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• Cover
• Half title
• Title page
• Imprints page
• Contents
• Figures
• Contributors
• Acknowledgements
• Introduction
• 1 Medievalism in British poetry
• 2 Medievalism and architecture
• 3 Medievalism and cinema
• What is a medieval film?
• How (and why) do we judge a medieval film?
• What characterises a medieval film?
• The cinema as cathedral
• 4 Musical medievalism and the harmony of the spheres
• ‘Sounding number’ and musical enjoyment
• Making authentic medieval music
• ‘Ther is no rose of swych vertu’
• Darkness was my light: Varg (wolf) Vikernes
• 5 Participatory medievalism, role-playing, and digital gaming
• Magic circles, frames of reference, and role-playing
• Participatory medievalism and role-playing across genres
• Participatory neomedievalism and digital gaming
• Participatory neomedievalism as affinity spaces
• 6 Early modern medievalism
• Dissolution, annexation, reclamation
• Continuities, re-formations, and early modern literature and drama
• 7 Romantic medievalism
• 8 Academic medievalism and nationalism
• Pre-academic practices
• Desire for origins and national difference
• Philologisation
• Philology as national virtue
• Philology’s sister disciplines
• Philology’s demise
• New World nationalisms
• Medieval studies vs. medievalism
• 9 Medievalism and the ideology of war
• 10 Medievalism in Spanish America after independence
• 11 Neomedievalism and international relations
• Neomedievalism and/as modernisation theory
• ‘The new medievalism’ and the non-state actor
• Empire and assemblage
• Conclusions
• 12 Global medievalism and translation
• 13 Medievalism and theories of temporality
• Medievalist temporalities
• Travelling to and from the past
• 14 Queer medievalisms
• Queering medieval genders
• Queering modern pythons
• Killing a little boy
• Further reading
• Index
• Cambridge Companions to Culture
• Recent titles in the series