concerning charters and charter studies see Acts of Welsh Rulers , ed. Pryce, pp. xxiii–xlv, 1– 2, and notes to individual documents.
5 Griffiths, ‘Native society’; D. H. Williams, The Welsh Cistercians (2 vols, Caldey Island, Tenby: Cyhoeddiadau Sistersiaidd, 1984); Llandaff Charters ; J. Beverley Smith, ‘Land endowments of the period of Llywelyn ap Gruffudd’, BBCS , 24 (1970 – 72), 77 – 93.
6 David B. Crouch, ‘The slow death of kingship in Glamorgan’, Morgannwg , 29 (1985), 20 – 41; idem , ‘The March and the
4 J. E. Lloyd, rev. David E. Thornton, ‘Rhys ap Tewdwr (d. 1093), ruler in Wales’, ODNB . For more on Rhys, see Robert S. Babcock, ‘Rhys ap Tewdwr, king of Deheubarth’, ANS , 16 (1993), 21– 35; see also Huw Pryce, ‘In search of a medieval society: Deheubarth in the writings of Gerald of Wales’, WHR , 13 (1987), 265 – 81.
5 The extent to which this applied is controversial, especially following J. Beverley Smith’s reappraisal, ‘Dynastic succession in medieval Wales’, BBCS , 33 (1986), 199 – 232.
6 J. Wyn Evans
been reported in various media, including BBC local radio, and local and regional press, such as, for example, The Leader , a local paper which serves Flintshire. This paper’s version of her story featured as a lead headline on its front page under the headline ‘Our lost princess’, complete on one side of the headline with a misty, romantic-focus photograph of a girl and on the other a photograph of the commemorative headstone at Sempringham for Gwenllian. Inside, the paper described Gwenllian’s life and incarceration in the nunnery at Sempringham at the orders of
and Early Modern Studies , 31 (2001), 39 – 56, at p. 54.
21 Gerald of Wales, The Autobiography of Giraldus Cambrensis , ed. H. E. Butler (London: Jonathan Cape, 1937), pp. 35, 79.
22 J. Beverley Smith, ‘Dynastic succession in medieval Wales’, BBCS , 33 (1986), 199 – 232, at p. 208; D. Simon Evans, A Mediaeval Prince: The Life of Gruffudd ap Cynan (Felinfach: Llanerch, 1990), p. 5, note 36.
23 Davies, Age of Conquest , p. 115; T. M. Charles-Edwards, Early Irish and Welsh Kinship
of the BBC Radio Wales Millennium History series, The People of Wales (1999); idem , ‘Medieval experiences: Wales 1000 –1415’, in Gareth Elwyn Jones and Dai Smith (eds), The People of Wales (Llandysul: Gwasg Gomer, 2000).
Historians have argued that after 1179 Henry
II spent a significant amount of money on Dover castle to turn
it into the ‘show home’ of the English king. It
certainly seems to have been used specifically for important
visitors after this date. John Gillingham, ‘The King and
the Castle: How Henry II Rebuilt His Reputation’, BBC
History Magazine , August
The Far East and the limits of representation in the theatre, 1621–2002
website review which recommends the production with great gusto,
uses different words to say the same thing: ‘Go and see The
Island Princess ’, she insists, ‘and embrace the
exotic flavour of a new experience.’ 26 The attitudes here underline the
continued status of the Far East, centuries after Mandeville, as a
locus of novelty (‘new’), wonder (‘exotic
Sounding The House of Fame in Troilus and Cressida
retrieve it after he has thrown it down and rip it apart
in frustration (BBC (1981)). In either action, the tearing of words
leaves its mark on the soundtrack. Ajax’s impatience to learn the
proclamation (2.1.20–9) exposes the gaps between the graphematic
letters and words as sound as Achilles enunciates each of the letters
slowly, and points at the words with his fingers (Mendes (1990)).
Peter Hall’s (2001) production dramatised even more fundamentally the orality/textuality question that haunts the whole play:
was it ever performed, or only read? With the house lights
’s monumental painting
Chaucer at the Court of Edward III (1847–51) and even the Chaucer
puppet narrating Jonathan Myerson’s 1998 BBC animated adaptation of the Canterbury Tales.24 But these images have not circulated
independently; rather, they have existed alongside an abundance of
written interpretations of Chaucer’s countenance, which in some
cases respond to the portraits but elsewhere elaborate accounts of
the author’s face with little or no reference to any visual depictions.
Unlike the relative stability of depiction across many of the visual
portraits, which largely
flower child, he also turns Donovan into a modern-day saint, as
he links contemporary music to revolutionary powers. Donovan himself
comments on the position of the musician as one who writes about
universal themes. In a recent interview with the BBC, Donovan,
commenting on his music’s lasting popularity, remarked that: ‘like
troubadours, … I can write about any facet of the human condition’. 18