousseau’s influence of Austen’s writing style and schema, opinions on education, heroines, and concept of nature. Marantz Cohen shows the growth within feminist understanding in Jane Austen’s writing.

Moffat, Wendy. “Identifying with Emma: Some Problems for the Feminist Reader.” College English 53.1 (1991): 45-58. JSTOR. Web. 23 Oct. 2013.

Moffat’s essay is separated into sections: “The Problem of Emma’s Autonomy”, “Marriage and the Genre of Emma”, “The Problem of Knightley” and “The Relation of Narrator to Reader”. Moffat, as a “feminist reader”, uses her skills to determine whether the use of history should be involved while teaching about Emma, and “about the relation between academic reading…and naïve reading” (45). This essay provides examples of why Emma is not often considered a feminist novel, and why Emma may not be considered a feminist heroine.

Morrison, Sarah R. “Of Woman Borne: Male Experience And Feminine Truth In Jane Austen’s Novels.” Studies In The Novel 26.(1994): 337-349. Humanities Full Text (H.W. Wilson). Web. 22 Oct. 2013.

In this article, Morrison discusses the lack of inner life in Austen’s male characters, and whether it is attributed to the condemnation of female stereotypes or the equality of men and women (349). The lack of sexual relationships as well as the abundance of strong familial relationships and friendships are used to unveil Austen’s feminist vision. Morrison uses the thirteen-page article to touch on subjects such as male power and marriage in Austen’s novels.

Swords, Barbara. “”Woman’s Place” in Jane Austen’s England.” Persuasions 10 (1988): 76-82. Jasna.org. Jane Austen Society of North America, Feb. 2008. Web. 23 Oct. 2013.

Barbara Swords explores the legal rights, economic security, marriage, and (especially) education of women in Jane Austen’s time. Swords examines the female characters of Austen’s novels and how marriage and education affected the characters’ growth and economic standing throughout the stories. The article provides insight into the lives of women in the nineteenth century as well as the realistic representation of these issues in Jane Austen’s work.

Byron Journal

 

                The Byron Journal has been in publication since 1973 semiannually in June and December. Based at Liverpool the Byron Society holds responsibility for producing this amazing journal for interested Byron scholars and college students around the world. As considered the top international forum for Byron scholars, the journal produces articles and notes pertaining to anything associated with Byron.

The Chief Editor for the Byron Journal is Jonathon Shears. Shears has a doctorate and currently holds a professor position at Keele University. The remaining editors and advisory editors include many professors and doctors of Literature.

Submissions for this website have many guidelines that one must follow in order for that particular submission to be accepted by the Byron Journal. Any articles submitted must not have been published before the submission. The copyright will be in ownership of the journal and any publications of the submission to any other company must have the permission of the editors of the Byron Journal. Some contents of this journal include: N.E. Gayle’s “Don Juan and the Dirty Scythe of Time”, Madeleine Callaghan’s “The Struggle with Language in Byron’s Cain”, and Elizabeth Stewart-Smith’s “Hours of Idleness”.

This journal would be very useful for a variety of different people and professions. Any student doing research into Byron and his themes would find this journal very useful. This journal is peer reviewed and has a very high reputation, as evident in the longevity of the journal . Scholars and professors of Literature should find no problem in using this journal as a very reliable resource for studies and for lectures.

Victorian Studies Journal

         Victorian Studies is a quarterly journal published by Indiana University Press (Bloomington). Founded in 1958, Victorian Studies is “one of the first interdisciplinary journals in the humanities,” and “is the journal North American Victorian Studies Association”; there is an issue dedicated to the association’s annual conference each year (“Victorian Studies”). Issues of Victorian Studies from 1974 to 1993 are available to students in print at the Angelo & Jennette Volpe Library, and issues from 1983 to present can be accessed through the Humanities Full Text database. This journal caters to professors and scholars as well as individuals wanting to learn more about “Victorian literature, social and political history, fine arts, science, philosophy, economics, and law” (“Victorian Studies”). Editors are Andrew H. Miller, Ivan Kreikamp, and D. Rae Greitner, professors of Indiana University. The current editorial board is an equal amount of men and women, which is a vast difference from the male dominated board in 1974; the current members are primarily American, unlike the British and American board of 1974. Victorian Studies advises submissions be between 7,000 and 9,000 words, as well as a works cited page, adhering to MLA format.  Articles tend to be from 9 to 13 pages, which is significantly less than it had been in 1974, with articles ranging from 20 to 26 pages.

            Issues of Victorian Studies typically have five to seven in-depth reviews of Victorian short stories and poetry, such as “Of Mothers and Merchants: Female Economics in Christina Rossetti’s ‘Goblin Market,’” and “Can You Forgive Him? Trollope’s Can You Forgive Her? and the Myth of Realism”. There are four or five literary criticisms. Many of the criticisms deal with the new or advancing technology. “The Medium is the Media: Fictions of the Telephone in the 1890s,” deals with the prominence and the misconception of telephones in several books and short stories; “Authenticity and Charm: The Revival of Victorian Photography,” displays several different photographs taken in the Victorian era and explains how pictures were taken, archived, and the artistic approach to photography. The goal of Victorian Studies is to educate people about Victorian times and give some insight into the literature and life of the era. There are an abundance of book reviews in each journal mainly concerning works about the Victorian era published within the last five years. There are about 35 reviews in the current issue—a significant decrease from 1990, which had 70 book reviews.

            Advertisements for books that are new or back in print, journals, and collections are often found within the pages of Victorian Studies, as well as photographs depicting historical events, famous images, or the day to day lives of those living in the Victorian era. Although the 1974 issue of Victorian Studies has an entire article dedicated to photography, photographs were not an avid part of the journal until 2000.

All in all, Victorian Studies is a journal used to understand and analyze all aspects of the Victorian era. The journal has an abundant amount of information, but it is directed primarily toward professors and scholars wishing to learn about the time.

Works Cited

Campbell, Elizabeth. “Of Mothers and Merchants: Female Economics in Christina Rossetti’s “Goblin Market”” Victorian Studies 33 (1990): 393-410. Web.

Levine, George. “Can You Forgive Him? Trollope’s Can You Forgive Her? an the Myth of Realism.” Victorian Studies 18 (1974): 5-30. Web.

Menke, Richard. “The Medium Is The Media: Fictions Of The Telephone In The 1890S.” Victorian Studies 55.2 (2013): 212-221. Humanities Full Text (H.W. Wilson). Web. 10 Oct. 2013.

Thomas, Alan. “Authenticity and Charm: The Revival of Victorian Photography.” Victorian Studies 18 (1974): 103-12. Web.

“Victorian Studies.” Indiana.edu. Indiana University, n.d. Web. 10 Oct. 2013. <http://www.indiana.edu/~victstu/victorianStudies.shtml&gt;.

Into the Wardrobe

Established in 1994 by John Visser, Into the Wardrobe is independent of any official C.S. Lewis organizations, book publishers, and media companies. Although this is a free standing website, Visser does invite contributions to his site such as news, pictures, quotes, and suggestions on how to make the website better are always welcome; however, he does give fair warning and say that your contribution may not be posted right away.  The idea for this website came about when Visser was conducting research on Lewis, but was not able to find anything of real substance. This website is not only a project created by one man, but it is also a website that is user friendly to those people trying to find information of substance on an incredible author.

This website’s home page is lined at the top with nine different tabs. Each tab takes the user to a different aspect of Lewis’ life. Under the ‘works’ tab, there is a complete list of works by C.S. Lewis with a small description of what each work is about. Under the ‘papers’ tab is a collection of papers written by others about Lewis and his works. Under the ‘multimedia’ tab are pictures of friends, family, acquaintances, Lewis himself, and drawing from The Chronicles of Narnia. Other interesting features of this website include a recipe for Turkish Delight, a food featured in The Lion, the Witch, and the Wardrobe, and information on taking C.S. Lewis tours in England and Ireland.

Overall, this is a good source for anyone who is looking for information on C.S. Lewis or is just looking for a starting point for their research. With its easy navigation, this site is easy and fun to use and look through.

http://cslewis.drzeus.net/

Use of religion and God in C.S. Lewis’ Work The Chronicles of Narnia

Introduction

           A prince, talking animals, kings, queens, and a lion who sacrifices himself for the good of humanity: step into the magical world of Narnia, the world that changes throughout each novel of the chronicles. Even after all the years that have passed since the publication of these magical works, they are still being used by book clubs, in the classroom, and for individual, pleasure reading.

Although Christianity has been taken out of most schools, these works have such a subtle tone of Christianity that it would not be a betrayal to the schools who wish to keep religion out of their curriculum. Not only is there a religious aspect, but there are also lessons that these  books offer to children and adults alike. To children, these novels, especially The Lion, the Witch, and the Wardrobe, explains the importance of family and not lying. To adults, these novels explain the importance of sacrifice. Another aspect these novels explain to adults is how to gain a deeper meaning of religion and spirituality that young readers of these novels cannot understand at first.

This selected annotated bibliography, mainly comprised of scholarly essays and journal articles,  gives a deeper look into the use of religion and the image of God in The Chronicles of Narnia. Because this annotated bibliography is comprised of fifteen sources just on the subject of C.S. Lewis’s chronicles, this bibliography can be used by more than just students and teachers; it can also be used by theologians and parents. This annotated bibliography in itself is an overview of how C.S. Lewis used religion and the God image in his novels.

Jacobs, Alan. “Into the Wonder: You Won’t Understand the Genius C.S. Lewis’s Literary Criticism, Satire, Science Fiction, and Theological Essays until You Spend Time in
Narnia.”Christianity Today  Dec. 2005: 36+. Religion and Philosophy Collection. Web. 16 Oct. 2013.

Jacobs’ article found in Christianity Today starts out by giving a brief history of Lewis’s life. Part of this history goes into detail about how Lewis began writing The Chronicles of Narnia and how before The Chronicles of Narnia were even written or published for that matter, it was suggested that Lewis already had it written in his head, but unknowingly. Jacobs states that Lewis’s writing of these books he was able to find his own beliefs and imagination.

Pietrusz, Jim. “Rites of Passage: The Chronicles of Narnia and the Seven Sacraments.” Mythlore 14.4 (Summer 1988): 61-63. Rpt. in Children’s Literature Review. Ed. Tom Burns.
Vol. 109. Detroit: Gale, 2005. Literature Resource Center. Web. 22 Oct. 2013.

In Pietrusz’s article, he describes the parallels between the Seven Sacraments of the Catholic and Anglican church and The Chronicles of Narnia. He goes through each sacrament and explains each of them. He explains which sacrament goes with each chronicle and gives adequate evidence for each one. For example, he associates the sacrament of Penance with the chronicle The Lion, the Witch, and the Wardrobe. In this story, Edmund lies and betrays his siblings due to the temptations set up by the White Witch. Edmund is forgiven by his siblings and Aslan (the God figure in the chronicles), but he is only fully forgiven when Aslan sacrifices himself. Pietrusz concludes by saying that this was the ultimate subject Lewis could have written for children.

Glover, Donald E. “The Chronicles of Narnia, 1950-1956: An Introduction.” C.S. Lewis: The Art of Enchantment. Athens, Ohio: Ohio University Press, 1981. 131-134. Rpt. in
Children’s Literature Review. Ed. Tom Burns. Vol. 109. Detroit: Gale, 2005. Literature Resource Center. Web. 22      Oct. 2013

Glover’s article discusses Lewis’s use of enchantment and fantasy in his famous works The Chronicles of Narnia. Lewis established early on that children were legitimate readers, not people to be talked or written down upon. Glover writes that Lewis had multiple motives for writing. The first motive was to convey the images that had been in his head since the age of sixteen, the second motive was the spiritual aspect, the third was the challenge to keep argument and description in a healthy balance, and lastly he wanted to surpass the typical, expected response to religion. He concludes his article by saying he will leave the reader to distinguish the Christian symbolism found in The Chronicles of Narnia.

Cowart, Amber. “The Success of C.S. Lewis in The Chronicles of Narnia.” N.p., n.d. Web. 9 Sept. 2013.

Cowart’s paper starts off by saying that Lewis had two main purposes in writing The Chronicles of Narnia. Purpose one was to entertain readers and purpose two was to portray Christian analogies. According to Lewis, he did not intentionally mean to write a Christian allegory, but it just happened as he started writing. Cowart explains the importance Lewis saw on getting to those readers who did not believe in God because they were constantly told to. As his works were read, Cowart writes that Lewis’s Aslan became loved and wished for in our world.  She also emphasizes the point that was emphasized by Walter Hooper, that Narnia should not be described as an allegory but a ‘pure story.’ Cowart concludes her paper by saying that Lewis was successful at writing The Chronicles of Narnia including Christian apologetics because he was and still is a “good entertainer.”

Beutel, Heidi. “To Hell and Back Again: Edmund’s Transformation.” Inklings Forever 4 (2004): Web. 22 Oct. 2013.

Beutel’s essay goes through the transformation of Edmund, a character in Lewis’s The Lion, the Witch, and the Wardrobe. She describes his attitude and state at the beginning of the book, self-centered, spiteful, and lack of concern. As the essay goes on, she explains how each decision Edmund makes is slightly worse than the last which leads him down the road to Hell. After seeing the true nature of the Witch Beutel explains, Aslan comes to his rescue. She goes on to discuss how is attitude has changed. She concludes with saying that he used the experiences he went through as a learning tool and continued to grow into a better man throughout the rest of the chronicles.

Long, Josh B. “Disparaging Narnia: Reconsidering Tolkien’s View of The Lion, the Witch, and the Wardrobe.” Mythlore 31.3-4 (2013): 31+. Literature Resource Center. Web. 22 Oct.
2013.

Long makes clear that his intention in this critical essay is to find out why Tolkien did not like the Narnia series. He speculates that Tolkien’s primary issues were the fact that Lewis did not take seriously his secondary world, Narnia. He also states the Tolkien did not believe Lewis knew what he was talking about. Lewis had created a world that was not put together the way Tolkien put together LOTR, says Long. Long goes on to say that Tolkien did not like Narnia because 1) it was meant for children and children, to Tolkien, did not understand fairy-stories, and 2) because he would have to admit that he actually liked the book. Tolkien was also against the fact that there was a, good, Christ-like figure that came back from the dead to save the creatures of Narnia from the White Witch,

McGrew, David B. “Apologetics in Narnia: Storytelling the Truth past Watchful Dragons.” (2011): 1-18. Web. 22 Oct. 2013.

In McGrew’s essay, he goes through each book in The Chronicles of Narnia and gives an excerpt from each book. Each excerpt gives an example of what a character learned and what apologetic undertone is interwoven in each novel. In The Lion, the Witch, and the Wardrobe, Peter and Susan learn to throw aside logic and blindly believe Lucy.  By this blind faith, they come to discover the magical world of Narnia. In Prince Caspian, McGrew says that one finds the key to Christianity. He concludes his essay by saying that fact and fiction, both appear in the chronicles, are needed together to serve the Church.

Higgens, Deborah. Allegory in C.S. Lewis’ The Lion, the Witch, and the Wardrobe: A Window to the Gospel of John.  Southern College, 1994. N.p., 1994: 147-163. Web. 22 Oct. 2013.

Higgens starts off her article with a question as to why a college English teacher would use fairy tales in a Biblical Literature class. She says that The Lion, the Witch, and the Wardrobe are written so that they include Christian allegory and symbolism which is a great way to open the ‘window’ to the Gospel of John. She compares this chronicle with the Gospel of John by comparing the actions of Aslan with those of Christ such as bring life back to those who are ‘dead’, dying for his people, and resurrecting to continue his reign of as king. She concludes her paper by answering the question she poses in the beginning. She answers by saying that looking at the allegory which leads the reader to the book of John.

James, Russell. “Narnia as a Site of National Struggle: Marketing, Christianity, and National Purpose in “The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe” Cinema
Journal 48.4 (2009): 59-76. Web. 22 Oct. 2013.

Russell’s main point of this essay is to investigate the ways marketing can create meaning. He explains that when the movie The Lion, the Witch, and the Wardrobe was released, Walden Media put an emphasis on the Christian allegory. He divides his article into two major focuses. Focus one is on the historical context of the author, and focus two is to look closer at Walden Media. He concludes by saying that this adaptation is dangerous because it promoted certain traits that it did not live up to.

Fisher, H. Dennis. “C.S. Lewis, Platonism and Aslan’s Country Symbols of Heaven in The Chronicles of Narnia.” Inklings Forever 7 (2011): 1-14. Web. 22 Oct. 2013.

Fisher’s article found in Inklings Forever poses his thesis in the form of a question as to why Lewis uses Platonic ideas when they are conflicting to Christianity. He goes about answering this question by looking at the faith journey that Lewis traveled in his life, how he used Platonism in the Narnia series, and the imagery of Narnia, aka Aslan’s country, as heaven. Throughout the article, Fisher goes in the order he mentioned he would to answer his question. In his conclusion, he ties everything together and answers his question and restates his position.

Studwell, Jamie. “Christianity Reimagined: Images of God and the Devil in C.S. Lewis’ The Chronicles of Narnia.” Diss. Middlebury College, 2011: 4-75. Web. 22 Oct. 2013.

Studwell’s essay’s thesis is to look closer at the use of theology, God, and the Devil in the works of C.S. Lewis, but especially in The Chronicles of Narnia. She clearly outlines what she will be talking about in the table of contents. Her first section, after the introduction, dives right into the imagery of God in the Narnia series and explains why Aslan is the Christ figure and compares him to the actual Christ using references to the Bible. Throughout the rest of the dissertation, Studwell gives further support for her thesis. She concludes with whether or not these books are suitable for children.

Wood, Ralph C. “Good and terrible: the God of Narnia.” The Christian Century 122.26 (2005): 8+. Religion and Philosophy Collection. Web. 16 Oct. 2013.

In Wood’s article, found in The Christian Century magazine, the God of Narnia, Aslan, is examined and how he can be both terrifying and good at the same time. He addresses the fact that Lucy Pevensie is the only one who really knows the existence of other worlds and can see the goodness in everything…including Aslan, who is terrifying at the beginning. Wood makes connections between Aslan and the actual God who threatens terrible things, but who is, in the end, good. He concludes his article with comparing how Aslan is willing to die for the happiness of his people much like Christ died for the forgiveness of the sins of everyone on earth.

Fisher, Dennis. Narnia The Story Behind the Stories. Nashville: Thomas Nelson, 1982. RBC Ministries. Web. 22 Oct. 2013.

Fisher’s booklet goes through each book of The Chronicles of Narnia to answer whether or not we relate to these books because of a sense of spirituality beyond our senses or because of common world themes. Although this booklet discusses the spiritual themes laced in the series, he says not to assume that Lewis meant to have all these spiritual elements. He does a comparison between Aslan and Christ, which is a big focal point of the series. He also addresses other parallels between the Bible and the Narnia series and presents his argument well. He concludes with an overall view of the series and gives suggested reading.

Muth, Benita Huffman. “Sir Thomas Browne, Screwtape, and the ‘Amphibians’ of Narnia.” Christianity and Literature 59.4 (2010): 645+. Religion and Philosophy Collection. Web.
16 Oct. 2013.

In Muth’s article, it is brought to light that Lewis borrowed certain ideas, such as the term ‘amphibianism’ from Sir Thomas Brown, a natural philosopher. One such idea is that the human participation in both the spiritual and real world is essential and they possess a spiritual and physical nature. These traits are taken and applied to the characters, both human and animal like, in The Chronicles of Narnia. Throughout the rest of the article, other ideas that Brown had written in his works that Lewis used not only in The Chronicles of Narnia but also some of his other works such as the Screwtape Letters.

Martindale, Wayne, and Jerry Root., eds.  The Quotable Lewis. Illinois: Tyndale House Publishers, 1990. Print.

This book is a collection of exerts and personal quotes from C.S. Lewis and his works. Some of these excerpts come directly from the Chronicles of Narnia but others come from the man himself. Some of the quotes that are included in this book are not only from his books, but are quotes from him about his beliefs, writing, and why he wrote what he did. This book is a special collection that houses many insights into C.S. Lewis’ works and his own mind.