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• W232148774 abstract "REVIEWS111 constitutional history, social and economic history, as well as analyzing trends towards increasingly anthropological and cultural emphases in recent work on the Middle Ages. According to Goetz, 'medieval studies of this century has shifted its main focus from politics to the constitution, from the constitution to society, and from society to its moving force, the people and their culture' (p. 382). Goetz is reluctant to use the label 'postmodern' to characterize this new focus. Rather, he prefers to speak of anthropological trends, also describing the new medievalism as a historische Kulturwissenschaft, a 'historical study of culture.' Unlike the notion of postmodernism, ofwhich Getman scholars are somewhat skeptical, the concept of Kulturwissenschafi has a long tradition in Germany, going back at least to the circle of Aby Warburg and Ernst Cassirer. Interestingly, the journal Das Mittelalter, the official organ of the German medievalist association, is currently devoting a special issue (vol. 5, no. 1 of 2000) to the theme Mediävistik als Kulturwissenschafi? Such conceptual differences between the Old and the New World apart, Goetz is a vigorous advocate of the new medievalism, which he defends against what he views as the excessive conservatism of medieval studies in Germany. Thus, the 'constant change ofhistorical points ofview' (p. 5)—that is to say, ofthe theoretical assumptions that underlie the historian's work—constitutes one ofthe leitmotifs of Goctz's book. Indeed, the need to reexamine and reinterpret historical questions ever anew ensures the relevance of historical research to the society which it serves. Yet this position is not tantamount to historical relativism. On the contrary, for Goetz 'only the awareness ofour own historicity can guard us against anachronistic misinterpretations' (p. 386). The medievalist's insights may be consttucts; they are not fictions. Moderne Mediävistik is recommended reading for anyone interested in the current debate on the future direction of medieval studies. PHILIPP W. ROSEMANN University of Dallas KlM headlee, Dawnflight: The LegendofGuinevere. New York: Sonnet/Pocket, 1999. Pp. x, 500. isbn: 0-671-02041-2. $6.50 ($8.99 Can.). Dawnflight is a historical romance. This label describes the dual emphases in the novel more closely than is usually the case, for the author goes to considerable pains to construct a credible DarkAge Britain where Gyanhumara (Guinevere) and Arthur meet, fall passionately in love, and marry. One or more sequels are planned. The day-to-day historical context is vividly depicted, but the political situation offers some unexpected features. Since historians have, in recent years, been challenging traditional views of Post-Roman Britain, to say nothing of Arrhur himself, Headlee certainly is entitled to make choices, and she does so boldly. Arthur, the half-Roman, half-British war leader who defeats the Caledonian Confederacy at the battle ofAbet-Glein, is familiar enough, but many readers will be surprised 2ARTHURIANA to meet Gyanhumara nie Hymar, proud chicftainess ofthe Pictish Clan Argyll and fierce warrior to boot. She demonstrares her skill in swordplay by defeating both her fathet and Arthut in pracrice bouts (albeit by a trick), then decapitating the leader ofthe invading Scotti atmy in single combat and taking the head as a battle trophy, as is the Caledonian custom. She can hardly wait to show it offto the proud father who taught het to fight. Arthur's sister Morghe is predictably ambitious and resentful, but Angusel (Lancelot) is Pictish rather rhan Breton, Urien is a prince of Dalriada rather than Rheged, and Merlin sheds his paganism to become a Christian bishop, no less. The conflict between the paganism ofthe Picts and the Christianity ofthe Btitons is highly plausible, but the extensive use ofcavalry by the Picts and a navy by the Britons is less so. Headlee's approach would seem to have been strongly influenced by Norma Lorre Goodrich's Guinevere (1991); here can be found mosr of these details and others, such as the identification of Urien with Clan Moray, Gyanhumara's father as Ogryvan, and the Isle of Man as the site where the Grail is kept and much of the action unfolds. Her choice will not please historians. The focus of the novel, however, is less upon such matters, intriguing though they may be to Arthurian scholars..." @default.
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• W232148774 date "2000-01-01" @default.
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• W232148774 title "Dawnflight: The Legend of Guinevere by Kim Headlee" @default.
• W232148774 doi "https://doi.org/10.1353/art.2000.0055" @default.
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