Table Of ContentFUGELSO
(ed) Editor: KARL FUGELSO
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In the wake of the many passionate responses to its predecessor, Studies in Medievalism e M
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22 also addresses the role of corporations in medievalism. Amid the three opening i e
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essays, Amy S. Kaufman examines how three modern novelists have refracted v
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contemporary corporate culture through an imagined and highly dystopic Middle l e
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Ages. On either side of that paper, Elizabeth Emery and Richard Utz explore how the m a
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Woolworth Company and Google have variously promoted, distorted, appropriated, i
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resisted, and repudiated post-medieval interpretations of the Middle Ages. And Clare I m
Simmons expands on that approach in a full-length article on the Lord Mayor's Show
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in London.
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Readers are then invited to find other permutations of corporate influence in six I
articles on the gendering of Percy’s Reliques, the Romantic Pre-Reformation in Charles
Reade’s The Cloister and the Hearth, renovation and resurrection
in M.R. James’s “Episode of Cathedral History”, salvation in
the Commediareferences of Rodin’s Gates of Hell, film theory
and the relationship of the Sister Arts to the cinematic Beowulf,
and American containment culture in medievalist comic-books. While offering close,
thorough studies of traditional media and materials, the volume directly engages timely
concerns about the motives and methods behind this field and many others in
academia.
Contributors: AIDA AUDEH, ELIZABETH EMERY, KATIE GARNER,
NICKOLAS HAYDOCK, AMY S. KAUFMAN, PETER W. LEE,
PATRICK J. MURPHY, FRED PORCHEDDU, CLARE A. SIMMONS,
MARK B. SPENCER, RICHARD UTZ.
Studies in Medievalism XXII
Corporate Medievalism II
an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge IP12 3DF (GB) and
668 Mt Hope Ave, Rochester NY14620-2731 (US)
www.boydellandbrewer.com
Corporate Medievalism II
Studies in Medievalism XXII
2013
Studies in Medievalism
Founded by Leslie J. Workman
Previously published volumes are listed at the back of this book
Corporate Medievalism II
Edited by
Karl Fugelso
Studies in Medievalism XXII 2013
Cambridge
D. S. Brewer
© Studies in Medievalism 2013
All rights reserved. Except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast,
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without the prior permission of the copyright owner
First published 2013
D. S. Brewer, Cambridge
ISBN 978–1–84384–355–9
ISSN 0738–7164
D. S. Brewer is an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
and of Boydell & Brewer Inc,
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website: www.boydellandbrewer.com
A CIP catalogue record for this book is available
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The publisher has no responsibility for the continued existence or
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Papers used by Boydell & Brewer Ltd are natural, recyclable products
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Printed and bound in Great Britain by
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Studies in
Medievalism
Founding Editor Leslie J. Workman
Editor Karl Fugelso
Advisory Board Martin Arnold (Hull)
Geraldine Barnes (Sydney)
Rolf H. Bremmer, Jr. (Leiden)
William Calin (Florida)
A. E. Christa Canitz (New Brunswick, Canada)
Philip Cardew (South Bank University, London)
Elizabeth Emery (Montclair State)
David Matthews (Manchester)
Gwendolyn Morgan (Montana State)
Ulrich Müller (Salzburg)
Nils Holger Petersen (Copenhagen)
Tom Shippey (Saint Louis)
Clare A. Simmons (Ohio State)
John Simons (Lincoln)
Paul Szarmach (Western Michigan)
Toshiyuki Takamiya (Keio)
Jane Toswell (Western Ontario)
Richard Utz (Western Michigan)
Kathleen Verduin (Hope College, Michigan)
Andrew Wawn (Leeds)
Studies in Medievalism provides an interdisciplinary medium of exchange for scholars in all
fields, including the visual and other arts, concerned with any aspect of the post-medieval idea
and study of the Middle Ages and the influence, both scholarly and popular, of this study on
Western society after 1500.
Studies in Medievalism is published by Boydell & Brewer, Ltd., P.O. Box 9, Woodbridge,
Suffolk IP12 3DF, UK; Boydell & Brewer, Inc., 668 Mt. Hope Avenue, Rochester, NY 14620,
USA. Orders and inquiries about back issues should be addressed to Boydell & Brewer at
the appropriate office.
For a copy of the style sheet and for inquiries about Studies in Medievalism, please contact
the editor, Karl Fugelso, at the Dept. of Art+Design, Art History, and Art Education, Towson
University, 3103 Center for the Arts, 8000 York Rd, Towson, MD 21252–0001, USA, tel.
410–704–2805, fax 410–704–2810 ATTN: Fugelso, e-mail <[email protected]>. All
submissions should be sent to him as e-mail attachments in Word.
Acknowledgments
The device on the title page comes from the title page of Des Knaben Wunderhorn: Alte
deutsche Lieder, edited by L. Achim von Arnim and Clemens Brentano (Heidelberg and
Frankfurt, 1806).
The epigraph is from an unpublished paper by Lord Acton, written about 1859 and printed
in Herbert Butterfield, Man on His Past (Cambridge: Cambridge University Press, 1955), 212.
Studies in
Medievalism
List of Illustrations ix
Editorial Note Karl Fugelso xiii
I: Corporate Medievalism II: Some Perspective(s)
The Corporate Gothic in New York’s Woolworth Elizabeth Emery 1
Building: Medieval Branding in the Original
“Cathedral of Commerce”
Our Future is Our Past: Corporate Medievalism Amy S. Kaufman 11
in Dystopian Fiction
The Good Corporation? Google’s Medievalism and Richard Utz 21
Why It Matters
II: Interpretations
“Longest, oldest and most popular”: Clare A. Simmons 29
Medievalism in the Lord Mayor’s Show
Gendering Percy’s Reliques: Ancient Ballads and Katie Garner 45
the Making of Women’s Arthurian Writing
Romancing the Pre-Reformation: Charles Reade’s Mark B. Spencer 69
The Cloister and the Hearth
Renovation and Resurrection in Patrick J. Murphy 85
M. R. James’s “An Episode of Cathedral History” and Fred Porcheddu
Rodin’s Gates of Hell and Dante’s Inferno 7: Aida Audeh 115
Fortune, the Avaricious and Prodigal, and the
Question of Salvation
Film Theory, the Sister Arts Tradition, and the Nickolas Haydock 153
Cinematic Beowulf
Red Days, Black Knights: Medieval-themed Peter W. Lee 181
Comic Books in American Containment Culture
Notes on Contributors 201
Illustrations
Figures are between pages 138 and 152
1. Auguste Rodin (1840–1917). The Gates of Hell. Bronze. 20 feet 10 3/4
inches x 13 feet 2 inches x 33 3/8 inches (636.9 x 401.3 x 84.8 cm).
Modeled 1880–1917; cast 1926–28. Philadelphia Museum of Art: Bequest
of Jules E. Mastbaum, 1929. Photo: author
2. Fortune, detail of The Gates of Hell (lower left panel). Photo: author
3. Fortune, detail of The Gates of Hell (lower left panel). Photo: author
4. Auguste Rodin (1840–1917). Standing Female Nude with Drapery.
Graphite on paper. Sheet: 12 x 7 3/8 inches (30.5 x 18.7 cm). c. 1880.
Philadelphia Museum of Art: Bequest of Jules E. Mastbaum, 1929
5. Auguste Rodin (1840–1917)/ADAGP. Amours et roue de la fortune
(Putti and wheel of fortune). Crayon au graphite, plume et lavis brun
sur papier crème déchiré (Graphite pencil, plume and brown wash on
cream-colored torn paper). 23.5 x 17.4 cm. Inv. D.2023. c. 1880. Musée
Rodin, Paris. Photo: Jean de Calan
6. Auguste Rodin (1840–1917). La Fortune (Fortune). (Plate 38 of Les dessins
de Auguste Rodin (L’Album Goupil-Fenaille). Paris, 1897). c. 1880. Photo:
Ryerson and Burnham Libraries, The Art Institute of Chicago
7. Auguste Rodin (1840–1917). Plutus ? Crayon au graphite, plume, lavis
d’encre brune et gouache sur papier crème collé en plein sur un papier
imprimé (Graphite pencil, plume, brown ink wash and gouache on
cream-colored paper pasted on printed paper). 14 x 10.1 cm. Inv. D.1936.
c. 1880. Musée Rodin, Paris. Photo: Jean de Calan
8. Avarice and Lust, detail of The Gates of Hell (lower right panel). Photo:
author
9. The Prodigal, detail of The Gates of Hell (lower right panel). Photo:
author
10. Auguste Rodin (1840–1917). Dante parmi les avares et les prodigues (Dante
among the avaricious and the prodigal). Crayon au graphite sur papier
beige collé sur un papier réglé (Graphite pencil on beige paper pasted on
ruled paper). 15.5 x 19.2 cm. Inv. D.1960. c. 1880. Musée Rodin, Paris.
Photo: Jean de Calan
11. Auguste Rodin (1840–1917). Ombre d’un avare (Shade of an avaricious).
Plume et encre brune sur papier crème collé sur un support et déchiré
(Plume and brown ink on cream-colored paper pasted on a support and
