Global Medievalism: An Introduction
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The typical vision of the Middle Ages western popular culture represents to its global audience is deeply Eurocentric. The Lord of the Rings and Game of Thrones imagined entire medievalist worlds, but we see only a fraction of them through the stories and travels of the characters. Organised around the theme of mobility, this Element seeks to deconstruct the Eurocentric orientations of western popular medievalisms which typically position Europe as either the whole world or the centre of it, by making them visible and offering alternative perspectives. How does popular culture represent medievalist worlds as global-connected by the movement of people and objects? How do imagined mobilities allow us to create counterstories that resist Eurocentric norms? This study represents the start of what will hopefully be a fruitful and inclusive conversation of what the Middle Ages did, and should, look like. Cover Title page Copyright page Global Medievalism: An Introduction Contents Introduction What Are the Global Middle Ages? What Is Global Medievalism? Popular Culture and Global Medievalism Mobilities and Global Medievalism Medieval Mobilities: Vikings Norse Culture, Whiteness, and Spatial Medievalism Viking Encounters and Encountering Vikings Vikings (2013–2020) Viking Centres Travelling to and from the East Travelling West Decentred Vikings Vikings and Violence: Taking Possession Dealing with Dragons: Two Approaches to Global Medievalist Epic Fantasy As Epic The World of Ice and Fire Paths of Virtu(dom) Essos and the Wester(osi) Gaze Global Journeys in The Priory of the Orange Tree Wyrms and White Walkers: World Risk Counterstoryingtelling and Conventions A World Elsewhere: Reimagining Global Medievalisms in Fantasy Recentring the Medievalist Fantasy World: The Daevabad Trilogy Decolonising Arthuriana Restorying Medievalism Coda: Global Medievalism Redux Bibliography Acknowledgements
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