By the same authors

Magic and the Supernatural in Early Welsh Arthurian Narrative: Culhwch ac Olwen and Breuddwyd Rhonabwy

Research output: Contribution to journalArticlepeer-review

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Magic and the Supernatural in Early Welsh Arthurian Narrative : Culhwch ac Olwen and Breuddwyd Rhonabwy. / Archibald, Elizabeth; Johnson, David F.; Bryant, Nigel; Byrne, Aisling; Chase, Carol J.; Echard, Sian; Fulton, Helen; Twomey, Michael W.; Victorin, Patricia.

In: Arthurian Literature, Vol. 30, 03.05.2013, p. 1-26.

Research output: Contribution to journalArticlepeer-review

Harvard

Archibald, E, Johnson, DF, Bryant, N, Byrne, A, Chase, CJ, Echard, S, Fulton, H, Twomey, MW & Victorin, P 2013, 'Magic and the Supernatural in Early Welsh Arthurian Narrative: Culhwch ac Olwen and Breuddwyd Rhonabwy', Arthurian Literature, vol. 30, pp. 1-26. <http://universitypublishingonline.org/boydell/aaa/chapter.jsf?bid=CBO9781782041986&cid=CBO9781782041986A016&p=4&pageTab=ce>

APA

Archibald, E., Johnson, D. F., Bryant, N., Byrne, A., Chase, C. J., Echard, S., Fulton, H., Twomey, M. W., & Victorin, P. (2013). Magic and the Supernatural in Early Welsh Arthurian Narrative: Culhwch ac Olwen and Breuddwyd Rhonabwy. Arthurian Literature, 30, 1-26. http://universitypublishingonline.org/boydell/aaa/chapter.jsf?bid=CBO9781782041986&cid=CBO9781782041986A016&p=4&pageTab=ce

Vancouver

Archibald E, Johnson DF, Bryant N, Byrne A, Chase CJ, Echard S et al. Magic and the Supernatural in Early Welsh Arthurian Narrative: Culhwch ac Olwen and Breuddwyd Rhonabwy. Arthurian Literature. 2013 May 3;30:1-26.

Author

Archibald, Elizabeth ; Johnson, David F. ; Bryant, Nigel ; Byrne, Aisling ; Chase, Carol J. ; Echard, Sian ; Fulton, Helen ; Twomey, Michael W. ; Victorin, Patricia. / Magic and the Supernatural in Early Welsh Arthurian Narrative : Culhwch ac Olwen and Breuddwyd Rhonabwy. In: Arthurian Literature. 2013 ; Vol. 30. pp. 1-26.

Bibtex - Download

@article{f1d5d923255848abbc8db365ff0ce1ef,
title = "Magic and the Supernatural in Early Welsh Arthurian Narrative: Culhwch ac Olwen and Breuddwyd Rhonabwy",
abstract = "The term {\textquoteleft}Celtic magic{\textquoteright} has had a long currency in medieval studies, particularly Arthurian studies. being positioned alongside {\textquoteleft}Celtic myth{\textquoteright} as a convenient explanation for elements in vernacular medieval romance whose provenance is not otherwise obvious. Yet both terms. {\textquoteleft}Celtic{\textquoteright} and {\textquoteleft}magic{\textquoteright}, are problematic when it comes to definitions, and this is particularly so in relation to two of the most important survivals of Welsh Arthurian literature. Culhwch ac Olwen (Culhwch and Olwen) and Breuddwyd Rhonabwy (The Dream of Rhonabwy). Both tales locate Arthur in the centre of a magic landscape; one that is subject to supernatural events. The figure of Arthur himself is presented quite differently in both texts, and in many ways The Dream of Rhonabwy foreshadows the loss of magic. in the sense of personal charisma and superhuman ability. that accompanies Arthur's appropriation into the French and English traditions. Moreover. particular kinds of literary magic in medieval texts can be related to certain types of narrative discourse. In its most familiar sense. {\textquoteleft}magic{\textquoteright} is associated with narrative agency. that is. with persons or objects who dispense and control the application of magic. whether these are fairy women or kings, or specific objects such as magic rings or potions. This agentive magic. typical of medieval romance. is produced through a discourse of realism which comes close to the modern mode of magic realism. Early Welsh and Irish tales, however, use a different kind of narrative mode; one that foregrounds naturalism rather than realism in its storytelling techniques. This produces a different kind of {\textquoteleft}magic{\textquoteright}, an agentless occurrence of wonders that can best be described as the supernatural marvellous. The early Welsh prose tales therefore exemplify a particular narrative strategy which might be called {\textquoteleft}magic naturalism{\textquoteright}.",
author = "Elizabeth Archibald and Johnson, {David F.} and Nigel Bryant and Aisling Byrne and Chase, {Carol J.} and Sian Echard and Helen Fulton and Twomey, {Michael W.} and Patricia Victorin",
year = "2013",
month = may,
day = "3",
language = "English",
volume = "30",
pages = "1--26",
journal = "Arthurian Literature",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Magic and the Supernatural in Early Welsh Arthurian Narrative

T2 - Culhwch ac Olwen and Breuddwyd Rhonabwy

AU - Archibald, Elizabeth

AU - Johnson, David F.

AU - Bryant, Nigel

AU - Byrne, Aisling

AU - Chase, Carol J.

AU - Echard, Sian

AU - Fulton, Helen

AU - Twomey, Michael W.

AU - Victorin, Patricia

PY - 2013/5/3

Y1 - 2013/5/3

N2 - The term ‘Celtic magic’ has had a long currency in medieval studies, particularly Arthurian studies. being positioned alongside ‘Celtic myth’ as a convenient explanation for elements in vernacular medieval romance whose provenance is not otherwise obvious. Yet both terms. ‘Celtic’ and ‘magic’, are problematic when it comes to definitions, and this is particularly so in relation to two of the most important survivals of Welsh Arthurian literature. Culhwch ac Olwen (Culhwch and Olwen) and Breuddwyd Rhonabwy (The Dream of Rhonabwy). Both tales locate Arthur in the centre of a magic landscape; one that is subject to supernatural events. The figure of Arthur himself is presented quite differently in both texts, and in many ways The Dream of Rhonabwy foreshadows the loss of magic. in the sense of personal charisma and superhuman ability. that accompanies Arthur's appropriation into the French and English traditions. Moreover. particular kinds of literary magic in medieval texts can be related to certain types of narrative discourse. In its most familiar sense. ‘magic’ is associated with narrative agency. that is. with persons or objects who dispense and control the application of magic. whether these are fairy women or kings, or specific objects such as magic rings or potions. This agentive magic. typical of medieval romance. is produced through a discourse of realism which comes close to the modern mode of magic realism. Early Welsh and Irish tales, however, use a different kind of narrative mode; one that foregrounds naturalism rather than realism in its storytelling techniques. This produces a different kind of ‘magic’, an agentless occurrence of wonders that can best be described as the supernatural marvellous. The early Welsh prose tales therefore exemplify a particular narrative strategy which might be called ‘magic naturalism’.

AB - The term ‘Celtic magic’ has had a long currency in medieval studies, particularly Arthurian studies. being positioned alongside ‘Celtic myth’ as a convenient explanation for elements in vernacular medieval romance whose provenance is not otherwise obvious. Yet both terms. ‘Celtic’ and ‘magic’, are problematic when it comes to definitions, and this is particularly so in relation to two of the most important survivals of Welsh Arthurian literature. Culhwch ac Olwen (Culhwch and Olwen) and Breuddwyd Rhonabwy (The Dream of Rhonabwy). Both tales locate Arthur in the centre of a magic landscape; one that is subject to supernatural events. The figure of Arthur himself is presented quite differently in both texts, and in many ways The Dream of Rhonabwy foreshadows the loss of magic. in the sense of personal charisma and superhuman ability. that accompanies Arthur's appropriation into the French and English traditions. Moreover. particular kinds of literary magic in medieval texts can be related to certain types of narrative discourse. In its most familiar sense. ‘magic’ is associated with narrative agency. that is. with persons or objects who dispense and control the application of magic. whether these are fairy women or kings, or specific objects such as magic rings or potions. This agentive magic. typical of medieval romance. is produced through a discourse of realism which comes close to the modern mode of magic realism. Early Welsh and Irish tales, however, use a different kind of narrative mode; one that foregrounds naturalism rather than realism in its storytelling techniques. This produces a different kind of ‘magic’, an agentless occurrence of wonders that can best be described as the supernatural marvellous. The early Welsh prose tales therefore exemplify a particular narrative strategy which might be called ‘magic naturalism’.

M3 - Article

VL - 30

SP - 1

EP - 26

JO - Arthurian Literature

JF - Arthurian Literature

ER -