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The first full-length study of the authorial and cross-media practices of the English novelist Elinor Glyn (1864-1943), Elinor Glyn as Novelist, Moviemaker, Glamour Icon and Businesswoman examines Glyn’s work as a novelist in the United Kingdom followed by her success in Hollywood where she adapted her popular romantic novels into films. Making extensive use of newly available archival materials, Vincent L. Barnett and Alexis Weedon explore Glyn’s experiences from multiple perspectives, including the artistic, legal and financial aspects of the adaptation process. At the same time, they document Glyn’s personal and professional relationships with a number of prominent individuals in the Hollywood studio system, including Louis B. Mayer and Irving Thalberg. The authors contextualize Glyn’s involvement in scenario-writing in relationship to other novelists in Hollywood, such as Edgar Wallace and Arnold Bennett, and also show how Glyn worked across Europe and America to transform her stories into other forms of media such as plays and movies. Providing a new perspective from which to understand the historical development of both British and American media industries in the first half of the twentieth century, this book will appeal to historians working in the fields of cultural and film studies, publishing and business history.
The revival of interest in Arthurian legend in the 19th century was a remarkable phenomenon, apparently at odds with the spirit of the age. Tennyson was widely criticised for his choice of a medieval topic; yet The Idylls of the Kingwere accepted as the national epic, and a flood of lesser works was inspired by them, on both sides of the Atlantic. Elisabeth Brewer and Beverly Taylor survey the course of Arthurian literature from 1800 to the present day, and give an account of all the major English and American contributions. Some of the works are well-known, but there are also a host of names which will be new to most readers, and some surprises, such as J. Comyns Carr's King Arthur, rightly ignored as a text, but a piece oftheatrical history, for Sir Henry Irving played King Arthur, Ellen Terry was Guinevere, Arthur Sullivan wrote the music, and Burne-Jones designed the sets. The Arthurian works of the Pre-Raphaelites are discussed at length, as are the poemsof Edward Arlington Robinson, John Masefield and Charles Williams. Other writers have used the legends as part of a wider cultural consciousness: The Waste Land, David Jones's In Parenthesis and The Anathemata, and the echoes ofTristan and Iseult in Finnigan's Wake are discussed in this context. Novels on Arthurian themes are given their due place, from the satirical scenes of Thomas Love Peacock's The Misfortunes of Elphin and Mark Twain's A Connecticut Yankee at King Arthur's Court to T.H. White's serio-comic The Once and Future King and the many recent novelists who have turned away from the chivalric Arthur to depict him as a Dark Age ruler. The Return of King Arthurincludes a bibliography of British and American creative writing relating to the Arthurian legends from 1800 to the present day.
First published in 1996. Now updated with a new information-packed 40-page Supplement covering the years 1990-1995, this unique Encyclopedia highlights the World of King Arthur from its origins in Dark Age Britain to the present day, when Arthurian novels, films, and music continue to appear around the world at an astonishing rate. The Supplement, which provides five full years of coverage not available anywhere else, enhances the usefulness of more than 1,300 entries on all aspects of the Arthurian legend-in literature, history, folklore, archaeology, art, and music. Written by an international team of over 130 authorities, no oth­er work approaches this A-Z guide to the legends of King Arthur and his knights of the Round Table for breadth and depth of coverage. This is the ultimate source for reliable information on topics as diverse as the Grail, Tristan and Isolde, Lancelot and Guenevere, Arthurian operas, the historicity of Arthur, and more.