La Verite. Verite et credibilite: construire la verite dans le systeme de communication de l'Occident (XIIIe XVIIe siecle) ed. by Jean Philippe Genet (review)
Katie Peebles then turns our attention to the seventeenth century in her examination of John Aubrey's influential Monumenta Britannica. Dustin M. Frazier Wood picks up on Aubrey's interest in the Boarstall Horn in a discussion of the broader significance of charter horns in late medieval and early modern England. Renee Ward looks at two adaptations of the Griselda story by Louisa Hervey which show the author's dissatisfaction with the social systems that inform the medieval versions of her story. If Hervey's agenda is overtly political, Harlan Ellison's embrace of Dante may be less so. Jeremy Withers argues that in Ellison's 'I Have No Mouth and I Must Scream' references to Dante, specifically his approach to having the punishment fit the crime, only compound the horrors inflicted upon the characters in the story by a sentient supercomputer. Carol Jamison examines textual interlacement in George R. R. Martin's A Song of Fire and Ice, seeing his narrative techniques as copying those of Malory and other writers of Arthurian romance. If Ellison moves beyond the medieval, Martin moves back to it as an anchor for his immensely popular series of novels. Elan Justice Pavlinich looks beyond literature to examine Disney's embrace of medievalism in Maleficent as a way for the corporation to at best pay lip service to progressive causes. The same can be said, Ann F. Howey suggests, for attempts at (neo)medievalism on the part of two television series from the 1990s, Babylon 5 and Crusade. Kara L. McShane argues that such mixed agendas also seem to inform Netflix's Marco Polo, which links Orientalism with medievalism in at times troubling ways. The 2014 television program The Quest is, according to Angela Jane Weisl, more successful in its use of cartography to allow medievalism to provide a window into the past. Paul B. Sturtevant follows with a qualitative survey of the perceptions which a select group of university undergraduates hold about the Middle Ages and medievalism. Dean Swinford ends the volume on no pun intended a different note by examining the intersection of the medieval and black metal music, specifically in Mayhem's De Mysteriis Dom Sathanas. Taken individually, some of the essays here offer valuable new insights into (neo)medievalism in its many forms, but the newness of ecomedievalism as a field partly contributes to a lack of any real cohesiveness of the volume. Such cohesiveness might be more apparent with the addition of an index, which would help readers to see more easily connections among the volume's fifteen essays. Kevin j. harty, La Salle University