FICHAMENTO DE LEITURAS

Tipo: Livro

Assunto / tema: Medievalismo

Referência bibliográfica:

DARCEN'S Louise. The Cambridge Companion to Medievalism. Cambridge

University Press, 2016.

Resumo / conteúdo de interesse:

Medievalism - the creative interpretation or recreation of the European Middle Ages - has had a major
presence in the cultural memory of the modern West, and has grown in scale to become a global
phenomenon. Countless examples across aesthetic, material and political domains reveal that the
medieval period has long provided a fund of images and ideas that have been vital to defining 'the
modern'. Bringing together local, national and global examples and tracing medievalism's
unpredictable course from early modern poetry to contemporary digital culture, this authoritative
Companion offers a panoramic view of the historical, aesthetic, ideological and conceptual dimensions
of this phenomenon. It showcases a range of critical positions and approaches to discussing
medievalism, from more 'traditional' historicist and close-reading practices through to theoretically
engaged methods. It also acquaints readers with key terms and provides them with a sophisticated
conceptual vocabulary for discussing the medieval afterlife in the modern.

Citações: Página:

1 "The key to participatory medievalism and this sense of immersion is found in the 76
notion of role-playing, of stepping inside the ‘magic circle’ of play."

2 “Play is a voluntary activity or occupation executed within certain fixed limits of 76

time and place, according to rules freely accepted but absolutely binding, having its
aim in itself and accompanied by a feeling of tension, joy, and consciousness that it is
“different” from “ordinary life,”

76
3 “Simultaneously, participatory medievalism finds the magic circle to be a porous
membrane rather than a fixed boundary. The character’s experience can leak back
into real life.”

77, 78
4 “Such medievalism sees the medieval period as the childlike predecessor of the
modern period, with its disenchantments, ambiguities, and complications. Thus,
returning to the Middle Ages, even a simulacra of the medieval, is an attempt to re-
enchant history with the nostalgia for a lost origin, a stable and nurturing
community, immersed in the simulacra of the never-real past,
like wearing a well-worn robe on a sunny summer day.”

79
5 "Medieval and Renaissance ‘faires’ offer another form of participatory
medievalism in which paying festival goers mingle with role-playing characters who
enact different aspects of ‘old tyme’ life in a manufactured neomedieval setting."

79
6 ”Medieval faires hearken back to a seemingly simpler historical moment, far
removed from the social and political ambiguities that mark contemporary life,
particularly in the cultural tumult of the 1960s. Small groups of like-minded folk
create handmade goods, fashion self-made clothes, and adopt neomedieval personae
that allow them to create new forms of sociality that exist palimpsestically within
their current circumstances."
7 "The appeal of the neomedieval fantasy world and the draw of role-playing unites 80
a diverse population in ways that might not otherwise be possible in contemporary
culture: rich or poor, young or old, straight or queer, native or non-native, jock or
geek, male or female, slim or chunky, all potentially have a place in the role-playing
world of participatory medievalism."

8 “They just don’t get to read about history. They get to do it.”’24 Some in the SCA, 81
perhaps even more commonly than any other form of participatory medievalism,
become interested enough in their characters actually to research the historical,
archaeological, and material conditions upon which their character is based, leading,
for example, to spinning their own fabric, researching historically accurate stitching
patterns, and using period tools to craft their outfits, domestic items and trade
goods."

9 "What James Paul Gee calls ‘affinity spaces’, where ‘people relate to each other 86
primarily in terms of common interests, endeavours, goals or practices, not
primarily in terms of race, gender, age, disability or social class."

10 We might extend Jenkins’s concept in a transmedial neomedievalist direction to 87

say that ‘convergence’ is also what participatory neomedievalism trades in, as
indicated by Dinshaw’s berobed recorder player: the simultaneous convergence of
the tropes of the past in the press of the present with a view towards an emergent
future, all without an anxious reaching towards an authentic past. All it takes is a
bathrobe and desire. The recorder is optional."

Considerações do pesquisador (aluno):

O livro aborda desde o surgimento das feiras medievais no E.U.A. e a criação da Associação de
reenencenação, até as características dos participantes e praticantes de tais atividades. Descreve
as possíveis motivações dos participantes e reflete sobre a relação das atividades com a visão de
sociedade.
Indicação da obra:
Professores de áreas relacionadas a culturas e antropologia, estudantes de comunicação e história
e pessoas com interesses sobre eventos medievais e o nicho cultural.

Local:
https://www.cambridge.org/core/books/the-cambridge-companion-to-
medievalism/8EA0B40451F5692961CB256D0E117EF7