Introduction / Lois Potter and Joshua Calhoun -- Part I: Medieval -- Origins and others -- Robin Hood: the earliest contexts / Stephen Knight -- The outlaw's song of Trailbaston, the Green man, and the facial machine / Stuart Kane -- Reynardine and Robin Hood: echoes of an outlaw legend in folk balladry / Stephen D. Winick -- Picturing Robin Hood in early print and performance: 1500-1590 / John Marshall -- Image and society -- "Merry" and "Greenwood": a history of some meanings / Helen Phillips -- The late medieval Robin Hood: good yeomanry and bad performances / Kimberly A. Thompson -- "From the Castle Hill they came with violence": the Edinburgh Robin Hood riots of 1561 / Michael Wheare -- Part II: Post medieval -- Image and word -- The work of Robin Hood art in an age of mechanical reproduction / Henry Griffy -- Robin Hood's home away from home: Howard Pyle and his art students / Jill May -- Word and image -- "There was something about that spoke of other things than rags and tatters": Howard Pyle and the language of Robin Hood / Alan T. Gaylord -- The play's the thing: Tom Sawyer re-enacts Robin Hood / Patricia Lee Yongue -- "A song of freedom": Geoffrey Trease's Bows against the barons / Michael R. Evans -- Picturing Marian: illustrations of Maid Marian in juvenile fiction / Sherron Lux -- Image and performance -- Male cross-dressing in Kabuki: Benten the thief / Yoshiko Uéno -- Figures of "Robin Hood" in the Chinese cultural imaginary / Jianguo Chen -- The images of Robin Hood and Don Juan in George Bernard Shaw's Man and superman / Judy B. McInnis -- To steal from the rich and give to the poor: Reginald de Koven's Robin Hood / Orly Leah Krasner -- Recovering Reginald de Koven's and Harry Bache Smith's "Lost" operetta Maid Marian / Lorraine Kochanske Stock.

Studies of varied aspects of Robin Hood legends and associated topics: the greenwood, archery, outlawry, and 20c response to the legends. The Robin Hood tradition has had a continuing appeal from the middle ages to the present day, the hero himself holding a distinctive place within popular culture, his exploits, and those of his companions, being celebrated in multiple forms, from the earliest rituals, plays and ballads to musical theatre, lyric poetry, modern popular fiction, cinema and TV. The essays in this volume provide a rich and coherent perspective on this enigmatic figure and the legends which have grown up around him, offering a wide range of approaches. Topics include place-name study; examinations of surviving manuscripts and their cultural context; appraisals of the links between Robin Hood and medievalarchery; other medieval outlaws; mythic figures such as the Green Man; patterns of masculine and feminine identity; and the popularity of Robin Hood on stage and screen, in comic books and videos, and in modern Japan. There are also extended overviews of the hero's origins and status; and the future of Robin Hood studies. Professor THOMAS HAHN teaches in the Department of English at the University of Rochester, New York. Contributors: THOMAS HAHN, FRANK ABBOTT, SARAH BEACH, LAURA BLUNK, KELLY DEVRIES, R.B. DOBSON, MICHAEL EATON, KEVIN J. HARTY, STUART KANE, STEPHEN KNIGHT, DAVID LAMPE, GARY YERSHON

Robin Hood is one of the most enduring and well-known figures of English folklore. Yet who was he really? In this intriguing book, Lesley Coote reexamines the early tales about Robin in light of the stories, both English and French, that have grown up around them—stories with which they shared many elements of form and meaning. In the process, she returns to questions such as where did Robin come from, and what did these stories mean? The Robin who reveals himself is as spiritual as he is secular, and as much an insider as he is an outlaw. And in the context of current debates about national identity and Britain’s relationship with the wider world, Robin emerges to be as European as he is English—or perhaps, as Coote suggests, that is precisely the quality which made him fundamentally English all along.

Medieval film explores theoretical questions about the ideological, artistic, emotional and financial investments inhering in cinematic renditions of the medieval period. What does it mean to create and watch a 'medieval film'? What is a medieval film and why are they successful? This is the first work that attempts to answer these questions, drawing, for instance, on film theory, postcolonial theory, cultural studies and the growing body of work on medievalism. Contributors investigate British, German, Italian, Australian, French, Swedish and American film, exploring topics such translation, temporality, film noir, framing and period film - and find the medieval lurking in inexpected corners. In addition it provides in-depth studies of individual films from different countries including The Birth of a Nation to Nosferatu, and Robin Hood: Prince of Thieves. Medieval Film will be of interest to medievalists working in disciplines including literature, history, to scholars working on film and in cultural studies. It will also be of interest to undergraduates, postgraduates and to an informed enthusiast in film or/and medieval culture.

It is book on cultural heritage from the perspective of tourism. With its exploration of the building of the multi-coloured cultural heritage of India, the land of diversity, from the Indus Valley Civilization to the early modern period, problems and prospects of Indian cultural heritage tourism in the global context.

Beautiful old postcards capture Robin Hood's Bay and Fylingthorpe in all their former glory.